{"product_id":"ornamentation-in-indian-architecture-oriental-motifs-and-designs-nap371","title":"Ornamentation in Indian Architecture - Oriental Motifs and Designs","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eNAP371\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/sa\/book-author\/s%20p%20verma\" class=\"underlined\" title=\"S.P. Verma\"\u003eS.P. Verma\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/sa\/book-publisher\/aryan%20books%20international\" class=\"underlined\" title=\"Aryan Books International\"\u003eAryan Books International\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2014\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e9788173055188\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e270 (Throughout B\/W Illustrations)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e13.0 inch x 9.5 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e1.20 kg\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003ccenter\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e For a building to become architecture, it must be thematically essentialized through a process of ornamentation. The product of this process is beautify, or embellish, or that naturally does this. Leon Battista Alberti (AD 1404-1472), an architect considered ornament as something additional or applied: \"... ornament may be defined as a form of auxiliary light and complement to beauty. From this it follows, I believe, that beauty is some inherent property, to be suffessed all through the body of that which may be called beautiful; whereas ornament, rather than being inherent, has the character of something attached or additional.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Ornamentation is that component of the art product which is added, or worked into it, for purpose of embellishment. In general, however, \"ornamentation\" refers to motifs and themes used in art objects, buildings, or any surface without being essential to structure and serviceability. In this sense, \"ornamentation\" and \"decoration\" are used, for the most part, interchangeably, although \"decoration\" has, in addition, its own special applications in the field of interior decoration and theatrical decoration, or \"decor\". Ornamentation, in architecture, applied embellishment in various styles that is a distinguishing characteristic of buildings. It often occurs on entablatures, columns, and the tops of buildings and around entryways and windows. Upto the middle of the 3rd century BC the course of building art in India is only indistinctly visible. With Asoka, the third Mauryan ruler of Magadha, who ascended the throne in 274 BC, the manifestation of Buddhist art contributed to the art and architecture of the time. It included number of stupas, monolithic pillars, group of rock-cut chambers and shrines. These productions directly effected the course of the art of building. Finding expression from wood in another and more lasting material such as dressed stone proved a decisive step in the cultural evolution of people. Asoka inaugurated Buddhism as the state religion of the country and with this change India marked advance in the arts. The shapes and decorative forms employed by the Indian artificers were obviously derived from the art repertory of other people, and only a few of them were indigenous. Such exotic forms are clearly Greek, Persian and a few perhaps Egyptian extraction. Brown has to say that this development of the art of working in stone, therefore, which Asoka introduced into the country represents an Indian offshoot of that forceful Greeco-Persian culture which flourished with vigour in Western Asia.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e A classical art school composed of Pharoic — Hellenic — Iranian elements of distinctly effective character has a direct bearing on the style which appeared in Buddhist India. The well-known conventional motifs as the honeysuckle and palmette, the bead and fillet, the festoons and the cable moulding of Hellenic extraction actuated the Indian decorative elements. The building art followed the same course under the Sungas and Andhras (185 BC-AD 150 ). It added the gateways (toranas), displaying far more impressive design and excel in any style of architecture of ornamental purpose and imagery. The Sanchi toranas are the result of entirely Indian tradition and genius (Fig. 1). During this period, as to the stone carving, both in design and technique, there appear appreciable progress, as the plastic treatment of the Bharhut railing and the Sanchi toranas bear testimony of it (Fig. 2). Additionally, imaginative symbols of Vedic times were employed in Buddhist art, e.g., the wheel, the tree, the lotus, the trisula, the mounted gryphon, and many other motifs reproduced in a variety of forms in the subsequent art of India (Fig. 3). The Buddhist architectural surface ornaments of great elegance and appropriateness, and, when combined with the architecture, make up a whole its ethnographic as well as for its architectural beauty.