Journal of Art, Architecture and Built

Environment (JAABE)
Volume No.1 Issue No. 2 Fall 2018
ISSN: 2617-2690 (Print) 2617-2704 (Online)
Journal DOI: https://doi.org/10.32350/jaabe
Issue DOI: https://doi.org/10.32350/jaabe.12
Homepage: https://sap.umt.edu.pk/jaabe/Home.aspx

Journal QR Code:

Article: Philosophy of Interior Design in Mughal Era Mosques of Lahore: A

Case Study of Maryam Zamani and Wazir Khan Mosques

Author(s): Arsala Hashmi

Online Published: December 2018

Article DOI: https://doi.org/10.32350/jaabe.12.04

Article QR Code:

To cite this article: Hashmi, A. (2018). Philosophy of interior design in Mughal era Mosques of
Lahore: A case study of Maryam Zamani and Wazir Khan Mosques.
Journal of Art, Architecture and Built Environment, 1(2), 57–74
Crossref

26 15 00

A publication of the
School of Architecture and Planning, University of Management and Technology, Lahore, Pakistan.
Philosophy of Interior Design in Mughal Era Mosques of Lahore: A Case
Study of Maryam Zamani and Wazir Khan Mosques
Arsala Hashmi*
Abstract
A great reflection and convergence of Persian, Turkish and Indian architecture
is observed in Mughal architecture, which is known as a remarkably
symmetrical and decorative amalgamation of these architectures. Muslim and
non-Muslim scholars of history have appreciated, identified and recognized the
extremely attractive Mughal signs, decorations and beautifications. It has been
observed that Mughal architecture is not limited and specified to mosques only
but has been used in all other Islamic buildings including their gardens. These
signs and decorations have combined different features, elements and
components of Islamic architecture and art together. Mughal era has been
known as the greatest era which defined the splendid and extravagant phase of
Islamic architecture. Therefore, the basic purpose of this paper is to find out
how these features and decorations of Mughal architecture used in mosques
stem from Islamic principles. The basic aim is to conduct the semiotic analysis
of two mosques of Mughal era which have been selected for examination and
identification. Hence, this study outlines the importance and scope of Mughal
mosque architecture. It examines the decorative style used in this architecture
by scrutinizing the basic characteristics of its structure. Moreover, it discovers
the real purpose and spiritual meaning of these mosques. The spiritual values
are considered significant as they influence the spirit that brings harmony in life.
Throughout the Islamic world, this spiritual aspect has been observed as the
most dominant factor and element which gives an important underlying
message to all Islamic art. Mughals have played a significant role in Islamic art
which cannot be ignored and avoided. The findings indicate that the typical
Mughal mosques are not just mere representation of religious buildings or
places for worship, instead they are something more than that. These mosques
have their spiritual connection with art and architecture which cannot be
ignored. Their color, shape, volume, texture, and designs all offer the
fundamental message of Islam, the incarnation of “peace” and “submission”
from which Mughal mosques derive their uniqueness in architecture.

Keywords: Islamic architecture; Mughal Mosques; decoration; materials; Muslim

architecture Philosophy; symbols and signs in Islamic architecture

____________________
*Master Student, University of Engineering and Technology, Lahore
Corresponding e-mail: [email protected]

