indo-saracenic revival architecture
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Madras High Court buildings are a prime example of Indo-Saracenic architecture, designed by J W Brassington under
the guidance of famous British architect Henry Irwin
The Victoria Terminus in Bombay.
North Block of the Secretariat Building, New Delhi,
designed by Herbert Baker
Examples of the 'Indo-Saracenic' style
Indo-Saracenic Revival architectureFrom Wikipedia, the free encyclopedia
The Indo-Saracenic Revival(also known as
Indo-Gothic, Hindooor Hindu-Gothic,
Mughal-Gothic, Neo-Mughal) was an
architectural style movement by Britisharchitects in the late 19th century in British
India. It drew elements from native Indo-
Islamic and Indian architecture, and
combined it with the Gothic revival and
Neo-Classical styles favoured in Victorian
Britain. The style gained momentum in the
westwith the publication of the various
views of India by William Hodges and the
Daniell duo, (William Daniell and his uncle
Thomas Daniell) fromabout 1795.Saracenic was a term used by the ancient
Romans to refer to a people who lived in
desert areasin and around the Roman
province of Arabia,and who were
distinguished from Arabs.[1]
The first Indo-Saracenicbuilding is said to
be the Chepauk palace, located in the
neighbourhood of Chepauk, in present-day
Chennai (Madras). Chennai is said topossess many buildings of this architecture,
some of which are the Victoria Public Hall,
Madras High Court, Senate House of the
University of Madras, Chennai Central
station, etc. Most of these buildings arenow
classified under the Heritage buildings
category as laid down by the Archaeological
Survey of India (ASI) owing to the need for
theirpreservation.
Contents
1 Indo-Saracenic
2 The Mughal Style
2.1 Decline and Revival
3 The Style outside India
4 Characteristics
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5 Examples
5.1 In Bangladesh
5.2 In India
5.3 In Pakistan
5.4 In the United Kingdom
5.5 In Malaysia
6 See also
7 References
Indo-Saracenic
Confluence of different architectural styles had been attempted before during the mainly Turkic, Delhi
Sultanate and Mughal periods. Turkic and Mughal conquest in the Indian subcontinent, introduced new
concepts in the already rich architecture of India. The prevailing style of architecture was trabeate,
employing pillars, beams and lintels. The Turkic invaders brought in the arcuate style of construction,
with its arches and beams, which flourished under Mughal patronage and by incorporating elements of
Indian architecture, especially Rajasthani Temple architecture
Local influences also lead to different 'orders' of the Indo-Islamic style. After the disintegration of theTurkic Delhi Sultanate, rulers of individual states established their own rule and hence their own
architectural styles, which was heavily influenced by local styles. Examples of these are the 'Bengal' and
the 'Gujarat' schools. Motifs such as chhajja (A sunshade or eave laid on cantilever brackets fixed into
and projecting from the walls), corbel brackets with richly carved pendentive decorations (described as
stalactite pedentives), balconies, kiosks or chhatris and minars (tall towers) were characteristic of the
Mughal architecture style, which was to become a lasting legacy of the nearly four hundred years of the
Mughal rule.
The Mughal Style
The Mughal style was conceived by Akbar the Great, the third Mughal emperor and also the architect of
the Mughal empire. This "Akbari" Style was an amalgam of earlier Timurid, Persian and indigenous
Indian styles. This style was further consolidated by his grandson and fellow architecture enthusiast,
Shah Jahan. Some of the significant architectural legacies of the Mughals are Humayun's Tomb, the Taj
Mahal, the Forts of Agra and Lahore, the city of Fatehpur Sikri, Akbar's Tomb.
Decline and Revival
Shah Jahan was succeeded by his puritanical son, Aurangzeb, who had no soft spot for art andarchitecture.[2]As a result, Mughal architecture suffered, with all artisans migrating to work under the
patronage of local rulers. With no major architectural projects undertaken, the Mughal style rapidly
declined. This decline was evident in buildings such as Bibi Ka Maqbara, built by Azam Shah, son of
Aurangzeb. However, local rulers embraced the style, as they had emulated it during the respective
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Features of the Confluence of
Indian and Persian styles
Mughal Design Terms : The Indo-
Persian style flourished in the
Mughal period, and culminated in
the Taj Mahal
Mughal Style soon became
individualistic, as the 'Akbari'
architecture was further developed
into the 'Shahjahani' style in
which the parent styles becameless visible.