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Decoration at Dhamek Stupa at Sarnath (c. AD 600) makes this ruined monument of special interest due to the unusual scheme for the decorative treatment of the stone facing, which includes ornamental elements some having significant implications. Over some of the surface surrounding a diaper pattern carved in floral scrolls appear to have been projected. Here the most original and striking designs are those forming a wide border carried around its lower circuit, one of which is floral and the other geometrical, each expressive of its own historical tradition (Fig. 4). The floral one a spiral motif, typically in Gupta style is a combination of flowing wave-like curves simulating flower stems supporting at intervals a many petalled flower medallion, an artistic conception of notable beauty and grace. Notably it stands forth as the arch type of that distinctive border of spiral curves and foliated medallions which adorns the \"screen arches\" forming the facade of Qutb mosque at Delhi erected many centuries later Chalukyan architecture (c. AD 450-650) exhibits excellent quality of sculpture and decoration akin to the Gupta temple style. A detailed analysis of temple architecture of both the Jains and the Hindus will show that much of its architectonic character was obtained by the surface being treated and built up of repetitions of the same architectural motif, converted into an element of decoration. The Indian builder knew architecture as a fine or liberal art, but not as a mechanical art. The temple of Kailasa at Ellora, the most stupendous single work of art and an unrivalled example of rock—architecture is finally adorned with sculpture. This plastic decoration is crowning glory something more than a record of artistic form.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e The mandapas and rathas of the Pallavas (c. AD 600-900) have to offer nothing afresh in course of decoration. The mandapas at Mamallapuram are of the simplest kind as regards to the architectural treatment but are remarkable for the disposal of sculpture combined with the architectural forms. The rathas, widely known as the \"Seven Pagodas” exhibit much the same architectural style as the mandapas. But the quality of the figure sculpture is remarkable.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Cholas (AD 900-1150) renewed the brilliance of architecture, as their architectural undertakings at Badami and Pattadakal manifest. The Chola sculptures exhibited voluptuous treatment of the human figure and there emerged a different animalized motif. It took the form of a string-course, the use of which as a decorative element in the temple scheme was in vogue throughout in the South India temple art. The magnificent temples of Tanjore exhibited remarkably ingenious motifs and devices showing great fertility of invention, as for example a conventional foliage, or \"tree of knowledge\". These testify supremely imaginative quality of embellishment. The gopurams under the Pandayas (c. AD 1100-1350), the earliest of their kind are however of the simpler and more conventional variety, and their decoration is mainly of the architectural type. The Vijyanagar dynasty (AD 1350-1565) had wonderfully rich and beautiful architecture with sumptuous plastic embellishment.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e At this stage of development, the Indian architecture remarkable for the profuseness of its applied decoration reached \"the extreme limit of florid magnificence\".2 The principal temples of the Vijyanagar, the Vitthala and the Hazara Rama have every stone being chiselled over with the most elaborate patterns, some finely engravedand others modeled in high relief. These often depict animal motifs, half natural half mythical but wholly rhythmic. The hazara Rama temle, small but highly ornamented temple, excels in mural relief decoration. The temple in the fort at Vellore marked the zenith of Vjayanagar style. It excelled in the luxuriant character of its carving considered the richest and most beautiful structure of its kind.\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eContents\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"90%\"\u003e Contributors\u003c\/td\u003e \u003ctd width=\"10%\"\u003e ix\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Introduction by S.P. Verma\u003c\/td\u003e \u003ctd\u003e xi\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e HISTORIC ILLUSTRATIONS (I - CXXXIII)\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e I and II Decorative Ornaments from an Ancient Jaina Stupa at Mathura\u003c\/td\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e III. Sculptures from an Ancient Jaina Temple at Mathura\u003c\/td\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e IV. Perforated Stone Screen-work from Chalukyan Temples\u003c\/td\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e V. Chalukyan Ceiling from the Temple of Kattesvara, Bellary District\u003c\/td\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e VI. Doorway, East Entrance, Temple of Chaturbhuj, Orchha, Bundelkhund\u003c\/td\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e VII. TO X. Ornaments from the Temples of Virabhadra, Anantapur District, Madras Presidency\u003c\/td\u003e \u003ctd\u003e 14\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XI. Panel and Ornaments on Piers, Ramasvami Temple, Kumbakonam, Tanjore District\u003c\/td\u003e \u003ctd\u003e 20\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XII. and XIII. Carved Panels on the Shrine Pilasters, Nagesvara Temple,Kumbakonam (LXVII), and on the Panchanadesvara Temple (LXVIII), Tiruvadi, Tanjore District\u003c\/td\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XIV. Pier