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 Introduction
Mughal architecture does not need any introduction, as the name itself suggests
its glory, dignity, magnificence, style, form and beauty with all of its
uniqueness. Mughal architectural decoration reflects the ideas, taste, interest,
standards, style, customs and tradition of Mughals. Their monuments have been
seen as the manifestation of beauty and exquisiteness and are famous for their
striking and outstanding wall decorations. Mughal architecture and art have
been seen also as the manifestation of the major characteristics found in Indo-
Islamic-Persian style which flourished in the Indian subcontinent during the
Mughal Empire. This style has combined the different elements of Islamic art
and architecture and is known for its distinctive decorative forms as they
developed under the progression of Mughal emperors. Mughal era has been
observed as the representation of extravagant and splendid forms of Islamic
architecture. This study has investigated and highlighted the history of Islamic
decorative elements and has outlined their philosophy in order to comprehend
their innovative existence and creation with specific reference to the interior
designs of mosques. The findings of the research specify that calligraphy,
geometry, and floral designs have been the most common and frequently used
designs in Mughal architecture. This art has been known as the art of civilization
based on Islamic religion. Additionally, Mughal architecture never specified or
limited its concerns with a particular religion or practices, rather it provides the
combination and amalgamation of different cultures, civilizations and historical
settings as depicted by Islamic ideology. The influence of Arabia and Central
Asia has been the most significant, as Arabs developed their art according to the
Islam and its spiritual characteristics. They applied their knowledge and
techniques for the formulation of Islamic decoration as they were expert in
mathematics and geometry. While discussing Islamic art and its spiritual
message, the role played by the Turkish architecture cannot be denied. In the
world of Islamic art, spiritual aspect has been seen as the most common and
dominant factor. Mughals rulers have been the great contributors in the field of
Islamic art-forms such as architecture (both sacred and public), landscape
paintings, interior decorative art and miniature art.
Art provides human beings with spiritual feelings and satisfies their
emotional aspects. These emotional and artistic responses encourage man,
ignite him to highlight the profundities of human existence as well as the
appearance of this universe. A number of historians and philosophers have
already acknowledged the one universal explanation on the subject of art. This
depicts that art is the manifestation of a particular state or mood of mind,
feelings or inner-self which requires a creative course of action.

Space-time plays a crucial and difficult character in the entire expansion of

art. In identifying and recognizing the true spirit of any religion, “art” always
seems to have an exceptional place and a crucial character to engage with. For
approximately all creative and ingenious artists and aestheticians of different
ages, religion has been the source of stimulation. From the initial stage of human
existence till now, in mankind’s onward civilized demonstration, religion has
proved itself to be a turning point. It has been observed that through intense

56
religious consciousness various art-forms have been profoundly motivated such
as music, painting, sculpture, poetry, calligraphy and architecture. It shows the
close relation and link between art and religion. This ever growing relation
between art, religion and life has been the cause of the advancement of art.
According to various philosophers and aestheticians, the eccentric foundation
of art has been seen as the advancement of human character and the
improvement of one’s perception. Both religion and art contribute to their
extensive attempts and efforts to reshape and recreate in order to provide the
world with an integrated vision about man’s personality or give him an overall
point of view about human existence as well as encountering spiritual situations.
It has been seen that in every phase or period of human history, religion has
supported a lot of artists to create and produce something extraordinary with the
help of its distinctive spiritual approach. It highlights the emotional aspect of
human life and also provides the feeling of ecstasy.

The pre-historic human civilization has been etched by the never-ending

effect of both religion and art. It is rightly stated by Wundt that “ideas and
feelings are religious which refers to an ideal existence”. According to him, the
most crucial aspiration for the artist is to produce or create something that
directs people to lead an ideal life. Religion guides in every sphere of man’s life
by inspiring and influencing him. Art has been seen as the most critical and
overriding factor of religion. An artist, inspired and moved by religion, has the
bewildering talent and skill to characterize a religious subject matter or
communication all the way through painting, art-techniques or other art -forms

1.1.The message of Islam in Mughal period decoration

A comprehensive worldview of Islam and its basic message directs the
attention of human beings towards “peace” and “submission to God” (P.J.
Bearman, T. Bianquis, C. E. Bosworth, E. Van Donzel, W. P. Heinrichs, 2009).
Since submission to God has been seen as worshipping the divine, hence the
place of worship has always been inherent to Islam’s self-identity.
1.2. Divine Oneness and Unity
Islam has taught about the oneness and infinity of God (Ahad), that He is
one and He has the divine power and His oneness is self-evident based on His
eternity and omnipresence. Masjid projects the principle of tawhid by capturing
the concept of Gods’ infinity and oneness, His divine unity-aḥadiyya, and the
unity of all creation-waḥdat al-wujūd, in architecture designs and decorations.
This has been achieved using arches and domes and a regular and even division
of space which reflects the harmonious patterns and cosmic unity in the
universe. Masjid Wazir Khan and Maryam Zamani Mosques are true examples
of such mosques.
Islamic architecture, therefore, seeks to reflect these realities by an
integration of form into an overall theocentrism as seen superlatively, for
example, in profound symmetry and verticality.

