Indian National Trust for Art and Heritage - INTACH Jammu and Kashmir Chapter

Indian National Trust for Art and Cultural Heritage - Jammu and Kashmir Chapter

|> Home |> Documentation | Cultural Resource Mapping of Srinagar |

SHEHR-I-KASHMIR
CULTURAL RESOURCE MAPPING OF SRINAGAR CITY (2004-2005)

The characteristic features of the Kashmiri stone temple architecture are its lofty pyramidal roofs, its trefoiled doorways, covered by pyramidal pediments and the great width of its intercolumniations. The Grecian pediment is very low, and its roof exceedingly flat, the Kashmiri pediment, on the contrary, is extremely lofty and its roof high. The former is adapted for sunny and almost rainless climate. But besides the difference of climate, there was perhaps another reason for the form of roofing peculiar to the two countries in the kind of material most readily procurable for buildings. In Greece it was stone, in Kashmir it was timber. The former imposed low flat roofs with small intercolumniations, the latter suggested lofty roofs and wide intercolumniations.

The vernacular architecture of Kashmir is the architecture of the common people as it evolved alongwith the above mentioned styles. Not much can be inferred about this style from existing historical records most of which were anyway concerned with only the political-religious accounts. The earliest descriptions can be found in the various travelogues of Europeans visiting this place in the 18th and 19th Centuries. Yet most of these descriptions are sketchy and often contradictory to one another. The city of Srinagar shows a large variation in architecture both in terms of construction methodolgy and style; from the classical, aristocratic and hierarchic development represented by the stone monuments of the Buddhist-Hindu period that flourished during the first millenium to the period of building in wood, as illustrated by the democratic architecture prevailing under Islamic rule and a short interval of Mughal emperors bringing into the state their own style of stone architecture.

However, the principal type of architecture which is associated with Islamic domination is predominantly that which is constructed entirely of wood, and assumed an exclusively distinct form.

The technique of the woodwork of Kashmir consisted of the most basic contrivance of laying one log horizontally on another, usually crosswise in the form of ‘headers and stretchers’ as in brick work; in this fashion producing not only the walls but also occasionally the piers for the support of any super structure, in the case of an ordinary pillar, however, single tree trunks were employed, mainly being deodar-cedrus deodara.

A simpler method of this kind of log construction may be studied in the series of bridges which span the river Jhelum in the core of Srinagar city. Popularly called Kadals, several of these were built on the cantilever principle. The main supporting piers take the form of a massive wooden structure, resembling an inverted pyramid with its truncated apex resting on a solidly built masonry cutwater. Each pier was built of layers of logs, in alternate courses placed transversely, at right angles in a manner as to make it sufficiently strong to withstand a fair flood current below, and to carry a reasonable load above.

The typical wooden architecture of Kashmir takes the form of either a mosque or a tomb. The latter is known as a ziarat or aastan a characteristic feature, often enshrining the remains of some local celebrity of holy repute. In design both the mosque and the tombs are composed of much the same architectural elements, these are three in number and consist of a lower cubical structure of the building containing the hall or chamber; a pyramidal roof often in tiers, and over the whole, a slender spire. In the mosques, especially the larger ones, the fourth element is introduced between the apex of the roof and the base of the spire, taking the shape of a square open pavilion, thus acting in the same capacity as a minar, or elevated gallery, from which the muezzin calls for prayers.

The mosque of Shah Hamadan is a typical example of wooden architecture of the subcontinent. It stands on the right bank of river Jhelum on an irregular masonry foundation composed of ancient temple materials. This building with its surrounding of snow clad mountains in the backdrop and the whole scene throwing its reflection in the gently flowing river presents the most spiritually sensual aura. The mosque, in plan is a square of 70 ft by 70 ft. two storied structure, which upto its eave is nearly 50 ft. The roof is a low pyramidal one and surmounted by the open pavilion for muezzin, over this rises the steeple with its finial which is 125 ft from the ground. The load bearing walls of the structure are formed of logs, trimmed square and laid in alternate courses of headers and stretchers as in brickwork. The ends of the logs produce the effect of a diaper pattern on the sides of the exterior. Under the eave is a heavy cornice, also of logs, corbelled out from the wall face on timber laid crosswise so that their butt ends form an elementary kind of dentil course. In addition to this main structure are other lighter structures in the form of arcades, verandahs and porticos, their openings filled with lattice work (pinjara) and enriched carved wooden insertions. The pyramidal roof covering the entire structure is three tiered and composed of rafters having planks above, covered in earlier times with turf, then with shingles and presently with C G I roof sheets.