in the Subrahmanya Shrine, Brahadesvara Temple, Tanjore\u003c\/td\u003e \u003ctd\u003e 26\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XV Teakwood Piers from the Temples of Mailaralingappa, Bellary District, and Margasahayar Temple at Virinjipuram, North Aroot District\u003c\/td\u003e \u003ctd\u003e 28\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XVI. Pier in the Thousand Pillared Mandapa, Minakshi Amman Temple, Madura\u003c\/td\u003e \u003ctd\u003e 30\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XVII. Stone Idol-Couch from a Temple at Banavasi, N. Kanara\u003c\/td\u003e \u003ctd\u003e 32\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XVIII. Ceiling Panel from a Hindu Temple at Vadnagar in Northern Gujarat\u003c\/td\u003e \u003ctd\u003e 34\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XIX. A Ceiling Panel from Anhilwada Patan, North Gujarat\u003c\/td\u003e \u003ctd\u003e 36\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XX. Central Area in the Roof of the Mandapa, or Hall of the Temple at Ittagi\u003c\/td\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXI. Tympanum over the Recesses on Each Side of the Principal Mihrab in the Atala Masjid at Jaunpur\u003c\/td\u003e \u003ctd\u003e 40\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXII. Panel from One of the Smaller Propylons of the Atala Masjid at Jaunpur\u003c\/td\u003e \u003ctd\u003e 42\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXIII. Bay of a Ceiling from Hilal Khan Qazi's Masjid at Dholka\u003c\/td\u003e \u003ctd\u003e 44\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXIV. Door to the Court of Hila! Khan Qazi's Masjid at Dholka\u003c\/td\u003e \u003ctd\u003e 46\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXV. Central Mihrab in Bilal Khan Qazi's Masjid at Dholka, in Gujarat\u003c\/td\u003e \u003ctd\u003e 48\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXVI. Central Mihrab of the Jami Masjid at Dholka\u003c\/td\u003e \u003ctd\u003e 50\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXVII. and XXVIII. Panels on the Front Wall of the [ami Masjid at Ahmadabad\u003c\/td\u003e \u003ctd\u003e 52\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXIX. One of the Marble Tombs of the Queens of Ahmad Shah at Ahmadabad\u003c\/td\u003e \u003ctd\u003e 56\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXX. Hindu Entrance to the Courtyard of the Tanka Masjid at Dholka\u003c\/td\u003e \u003ctd\u003e 58\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXI. Iron Mountings from Shah Karim's Tomb and Mihtar-i Mahall\u003c\/td\u003e \u003ctd\u003e 60\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXII. Half Inner Doorway and Outer Door, Mihtar-i Mahall\u003c\/td\u003e \u003ctd\u003e 62\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXIII. Stone Ceiling Panels from the Ibrahim Rauza, Bijapur\u003c\/td\u003e \u003ctd\u003e 64\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXIV. Door from the Ibrahim Rauza at Bijapur\u003c\/td\u003e \u003ctd\u003e 66\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXV. Ceiling in Stucco from the Chhota 'Asar Mosque at Bijapur\u003c\/td\u003e \u003ctd\u003e 6.8\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXVI. Facade Arch in the Chhota 'Asar Mosque, Bijapur\u003c\/td\u003e \u003ctd\u003e 70\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXVII. Woodwork Window in the 'Asar Mahal, Bijapur\u003c\/td\u003e \u003ctd\u003e 72\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXVIII. Wall Surface Decoration in the Tomb of Shah Karim, Bijapur\u003c\/td\u003e \u003ctd\u003e 74\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XXXIX. to XLIII. Perforated and Stucco Parapets from Bijapur\u003c\/td\u003e \u003ctd\u003e 76\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XLIV. and XLV. Mihrabs from the Jami Masjid at Jaunpur\u003c\/td\u003e \u003ctd\u003e 82\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XLVI. XLVII. and XLVIII. Roof Panels from the [ami Masjid at Jaunpur\u003c\/td\u003e \u003ctd\u003e 86\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XLIX. and L Ceilings in Raised Stucco from a Ruined Palace at Bijapur\u003c\/td\u003e \u003ctd\u003e 90\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LI. Cornice and Bracket from Malikajahan Begum's Mosque at Bijapur\u003c\/td\u003e \u003ctd\u003e 94\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LII. and LIII. Tomb of 'Umar Ibn Ahmad Al-Kazaruni at Kambhay\u003c\/td\u003e \u003ctd\u003e 96\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LIV. Details of Ornament from Various Buildings at Bijapur\u003c\/td\u003e \u003ctd\u003e 100\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LV. Brackets from the Nava-Cumbaz and Kumbhar Masjid at Bijapur\u003c\/td\u003e \u003ctd\u003e 102\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LVI. Ornament from the Chaurasi Gumbaz, Kalpi\u003c\/td\u003e \u003ctd\u003e 104\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LVII. Ornament from the Chaurasi Gumbaz, Kalpi\u003c\/td\u003e \u003ctd\u003e 106\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LVIII. and LIX. Principal Mihrab of the Jami Masjid, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 108\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LX, LXI, LXII, and LXIII. Mihrabs in the Jami' Masjid, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 