57
1.3. Simplicity
Simplicity has been seen as God’s major attribute since every kind of physical
composition and metaphysical have been excluded from Him. Quran itself
declared clearly and explicitly that “there is nothing like unto Him” (Nasr,
1995). Therefore, it has been observed that the architecture of this mosque is
developed and designed according to the same characteristics. The simplicity of
this mosque therefore pays tribute to God’s spiritual essence which has been
confirmed by Islam, logically and reasonably (Rusmir, 2006).

Figure 1. Maryam Zamani mosque: Divine Oneness and Unity, Simplicity

Islam is based on simplicity, it holds that God is absolutely simple, He

is the one who contains no element of form or matter, and still He is the one
who shows every possible element of perfection. (Blair & bloom 2003) Islamic
decorations of mosques have always used this characteristic of God and
captured it by dealing with the relative simplicity of form and by using
perfection in design and execution. The internal space of mosque directs
towards the interior and towards a spiritual awareness that comes neither from
figures or images, nor from imitation, but from the emptiness of an interior that
seeks to resemble Al-Wāsi'. This affords a spiritually accessible presence
justified by its association with Al Bāṭin—“The Hidden God.” George Steiner
in Real Presences (Steiner, 1989) writes about that “great emptiness” as if it
were so intimate—the “great void” (′adam) that strives to “make visible the
invisible world.” This is not a mere absence, rather the signifier of what is
perceived by the internal senses, and the manifestation of an interior resonance
that is pure spirituality. It has been observed that a great silence encompasses
and revolves around the masjid cloaking its interior from the outer world. This
very silence has its own dwelling purpose and meaning, it is never dead silence
(Longhurst, 2011). Its enormity and immensity shows a spiritual world above

58
all the physical form where all material forms disappear and vanish. For a
Muslim, whose major investments are always in the invisible and unseen, who
always believes in the hidden and concealed, this provokes and ignites the
imagination to anticipate the divine realities without being locked into matter or
the superficiality of images.
1.4.God-Centeredness
No distractions are used as mode of decoration in Islamic mosques. It is their
belief that focus must be only directed to God’s existence and to His spiritual
nature. So, in order to enhance the beauty of the mosque, no images or paintings,
no statues or altar and no single point are used as the center of divine presence
(Saeed, 2011). By the virtue of His omnipresence, He is in fact everywhere.
Everything everywhere is the proof and identifies His divine presence which is
never located or confined (Horvath, 2010). Through architectural simplicity a
free centering effect has been created, an apparent emptiness and outstanding
representation of non-figurative decorations that arise naturally and silently
from the surface (Dossey & Guazetta, 2000).
1.5. Symbol of Nature
As the microcosm of the natural world, the typical decorations in mosques
have an immense symbolic value. It is built according to Islam’s important and
fundamental religious significance of replicating the laws and principles of
nature into harmonious and synchronized forms in the natural world.

The decoration of masjid has been taken as a recreation of the harmony,

order and peace inherent in nature (Kumar, 2001). The decorative usage of
floral and vegetal motifs referring to the mosque is a projection into the
architecture of nature’s beauty. The mosque thus indicates and represents the
entire world as the place of prostration. It recalls that all creation bears witness
to His divine oneness (Turner, 1996).

1.6. Symbol of Heavenly Realities

On the other hand, masjid architecture strives to symbolize a cosmological
comprehension of the holy world by anticipating al-Djanna (Celestial Garden).
This is achieved especially by virtue of its interior decoration which will be
discussed shortly.

Spahic writes that “The Muslim builder, powered with the spirit of tawhid
and a desire to fulfil the will of a higher order or cause, always tries his best to
make his edifices come into sight adhering to the existing spiritual paradigms
of the natural environment” (Spahic, 2011).

