Ajay Nath Agarwal

Mughal Jali Art: Perforated Stone Screens & Railings in Mughal Architecture Ajay Nath Agarwal

Like the Mughal INLAY Art (v. Pachch?k?r?; Per. Parch?nk?r?) (for full details whereof, see Prof R. Nath, Mughal Inlay Art, Amazon.com, Mughal J?L? Art is a STONE ART which was developed to perfection, indigenously, by the Imperial Mughals (from Akbar to Shah Jehan, 1556 to 1658 A. D.). And, like their Inlay Art, their J?l? Art is also unique in the whole range of architectural ornamental schemes of ancient and medieval civilizations of the world, so much so that such wonderful j?l?s are not available anywhere else!Mughal j?l?s have been carved in stone (both in red sandstone and in white marble) in infinite variety of designs (in different shapes and forms, composed of stars, trigons, squares, pentagons, hexagons, octagons, decagons and other motifs), in incalculable numbers, with precise spatial adaptability, unprecedented fineness and exquisite aesthetic effect. With thorough historical background, both from indigenous and exotic sources, the Mughal j?l?s have been studied here with 200 illustrations which have been selected from 800 digital images. I believe, this shall be of use and interest, not only for students, scholars, historians and architects, academically, but also for builders and artisans of handicrafts, practically. Though J?l? (from Sanskrit "J?la' and "J?laka') has been described in ancient architectural texts, it owes its growth and development, to this magnificent scale and stature, to the Mughals and it belongs to the 16th and 17th century stone-art of India. It is an essential element of Mughal Architecture. In fact, there is no equivalent word in English and "perforated screen? is just a workable substitute used by English authors like Percy Brown. J?l? is not lattice. Red sandstone and white marble j?l?s have been universally used in Mughal monuments, on edges of platforms, causeways and terraces (as railings, with balusters), and also on the edges of the projecting chhajjas, jharokhas and gaukhs (balconies); and along with chhatris. J?l?s are also used gorgeously to close window and door openings for purdah (veil) and for effect. While they admit free air, they temper sunlight and eliminate its glare. J?l?s are used as excellent ventilators in private inner rooms, toilets and on drains. Essentially a useful architectural accessory, the Mughals made it a work of art. The Mughals have mostly used geometrical j?l?s, both with straight and curved lines. Mughal artist?s ingenuity knew no bounds and the number of Mughal j?l?s is legion and variety unlimited. They have also used floral, arabesque and stylized designs. J?l?s have been used in different shapes and forms, and are square, rectangular, circular, triangular and arched. The arched form, owing to its unusual effect, is most popularly used. J?l?s have been used vertically as well as horizontally, the distinction being almost imperceptible. The space on which j?l? is used is as important as is its design. The meaning and purpose, as much as its artistic effect, can not be fully understood and appreciated without knowing the place where it is used, like a gem in its casket. Exquisitely carved j?l?s, beautifully placed on appropriate space, create an atmosphere of mystery and grace. As j?l?s in Mughal Architecture are mostly in geometrical designs, a study of Mughal geometric workmanship, with a thorough historical background, is essentially needed, in this context. (A Chapter is here on this subject)