Architecture of Bada Imambara (lucknow)

the architectural marvel that is the Bada Imambara.

1. SUBMITTED TO- SUBMITTED BY- Dr.SYED MUBIN ZEHRA Swati chandra Architecture Of The Bara Imambara Complex

2. INTRODUCTION The project focuses on the architectural marvel that is the Great imamabara with focus on its complex. Although the whole complex is magnificent and makes Lucknow the ‘city of domes and minarets’, but the architectural design, structural design, decoration and ways of construction makes it a monumental structure in the genre of Awadh School Of Architecture.

3. INTRODUCTION City of Lucknow , known by various names, ‘City of Nawabs ’, ‘ The Constantinople of India ’, Awadh etc. was the seat of culture under the Nawabs . Cultural centre shifted from Delhi to Lucknow with the decline of Mughal Empire. Under this cultural shift new provincial style of architecture developed, Awadh school of architecture. Construction of Imambara marks the advent of amalgamated type of architecture. Awadh school influenced by Mughal , Gujrat school and Persian style.

4. ARCHITECTURE OF LUCKNOW Architecture of Lucknow represents long lasting history of rulers, their ideologies, religion, culture, way of thinking, prevailing conditions of that time etc. Culture of nawabs and their lifestyles adopted by people of Awadh resulting in accumlation of wealth and its representation by elaborate buildings and sophisticated lifestyle. Major development of architecutre under the nawabs , started with the shift of headquarters of suba Awadh from Faizabad to Lucknow , followed by migration of elite society. Lucknow became nucleus of an urbane,literate & sophisticated society.

5. PHASES OF ARCHITECTURE Mughal and Sharqui era Nawabi era – this era includes buildings from 1775-1856. further divided in two:- A) 1775-1800 - traditional phase derived from mughal designs , advent of European style buildings, eg Imambara nd la martenier B)1800-1856 - hybrid style buildings incorporating indo- muslim and European styles. British era – this era comprises buildings raised by britishers after annexation of awadh .

6. SCHOLARLY TREATMENT View of some scholars on the Imambara. James Ferusson - Aloi Fuhrer-saw it as architectural glory of awadh Percy Brown- saw it an last example of stagnant mughal architecture, noticed for scale nd not for its mediocre decoration Banamali Tandon - saw it as an important factor for evolution of awadh stye,“structural tour de force”. Catherine Asher- saw it as unique technological achievment . William Russell- saw it as a vision of palace, minars and domes etc.

7. GREAT IMAMABARA COMPLEX Complex located in heart of Lucknow , unique in its architectural setting, design and execution. Nawabs undertook ambitious architectural projects to satisfy their sense of sovereignty, draw the attention and loyality of subjects. Foundation of the complex laid by Nawab Asafudaula in 1784 as a relief to the famines of awadh . Complex includes - Imambara, Mosque, Rumi Darwaza , Shahi Baoli and Naubat Khana .

8. RUMI DARWAZA Architectural design beleived to be an impression of gate of constantinople , hence called the turkish gate. 60 feet in height, in form of a huge archway, double storeyed octagonal pavillion on either sides, parapets with facade of multi foilated arches in row,with number of miniature domes. On west side it appears as a tripolia with 3 arched ways , from east side it appears like panch mahal . Mughal element in minarets crowned by chhatris . Apex of outer arch crowned by octagonal domed kiosk.

9. Rumi darwaza from behind

10. RUMI DARWAZA DECORATIVE ELEMENTS -bear resemblence from qudisa garden palace in delhi . - apex of inner arch crowned with floral motifs - apex of outer arch has broad lotus petals and floral pattern - mehrab decorated with bunch of lotus flower - niches and geometrical designs.

11. AASFI MOSQUE Lies on west end of the complex, stands on a raised platform with flight of steps , skewed towards mecca . Follows conventional plan of later mughal mosque with 11 arched facade, 3 turnip shaped domes and minarets on sides. Has 6 interconnected chambers and a basement, arcuate ceilings rises to a height of 9.75m are highly decorated. Multifoilated arches , inverted lotus on t op of domes, 3 storyed minarets with chatris on top . Decoration with lime and stucco inside.