Design Vocabulary and changing
trends of the Indo-Persian style
Mughal Interiors Racinet, c. 1876
reigns of Jahangir and Shah
Jahan.[3]The last
architectural marvel
produced during this waning
period of Mughal rule was
Safdarjung's Tomb,
mausoleum to the second
Nawab of Awadh.
By the early 19th century,
the British had made
themselves the virtual
masters of the Indian
Subcontinent. In 1803, their
control was further
strengthened with the defeat
of the Marathas under
Daulatrao Scindia. Theylegitimized their rule by
taking the then weak
Mughal Emperor, Shah
Alam II under their
protection, and ruling
through him. However, their power was yet again challenged when
in 1857, the Indian soldiers in their employ, together with rebellious
princes lashed out in open revolt, which came to be known as the
Revolt of 1857. However, this uprising was doomed from the start,
and was crushed by the British with ferocity, marking the end of the
Mughal Empire.[4]Soon after, they embarked on deliberate
vandalism, by demolishing significant amount of buildings in the
Red Fort (the residence of the recently extinct Mughal Empire) and
replacing them with towering and unimpressive barracks. It was the
first attempt towards erasing the architectural legacy of the
Mughals.[5]
However, to usher in a new era, the British "Raj", a new
architectural tradition had to be founded. Hence they contemplateda marriage between the existing styles of India with imported styles
from the West, such as Gothic (with its sub styles of French Gothic,
Venetian-Moorish etc.), Neoclassical and Art Deco, Gothic even
more so because their design philosophy was inclined towards
grand scale (as is evidenced by buildings such as the Taj hotel). By
doing this they kept elements of British and European architecture, while adding Indian characteristics
this, coupled with the British allowing some regional Indian princes to stay in power, made their
presence more "palatable" for the Indians. The British tried to encapsulate South Asia's past within their
own buildings and so represent Britain's Raj as legitimate, while at the same time constructing a modern
network of railways, colleges, and law courts.
The Style outside India
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The Rambagh Palace in Jaipur
The architectural style was exported to British Malaya (present day Peninsular Malaysia) via British
engineers and architects influenced by Indo-Saracenic stylings in British India. During the design of
government offices for the Selangor state government in Kuala Lumpur in the late 19th century, C. E.
Spooner, then State Engineer of the Public Works Department, favoured a "Mahometan style" over a
neoclassical one to reflect Islamic mores in the region, instructing architect Charles Norman, with
further assistance by R. A. J. Bidwell, to redesign the building.[6]Having previously served in northern
India, Norman and Bidwell incorporated various elements of Indo-Saracenic architecture into the
building. Upon completion in 1897, the government offices (now known as the Sultan Abdul SamadBuilding), which would later house the administration of the Federated Malay States and the various
post-independence governmental departments, became the one of the earliest examples of Indo-
Saracenic architecture in Malaya.[6]The building's construction inspired additional civic buildings in the
vicinity to be built in a similar style, while a handful of commercial buildings in Malaya have also been
known to adopt some of the style's elements. The style was also favoured as one of several adopted by
British architects with regards to Malayan mosques as they did not feel the need to adhere accurately to
the cultural heritage and the traditional culture of the Malays, who remain prominent in Malayan society
and are Muslims but lacked the means to design buildings of large scales both the Jamek Mosque and
Ubudiah Mosque are examples of mosques that resulted from this combination.[7]While its popularity
was limited to the 1890s to the 1910s, the style has inspired designs for newer governments buildings
from the late-20th century and 21st century, such as several public buildings in Putrajaya.