By the same token Erzen explains that “As a sacred space, the interior of a
mosque is made to remind one of paradise, of a garden of fragrant flowers and
crystal ponds. A light ambiance, sparkling, scintillating, reflecting surfaces,
tones of blue on vertical planes to give a sense of peace and harmony, rugs of
vibrant colours on the floor to resemble meadows full of flowers, all in all an
atmosphere of joy and peace”. (Erzen, 2002).

59
 2. Methodology
Muslim architects made great efforts in conveying their anticipated notions by
means of basic floral designs, color and calligraphy in their best possible forms,
at the same time providing its physical space a spiritual spirit. This study was
conducted by using descriptive analytical method in analyzing the philosophy
of sacred art and its status in the Mughal era mosques with the help of library
documents, reference books and journals. A field survey was also conducted by
the author on the selected Mughal mosques of Lahore in order to ensure the
quality of the study and for compiling documentation. This study focused on the
decoration, materials and structure of the mosques built during the Mughal
period in Lahore. The author chose only those mosques that have research
worthy and precious decorations, materials and structures. To examine the
structure and decorations as well as the materials, various field visits were
conducted by the author. For the purpose of this study numerous photographs
of the structure of Mughal mosques of Lahore were taken by the author. Some
secondary sources were also consulted for this study such as journal articles,
books, photographs and encyclopedias.
2.1. The Philosophy of Interior Decoration in Mughal Period Islamic
Architecture
In Islamic Mughal architecture and design, decorations have been the major
merging and binding aspect. For almost thirteen centuries, these have been used
as the basic link between building and objects throughout the world... from
Spain to China to Indonesia (Berkey, 2003). Islamic art and architecture is more
of themes and decorations and not much of forms, these decorations are
independent of expression, technique, scale and material. For one type of
building or object there's never one sort of decoration; rather, there are enriching
standards that are pan-Islamic and appropriate to all sorts of objects and
buildings at all times (when it comes to the relationship in Islam between art
and architecture).
Hence, Islamic art must be considered in its totality because similar
principles apply to respective buildings and objects. Although objects and art
vary in the quality of implementation and fashion, the same thoughts, shapes
and designs constantly repeat themselves.

The visual impact and influence of decorated surfaces in Islamic

architecture has a physical reality. The architects and artists of Islam were
hardly revolutionary in their selections of forms, however, their thinking was
extremely exceptional and novel with surface decoration. They were originally
the masterminds of surface decorations. They always devised and then
perfected one sort of decoration whose prime function was to give objects and
buildings with a minute and complex overlay that masks the structural cores
with an external layer.

60
 Because in Islam little and slight furniture has been used traditionally,
therefore, the hallmark of Islamic architecture is that its decorations always
make a contribution to the creation of the sense of continuous space. The surface
decorations are multi-layered and add visual complexity (Jones, 1995). This
complexity and intricacy of visual effects has been increased with the use of
cushions and carpets which enhance the surface decoration and mostly follows
the same designs and decorative themes as those created on ceiling and walls
(Ismail 1986).

Figure 1.(Left): Wazir Khan Mosque: showing continuity of space

Figure 2.(Right): Maryam Zamani Mosque: showing fluidity of space

By the nature of decorations, floor and ceiling have contributed to the

fluidity and mutability of space; sometimes, in case of floors, decorations have
been done by imitating carpets in the same manner as they are also patterned on
the walls. It has been observed that the actual character of Islamic design
suggests three-dimensional possibilities, although when seen through the naked
eye it seemed to be limited to two dimensions. For example, the interlacing
designs, frequently accompanied by variations in texture and color, create the
illusion of different planes. The contrast is always evident between the mastery
of negative and positive. Series of interwoven layers of different textures and
depth have been provided to the surface of the buildings.

These mosques have used reflecting and shining material and glazes with
full repetition of designs, which shows the contrast of different texture and
manipulation of planes that made these designs intricate, multifaceted and
extravagant. Still these mosques never leave the sense of soberness present in
Islamic art. It is an art of tranquility and provides spiritual harmony rather than
the emotional where pressures are resolved. This relaxation has mainly been
achieved through the refinement of surface decoration in which different

61
patterns are used to define specific areas, although they have been seen
simultaneously as infinite since they show countless possibilities of extension.