12. SHAHI BAOLI Situated on the eastern side of the complex. Was later used as summer palace by adding more rooms around it. Conventional plan with deep circular well at the end below ground , not visible. Multi storyed , has open galleries and cells at each level which are spacious with arcuate ceilings Built on a rectangular plan , in lakhauri bricks and lime plaster.

13. Baoli from the front

14. View of the well from inside the baoli

15. NAUBAT KHANA Drum houses to announce the arrivals or used as music galleries also acted as forecourts. Has projecting 3 arched balcony in the central arch, replica of first entrance gateway, double sets of fish on the spandriel . Inside gateway is a forecourt with circular lawn and an unnamed gate to add symmetry,leads to the main courtyard.

16. First gateway with balconies turrets crowned by chattris , raised parapets with miniature domed arches

17. Naubat khana from the 2 courtyard

18. IMAMBARA AASFI Grandest among all other imambara buildings, and became prototype for those buit later. Blend of mughal and rajput with hint of unique nawabi style by the massiveness of structure. Also considered an example for indo- sarcenic school of architecture due to its vaulting.

19. SITE PLAN Ground plan consist of nine distinct chambers, largest being the central hall , approached by 3 roomed entrance gallery. Inside the central hall is the grave of nawab Asafudaula , in a north-south axis. From outside 3 entrance lead to the first hall which give way to the central hall through 7 arches. Third hall is elevated by floor and is used to keep votive objects . On east end steep stair ways lead to the roof and network of passegways .

20. STUCTURAL DESIGN Facade is linear and has 9 arches , divided into 3 parts by semi circular projections. Upper portion of facade articulated by series of arched openings with domed pavilions Entry hall has multifoilated arches in green and white, ceiling is vaulted with series of geometric patterns. Rooms next to the central hall are china/east and watermellon /west halls. West hall has hemispherical ceiling ,balconies, squinches , complex patterns.

21. Eastern/ Watermellon hall hemispherical ceiling , leaffy stucco, protruding balconies

22. Squinch with decorative stucco

23. Arched way leading to the central chamber from the gallery

24. DECORATIVE ELEMENTS Fish motif used extensively on spandriels . Acanthus leafs used in stucco work design with various other vegetal motifs. Highly decorative squinches used in west and east room with kalasha or bud design. Intricated , nested,smooth , pointed and lobed elliptical arches used. Chattris , slender turrets with guldasta on top,miniature domes etc.

25. Fish motif on spandrel acanthus leaf stucco work in the Chinese /west hall.

26. Slender minaret with foliation and kiosk slender turrets

27. CENTRAL HALL This hall is known for its massive pillar less vault covering the imambara , is considered unparallel work of preindustrial engineering. 163 ft length, 53 ft width, 163 ft height, vault surrounded by red sand stone balcony,geometric design on vault. Weight of the vault supported by the arched passegways on first, second and third floor also known as lybrinth , 469 identical passegways .

28. Central hall

29. Geometric design on the vault passageway balcony RSS

30. MATERIAL USED Lakhori bricks, 6x4 inches, hand made , burnt bricks Mixture of lime , sand and surkhi (brick dust combined with binding material). White stucco plaster mixed with mother of pearls used.

31. Lybrinth

32. SIGNIFICANCE OF THE COMPLEX RELEGIOUS AND CULTURAL SIGNIFICANCE Represents the culture of lucknow , brings together various faiths for the grand procession of muharram . ARCHITECTURAL SIGNIFICANCE Unparallel pre industrial engineering, a unique structure with different architectural styles involved. HISTORICAL SIGNIFICANCE Represents the history of awadh , it decline and florishing days, stands as a witness of events.

33. CONCLUSION Complex stands as a unique example of awadh school, with humble origin from mughal architecture. Architecture of the complex is a physical manifestation of the status of the nawabs , it depicts their predominanace in Awadh as establihed rulers. It could combine multiple architectural tradions , domestic, religious, funerary , can also function as a palace, assembly hall, concert hall etc.