Characteristics
Indo-Saracenic designs were introduced by British
imperialist colonizers, promoting their own sense of
rightful self-glorification, which came to appeal to
the aesthetic sensibilities of continental Europeans
and Americans, whose architects came to astutelyincorporate telling indigenous "Asian Exoticism"
elements, whilst implementing their own
engineering innovations supporting such elaborate
construction, both in India and abroad, evidence for
which can be found to this day in public, private and government owned buildings. Public and
Government buildings were often rendered on an intentionally grand scale, reflecting and promoting a
notion of an unassailable and invincible British Empire.
Again, structures of this design sort, particularly those built in India and England, were built in
conformance to advanced British structural engineering standards of the 1800s, which came to include
infrastructures composed of iron, steel and poured concrete (the innovation of reinforced cement and
pre-cast cement elements, set with iron and/or steel rods, developed much later) the same can be said
for like structures built elsewhere, making use of the same design vocabulary, by local architects, that
would come to be constructed in continental Europe and the Americas: Indo-Saracenics popularity
flourished for a span of some 30-years.
Notable, too, is that the British, in fact Europeans generally, had long nurtured a taste for the aesthetic
exuberance of such Asian exoticism design, as displayed in innovative Indo-Saracenic style and also
in their taste for Chinoiserie and Japanned. Supported by the imagination of skilled artisans of various
disciplines, exoticism promulgated itself across a broad demographic of British, European and
Americas citizenry, Adaptation of such design innovations spilled over into and determined the
aesthetic direction of major architectural projects, expressing themselves in the Baroque, Regency and
design periods beyond.
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Today, that spread of elaborate Asian exoticism design fulfillment remains evidenced in many
residential and governmental edifices wrought of the masterpiece initiatives of the 16th, 17th and 18th
centuries much had initially been contributed by the stupendously rich and indulgent sea-merchant
Venetian Empire, whose existence spanned nearly a millennium, and whose Gothic architecture came to
incorporate a plethora of Asian exoticism elements, such as the Moorish Arch in its windows, related to
the latter "harem window"
Generally, the insatiable craze for Asian exoticism relished those earlier periods, testamentary in their
parallel Chinoiserie expression, likewise, ushered in this latter colonial British fascination with the
luxuriant exoticism found in the indigenous Indian design milieu, whose characteristics includes the
following vocabulary list of design elements and motifs (often paralleling and expanding upon the
already ornateness of the earlier Venetians unique Gothic-Moorish, also known as Venetian Gothic
architecture ad-mixture):
onion (bulbous) domesoverhanging eaves
pointed arches, cusped arches, or scalloped archesvaulted roofs
domed kiosksmany miniature domesdomed chhatris
pinnaclestowers or minaretsharem windowsopen pavilions or pavilions with Bangala roofs
pierced open arcading
Chief proponents of this style of architecture were these: Robert Fellowes Chisholm, Charles Mant,
Henry Irwin, William Emerson, George Wittet and Frederick Stevens, along with numerous other skilledprofessionals and artisans throughout Europe and the Americas.
Structures built in Indo-Saracenic style in India and in certain nearby countries were predominantly
grand public edifices, such as clock towers and courthouses. Likewise, civic as well as municipal and
governmental colleges along with town halls counted this style among its top-ranked and most-prized
structures to this day ironically, in Britain itself, for example, King George IV's Royal Pavilion at
Brighton, (which twice in its lifetime has been threatened with being torn-down, denigrated by some as a
carnival sideshow, and dismissed by others as an architectural folly of inferior design, no less) and
elsewhere, these rare and often diminutive (though sometimes, as mentioned, of grand-scale), residential
structures that exhibit this colonial style are highly valuable and prized by the communities in whichthey exist as being somehow "magical" in appearance.
Typically, in India, villages, towns and cites of some means would lavish significant sums on
construction of such "indigenous ethnic architecture" when plans were drawn up for construction of the
local railway stations, museums and art galleries.
The cost involved in the construction of buildings of this style was high, including all their inherent
customization, ornament and minutia decoration, the artisans' ingenuous skills (stone and wood carving,
as well as the exquisite lapidary/inlaid work) and usual accessibility to requisite raw materials, hence the
style was executed only on buildings of a grand scale. However the occasional residential structure ofthis sort, (its being built in part or whole with Indo-Saracenic design elements/motifs) did appear quite
often, and such buildings have grown ever more valuable and highly prized by local and foreign
populations for their exuberant beauty today.