Figure 3.Wazir Khan Mosque: Showing Repetition and the Continuous Permutation
of Motifs and Design.

Figure 4.Maryam Zamani Mosque: showing Repetition and the Continuous

Permutation of Motifs and Design.

The basic principle of all designs is repetition and the continuous variation
of designs and motifs. These decorations foster reflections with multiple
patterns and provide cool refuge to the viewer creating an art which is vibrant,
energetic still unchanging just like water (Jones, 1995).

Geometry, calligraphy and the rhythmic multiplication of elements (which

are the bases of an arch in Islamic architecture) are the fundamentals of the
concept of Islamic art which is independent of scale, material and form along

62
with the figural and floral motifs which correspond to this concept (Omer,
2005).

In Islamic architectural decorations light and water are of utmost

significance because they produce extra films of patterns in the same manner as
the surface decoration that ultimately helps to transform space (Norzalifa,
2003).
2.2. Surface and Space
Decorations in Islamic architecture have helped to transform spaces and
they are not limited only to the covering of surfaces. This notion of decoration
has been seen as flexible in nature throughout history. It is independent of form,
material and scale and it remains limitless without any restriction with numerous
purposes. The basic purpose of decorations in Islamic architecture is developing
at the basic surface a tendency to be flexible since it helps to make the transitions
gradually from one place to another. No sharp divisions have been allowed.
Light is filtered, water reflects, unifies and cools (Michell, 1995).
Space and decoration have a close relation in Islamic architecture where
decoration articulates the surface that ultimately defines a space. The structural
elements are masked by diverse and rich decorations. This variety and richness
is achieved through limitless combinations that distinguishes the buildings. For
example, Muqarnas [a honeycomb decoration that can reflect and refract light]
is particularly an invention of Islamic architecture and is used to diffuse the
demarcation between ornamental elements (non-loadbearing) and non-
ornamental structural elements (load bearing)

Figure 5..Maryam Zamani Mosque: Muqarnas [a honeycomb decoration]

Elements out of their normal structural context have been used in order
to blur the distinction between structure and surface. As in case of Wazir Khan
and Maryam Zamani mosques, the niches are curved and placed into domed
ceilings.

Similarly, confusion is felt in the decoration of mihrab. By the use of

dazzling, shinning optical effects created by related geometric designs along
with differing but connected surfaces delineating spaces of distinctive shapes,
changes of planes have been often blurred (Critchlow, 1979).

63
 Figure 6.Wazir Khan Mosque: the niche curve into the domed ceiling

Figure 7. Maryam Zamani Mosque: the niche curve into the domed ceiling

Not only are structural elements such as the arch and column transformed
on one plane as motifs for surface decoration or designs exchanged with minor

64
arts, but certain techniques, methods and materials used to motivate and
encourage others are practical, thus perplexing the judgment (Asher, 1992).

For example, in Maryam Zamani and Wazir Khan mosques, the feeling of
constant cosmos is created in Islamic architecture through the multiplication of
given patterns and architectural elements. Arches and squinches of different
types and scale are employed for both structural and decorative purposes.

2.3. General Principles: Most Basic Principles Are

The ubiquitous nature of patterns in space and time. The reversibility of
the same designs on different scales and their variation from one medium to
another in a repetitive manner within the same building. It can be further
clarified that each motif of design in Islamic architecture maintains its identity
within a whole composition as being a part of an overall pattern of surface which
can be attained by the superimposition and counter-position of that motif in a
range of different materials and designs. Therefore, no significance has been
given to any pattern or design over another.

Figure 7.1. Maryam Zamani Mosque: the niche curve into

Hence, any pattern can be reused in a new yet similar manner or combination
of a design.
In Islamic architectural decoration, another consistent feature is the
expanding or retreating characteristic of each pattern which gives it the
flexibility to be repeated symmetrically and adds infinity to the design. The
structural elements and form just as volumes may be multiplied with its
decoration.
As a metaphor of eternity, the structure of the design can go on developing
itself eternally as each element of design is an expansion of another element
which is capable of extending forever.