Above the open- pillared pavilion that crowns the roof, rises a gable like projection at the foot of the steeple. The mosque of Shah Hamadan is actually in two storeys but only the ground floor hall has architecturally significancant interiors, the upper portion of the building is very plain and heavily structural.

The lower hall is rectangular and measures 63 ft by 43 ft, the original square having been curtailed in width by a range of small chambers cutting into it on its north and south sides.

The Jamia Masjid is undisputably the most impressive building representing the wooden style of architecture in Kashmir. This monumental piece of architcture was built by Sultan Sikander for offering congregational prayers as early as 1400 AD. It was later enlarged by his successor and son Sultan Zain-ul-Abideen.

The mosque contains a large amount of timber work in its interior and for this reason has been badly damaged by fire on atleast three occasions. however, everytime it was restored, no drastic changes appear to have taken place in its composition. The final restoration having been done by emperor Aurangzeb on the same lines as the original plan.

Design wise, the huge structure contains all the elements essential to the Kashmiri wooden building. It consists of a square courtyard of about 24 ft diameter surrounded on all four sides with wide colonnades, the entire area being contained within a lofty exterior wall making a rectangle of 285 ft side. Externally the elevation is composed mainly of this retaining wall, displaying an enormous expanse of plain brickwork averaging 30 ft in height all around the building which, except for the three projecting entrances in the middle of the north, south and east, is relieved only by a series of small arched openings towards its upper portion. The main entrance is that on the south side and consists of a recessed portico which leads across the colonade forming the southern cloister into the courtyard of the interior. It is from a point of view within this courtyard that the arrangement of the mosque as a whole may be studied with attention.

Around the courtyard a continuous arched arcade with a clerestory is carried on but in the centre of each side the sequence of arches is interrupted by the imposition of a large independant structure, having a square frontage that contains an archway and rising above is a pyramidal roof and steeple - this means that the middle of each side is interposed an example of the ziarat form of building, the structured configuration as described in the case of Shah Hamadan. Of these four ziarat formations those on three sides resolve themselves into entrance halls, but that on the west, larger and more predominant, denotes the position of the nave of the sanctuary. Passing through the great archway forming the central feature of this sanctuary facade, the nave is entered with a fine open space contained within a double range of tall wooden pillars, with an arched mehrab occupying the interior wall - this is the focal point of the whole building owing to its vast spaciousness but still the grandness lies in its treatment of its many pillared aisles and cloisters. These lofty colonnades extend around the entire building.

The style of architecture that the Mughal emperors introduced into Kashmir follows in principle the style that was flourishing in all parts of Hindustan (India) at that time. The buildings that were built by them in Kashmir whether of stone or bricks were architectural impositions introduced into the country to satisfy the requirements of its alienrulers.

The principal buildings dating back to this period are the Pather Masjid said to have been erected by Empress Noor Jehan in A.D 1623 and the Mosque of Akhoon Mulla Shah, constructed by Prince Dara Shukuh in A.D 1649. The mosque of Akhoon Mulla may be described as the mosque within a mosque, as the sanctuary forms a separate and detached building, standing within a surrounding courtyard. Constructed of grey granite slabs over a core of brick work, the proportions of this building, the simplicity of its surface treatment, its architectural character and manipulation generally, are all most commendable particularly noticeable are the archways whether plain, pointed or engraved, as they are singularly graceful in their curves. In addition to these two mosques there are other structural records, mainly in brick or stone masonry, of the Mughal occupation of the valley. They include the Kathi Darwaza and Sangin Darwaza, Pari Mahal and the Baradari of the celebrated Shalimar Bagh.