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Either evidenced in a propertys primary unit or any of its outbuildings, such estate-caliber residential
properties lucky enough to boost the presence of an Indo-Saracenic structure, are still to be seen,
generally, where in instances urban sprawl has not yet overcome them often they are to be found in
exclusive neighborhoods' (or surrounded, as cherished survivors, by enormous sky-scarpers, in more
recently claimed urbanized areas throughout this techno driven, socio-economic revolutionary era
marking Indias recent decades history), and are often locally referred to as "mini-palaces". Usually,
their form-factors are these: townhouse, wings and/or porticoes. Additionally, more often seen are the
diminutive renditions of the Indo-Saracenic style, built originally for lesser budgets, finding theirnonetheless romantic expression in the occasional and serenely beautiful garden pavilion outbuildings,
throughout the world especially, in India and England.
Examples
In Bangladesh
Ahsan Manzil in
Dhaka
Curzon Hall in Dhaka
Tajhat Palace in
Rangpur
Shoshi Lodge in
Mymensingh
Natore Rajbari
Rose Garden Palace
Uttara Gonobhaban
In India
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The Gateway of India
The Taj Mahal Hotel in
Bombay
Mysore Palace
The National Art
Gallery (Chennai)
Victoria Public Hall in
Chennai
Senate House
(University of Madras)
Victoria Memorial in
Calcutta
Ripon Building part of
the Chennai
Corporation in Chennai
Bombay GPO
Khalsa College,
Amritsar
Daly College, Indore
by Samuel Swinton
Jacob
Central Secretariat,
headquarters of the
govt of India
In Pakistan
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Aitchison College,
Lahore
Lahore Museum,
Lahore
Clock Tower,
Faisalabad
University of the
Punjab
Lahore Government
College University
Karachi Port Trust
Headquarters, Karachi
National Academy of
Performing Arts,
Karachi
Sacred Heart
Cathedral, Lahore
Rwp train1.jpg,
Rawalpindi
Darbar Mahal,
Bahawalpur
Sadiq Dane High
School, Bahawalpur
Noor Mahal,
Bahawalpur
Islamia College
University, Peshawar
Government Higher
Secondary School,
Peshawar
Ghanta Ghar (Multan)
Karachi Municipal
Corporation Building
https://en.wikipedia.org/wiki/Ghanta_Ghar_(Multan)https://en.wikipedia.org/wiki/Peshawarhttps://en.wikipedia.org/wiki/Peshawarhttps://en.wikipedia.org/wiki/Islamia_College_Universityhttps://en.wikipedia.org/wiki/Bahawalpurhttps://en.wikipedia.org/wiki/Noor_Mahalhttps://en.wikipedia.org/wiki/Bahawalpurhttps://en.wikipedia.org/wiki/Bahawalpurhttps://en.wikipedia.org/wiki/Rawalpindihttps://en.wikipedia.org/wiki/Lahorehttps://en.wikipedia.org/wiki/Karachihttps://en.wikipedia.org/wiki/National_Academy_of_Performing_Artshttps://en.wikipedia.org/wiki/Karachihttps://en.wikipedia.org/wiki/Karachi_Port_Trusthttps://en.wikipedia.org/wiki/Government_College_University,_Lahorehttps://en.wikipedia.org/wiki/University_of_the_Punjabhttps://en.wikipedia.org/wiki/Lahore_Museumhttps://en.wikipedia.org/wiki/Aitchison_College -
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In the United Kingdom
Royal Pavilion in
Brighton
Elephant Tea Rooms in
Sunderland
Sassoon Mausoleum,
now a chic Brighton
supper club
Western Pavilion in
Brighton, designed by
Amon Henry Wilds as
his own home
Sezincote House
In Malaysia
Sultan Abdul Samad
Building in Kuala
Lumpur.
Jubilee Clock Tower in
George Town, Penang.
Textile Museum in
Kuala Lumpur.