65
 Another principle is the property of each design to be differentiated
individually from even a very complex combination of patterns far from a
viewer. The patterns are mostly so complex that when they are repeated they
can be only differentiated by the rhythm in which they are set. However, the
structure of the design is always evident even when the details of the design are
not visible.

Figure 8. Wazir Khan Mosque: Wall surfaces subdivided into several layers of
designs
Wall surfaces and facades are basically ornamented with symmetrical and
repetitive units, which are further made up of smaller parts. Here, we can take
the example of a continuous or eternal variation of mihrab motif.

In Islamic architecture, the wall surfaces are further divided into a number
of layers of design which are synchronized with elements from each other. The
superimposition of design is far from being disorganized though at times it’s
hard to notice because of the complexity or intricacy of the design pattern. The
layering of design can differ but the main composition must remain the same in
a manner that the primary and secondary frameworks repeat each other. Their
main purpose is to embrace and hold the decorative design elements visually
together such as in Masjid Wazir Khan.

In Islamic architecture, the decorative surfaces of primary and secondary

frameworks or grids insist to be “read”. For example, in calligraphy, as it is
directional in its nature. A calligraphic band usually runs throughout the
building and the viewer takes part into a constant re-composition of elements of
ornamentation by reading their texts.

The primary framework focuses on the main elements of decorative design.

They include the calligraphic bands, niches, arches, squares and rectangles with
the help of which overall surface is further divided. Horizontal and vertical
bands are used to frame the square and rectangular panels which enclose the
patterns.
The secondary framework manages the patterning within every element of
the primary framework. The repetitive qualities which amalgamate every

66
element and every surface with the building respectively are found in the
secondary framework. These general elements within a decorative design
synchronize and unify the distinct patterns and designs that are visually different
but found close to each other.

Mughals aspired an overall impact where there is no sharp contrast of

texture and a similar kind of design covers the entire building.

2.3. Elements of Decoration

This part sums up the list of the elements that constitute Mughal Islamic
decoration.

Figure 9. Maryam Zamani Mosque

2.3.1. Calligraphy.

It is a decorative element and it also expresses a specific meaning as a message.

It is believed to be one of the most significant of Islamic arts, because it plays
an important role in recording God’s message. In almost every Islamic building,
there is some kind of surface that is inscribed in marble, stucco, mosaic, painting
or stone. The inscribed text might be a verse from the Quran, lines of poetry, or
names and dates. Calligraphy is strongly connected to geometry like other
Islamic arts. The sizes and proportions or scales of the letters are all regulated
by mathematics. The inscribed texts are usually used as frames which run across
the main elements of building like cornices and portals.

67
 The inscribed letters might be enclosed in a single panel. At times single
words like Allah or Muhammad are used in repetition and counter-position into
design patterns over complete wall surfaces. The calligraphic texts might appear
in perforated cartouches which provide light filtering pattern (Vernoit, 2000).

Figure 10. Maryam Zamani Mosque

2.3.2. Geometry. In Islamic art, the geometric patterns have been

developed to an extent of intricacy and complexity which were previously
unknown. The Islamic concern in symmetry, repetition, and constant formation
of patterns is illustrated by these geometric patterns. The beautifully designed
work of Islamic designers is indicated by their masterful amalgamation of
geometry and optical effects. The harmonization of negative and positive areas
intermingles with fluid overlaps and under pass strap-work incorporating a
proficient use of color and tone values. To provide connectivity between
different parts of a building geometric patterns are used in Islamic Architecture
(Gardner, 1989).

When it comes to provide a connection between exterior and interior spaces,

the parts and the whole of building surface and their furnishings, geometric
patterns provide much better interrelationships than any other type of design.

Figure 11.Wazir Khan Mosque

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 Besides, in Islamic decoration a curve suggests vitality, movement and
dynamism, the perception of change, and of growth. It broadens the importance
of the form that is drawn or built by formulating a modification into the
dimension of time (Norzalifa 2003).