The Old High Court
Building in Kuala
Lumpur
https://en.wikipedia.org/wiki/Penanghttps://en.wikipedia.org/wiki/George_Town,_Penanghttps://en.wikipedia.org/wiki/Jubilee_Clock_Towerhttps://en.wikipedia.org/wiki/Kuala_Lumpurhttps://en.wikipedia.org/wiki/Sultan_Abdul_Samad_Buildinghttps://en.wikipedia.org/wiki/Sezincote_Househttps://en.wikipedia.org/wiki/Amon_Henry_Wildshttps://en.wikipedia.org/wiki/Western_Pavilionhttps://en.wikipedia.org/wiki/Sassoon_Mausoleumhttps://en.wikipedia.org/wiki/Sunderland,_Tyne_and_Wearhttps://en.wikipedia.org/wiki/Elephant_Tea_Roomshttps://en.wikipedia.org/wiki/Brightonhttps://en.wikipedia.org/wiki/Royal_Pavilion -
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Wikimedia Commons has
media related toIndo-
Saracenic Revival
architecture.
Old Kuala Lumpur
Town Hall.
Jamek Mosque in
Kuala Lumpur.
Kuala Lumpur Railway
Station.
Railway
Administration
Building, Kuala
Lumpur.
Ubudiah Mosque in
Kuala Kangsar, Perak.
Perdana Putra in
Putrajaya, an example
of modern Indo-
Saracenic Revival-
influenced architecturein Malaysia.
The Palace of Justice in
Putrajaya, another
modern example.
See also
Moorish Revival architecture
References
1. "Saracen." Encyclopdia Britannica. 2007
(http://concise.britannica.com/ebc/article-9377754/Saracens).
Britannica Concise Encyclopedia. 23 Sept. 2007.
2. He went as far as defacing many edifices built by his great-
grandfather Akbar, as they had animal motifs, something which
was forbidden in the Quran
3. The rulers of Rajputana would construct their palaces in Mughal style to impress their overlord, the Great
Mughal. Examples of such structures are the Amber Fort near the city of Jaipur, the Orchha palace in Madhya
Pradesh and most of the Mehrangarh Fort in Jodhpur
4. The last Mughal Emperor, Bahadur Shah II became a pawn of the mutineers and was arrested and exiled for
treason5. Other deliberate and demeaning actions include converting the Diwan-e-Khas (Private audience hall) into an
officer's mess, as well as converting the Diwan-e-Am (Public audience hall) at Agra fort into an arsenal
6. Gullick, John Michael (1998). "The British 'Raj' style ", The Encyclopedia of Malaysia (Architecture), p. 82
83.
https://en.wikipedia.org/wiki/The_Encyclopedia_of_Malaysiahttps://en.wikipedia.org/wiki/Bahadur_Shah_IIhttps://en.wikipedia.org/wiki/Jodhpurhttps://en.wikipedia.org/wiki/Mehrangarh_Forthttps://en.wikipedia.org/wiki/Madhya_Pradeshhttps://en.wikipedia.org/w/index.php?title=Orchha_palace&action=edit&redlink=1https://en.wikipedia.org/wiki/Amber_Forthttps://en.wikipedia.org/wiki/Mughal_Dynastyhttps://en.wikipedia.org/wiki/Rajasthanhttps://en.wikipedia.org/wiki/Quranhttp://concise.britannica.com/ebc/article-9377754/Saracenshttps://en.wikipedia.org/wiki/Moorish_Revivalhttps://en.wikipedia.org/wiki/Palace_of_Justice_(Malaysia)https://en.wikipedia.org/wiki/Putrajayahttps://en.wikipedia.org/wiki/Perdana_Putrahttps://en.wikipedia.org/wiki/Perakhttps://en.wikipedia.org/wiki/Kuala_Kangsarhttps://en.wikipedia.org/wiki/Ubudiah_Mosquehttps://en.wikipedia.org/wiki/Kuala_Lumpur_Railway_Stationhttps://en.wikipedia.org/wiki/Masjid_Jamekhttps://commons.wikimedia.org/wiki/Category:Indo-Saracenic_Revival_architecture -
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7. Mizan Hashim, David (1998). "Indian and Mogul influences on Mosques", The Encyclopedia of Malaysia
(Architecture), p. 8485.
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