2.3.3. Floral Decorations & Patterns

Nature has been reproduced by Islamic artists with a great deal of

precision. In textiles, objects and buildings, trees and flower might be used for
decoration as motif design. Mughal architectural decoration designers were
inspired by Persian traditional flora as well as by European botanical drawings.
These designs could be used on monochromatic white marble panels, with strips
of flowering plants delicately engraved in low relief, interchanging with
carefully tinted polychrome inlays of valuable and hard stones.

Figure 12.Wazir Khan Mosque

The arabesque (geometricized vegetal ornament) is "designated by a

progressive stem that breaks at uniform regular intervals giving rise to a
successive, leafy secondary strings that have the ability to reintegrate into the
main stem", writes Jones. "The countless periodic variations of motion are
channelized by the alternative recurrence of curved lines which generates an art
that is symmetrical as well as flexible" (Jones, 1995).

More than in any other type of design related to Islamic Architecture, in

arabesque the space is defined by line that is very evident and refined or subtle
and three-dimensional effects are produced through differences in texture, width
and color (Allen, 1988).

69
 Figure 13. Arabesque Designs of Masjid Wazir Khan Mosque

"The underlying geometric grids governing arabesque designs are based on the
same mathematical principles that determine wholly geometric patterns...."
Inside the mosque the arabesque becomes, as it were, a living pattern dedicated
to the praise of God. An example is the Wazir Khan Mosque in Lahore,
Pakistan.

The multiplication of a given pattern or architectural element on a different

scale in one plane also helps to avoid sharp contrast and clear definition of scales
and surfaces. Endless cadences of arches, columns, and the multiplication of
domes are the elements most typical of Islamic architecture. They All Create a
Feeling of Continuous Space (Omer, 2009).

Figure 14. Maryam Zamani Mosque: the niche curve into the domed ceiling

70
 2.3.4. Figures and Animals. Islam demotivates designers or artists from
creating living figures through art, as in Islam creation of living things (humans
and animals) is believed to be in the domain of God. Figural sculpture is also
rare. Yet, an assured amount of figural art is found in Islamic world which is
mainly confined to the ornamentation of secular building and objects and to
miniature painting.

2.3.5. Light. Light is the symbol of unity (divine) for Muslims as well as
for non-Muslims. In Islamic architectural world, light works decoratively by
transforming other elements or by creating patterns and designs. “With the
proper light, pierced facades can look like lacy, disembodied screens”, Jones
notes. Through the extension of patterns, designs and forms into the dimension
of time and space, light can add a dynamic value to architecture. The
amalgamation of light and shade produces bold contrasts of planes and provides
texture to chiseled stone as well as brick surfaces.

Figure 15. Main elements of Vegetal Floral Patterns of Islamic Architecture

2.3.6. Water. Water is the symbol of purification in Islam and takes
pleasure in a nearly sacramental rank. Water used in courtyard pools and
fountains serves as a cooling agent as well as a decorative element in hot
climates. Water serves as means of highlighting the visual axes. It reflects
architecture and provides a variety of decorative themes. “Like the images they
mirror, Jones writes, pools of water are immutable, yet constantly changing;
fluid and dynamic, yet static” (Omer, 2009).

71
 3. Conclusion
Concisely, it has been shown that the art of Mughals is an Islamic art not because
it has been developed by Muslims but because it comes forward from the
Islamic revelation as do the celestial law and source.
This art crystallizes in the world of forms the inner realities of Islamic
revelation and issues from the inner dimensions of Islam revealing to man the
ultimate sanctum-sanctorum of the divine revelation. The individuality and
uniqueness of Islamic art can unswervingly be outlined from its explicit world-
view. Islamic art and revelation share a strong bond which is indispensable and
is dependent on only one source that is God. He is the one who is controlling
everything. This is the reason behind the divine intellect of essence and form.
Islamic architecture has dealt with the vastness of art and design. It has not only
been used in mosques but also in all other Islamic buildings. It has been used
for both profane and religious artistic styles which influence the design,
construction and decorations of different buildings in different cultures.
Calligraphy, floral and geometric designs have been observed as the most
commonly used styles in Mughal architecture. It has been found that Islamic
architects secure their creativity and the traditions or inner beliefs through the
use of abstract and intellectual forms that always create an outstanding work of
art.
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