112\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXIV. Detail of Patera, Jodh Bai's Palace, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 118\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXV. Detail, of Ornamented Jali-Balustrades and Panel, Jodh Bai's Palace, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 120\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXVI. Details of Jali-Balustrade and Screen Work in Hawa Mahal, Jodh Bai's Palace, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 122\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXVII. Detail of Window, Jodh Bai's Palace, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 124\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXVIII. Detail of Shaft in Reception Room, Jodh Bai's Palace, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 126\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXIX. Detail of Balconette, Jodh Bai's Palace, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 128\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXX. Fatehpur Sikri: \"Jodh Bai's\" Palace: Ceiling Over theN orth-West Angle Room on the Ground Floor\u003c\/td\u003e \u003ctd\u003e 130\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXI. Fatehpur Sikri: Jodh Bai's Palace: Ceiling over theN orth-East Angle Room on the Ground Floor\u003c\/td\u003e \u003ctd\u003e 132\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXII. Fatehpur Sikri: Jodh Bai's Palace: Perforated Red\u003c\/td\u003e \u003ctd\u003e 134\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sandstone Panel\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXIII. Fatehpur Sikri: Jodh Bai's Palace: Details of String Mouldings\u003c\/td\u003e \u003ctd\u003e 136\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXIV. Fatehpur Sikri: Jodh Bai's Palace (Details of Stone Sills Beneath Wall Recesses)\u003c\/td\u003e \u003ctd\u003e 138\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXV. Bracket from Sultana's House, Fathepur Sikri\u003c\/td\u003e \u003ctd\u003e 140\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXVI. to LXXVIII. Dado Panel from the Sultana's House, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 142\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXVII. Soffit of Drip Stone, Sultana's House, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 144\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXVIII. Internal Frieze and Cornice, and External Cornice, South Facade, Sultana's House, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 146\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXIX. Ornament from the Turkish Sultana's House, Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 148\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXX. Fatehpur Sikri: Turkish Sultana's House Carved Dado Panel\u003c\/td\u003e \u003ctd\u003e 150\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXI. Fatehpur Sikri: Turkish Sultana's House (Carved Dado Panel in Red Sandstone)\u003c\/td\u003e \u003ctd\u003e 152\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXII. Verandah Ceiling from the Sultana's House, and Jali Windows from the\" Ankh Machaoli\", Fatehpur Sikri\u003c\/td\u003e \u003ctd\u003e 154\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXIII. Fatehpur Sikri: Birbal's House\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXIII Fatehpur Sikri: Birbal's House (Details of Dado Panels)\u003c\/td\u003e \u003ctd\u003e 156\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXIV. AND LXXXV. Fathepur Sikri: Birbal's House (Detail of Friezes Around the Interior of the Domes Over the Upper Floor Rooms and of the Bases Beneath the Pilasters)\u003c\/td\u003e \u003ctd\u003e 158\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXVI. Fatehpur Sikri: Birbal's House (The North Porch-Details of Archway over the Entrance)\u003c\/td\u003e \u003ctd\u003e 162\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXVII. Fatehpur Sikri: Birbal's House (Detail of Wainscotted Walls in the Upper Rooms)\u003c\/td\u003e \u003ctd\u003e 164\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e LXXXVIII. to XCIII. Fatehpur Sikri: Rajah Birbal's House (Wall Recesses, Carved Panels, and Borders)\u003c\/td\u003e \u003ctd\u003e 166\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XCIV.to XCVI. Fatehpur Sikri: Diwan-i-Khas Detail of Pedestal, Base, and Shaft of the Column in the Centre of the Chamber\u003c\/td\u003e \u003ctd\u003e 174\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XCVII. Fatehpur Sikri: Salim Chishti's Tomb (Entrance from the Ambulatory to the Cenotaph Chamber)\u003c\/td\u003e \u003ctd\u003e 178\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e XCVIII. and XCIX. Fatehpur Sikri: Salim Chisti's Tomb (Detail of the Porch Columns, and Brackets Supporting Eaves Round the Outer Sides of the Tomb)\u003c\/td\u003e \u003ctd\u003e 180\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e C. to CIV. Fatehpur Sikri: Salim Chishti's Tomb (Marble Screens Enclosing the Ambulatory)\u003c\/td\u003e \u003ctd\u003e 184\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CV. and CVI. Fatehpur Sikri: Islam Khan's Tomb (Details of Verandah Screens)\u003c\/td\u003e \u003ctd\u003e 190\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CVII. Fatehpur Sikri: The Zanana Rauza (Details of Screen-Work)\u003c\/td\u003e \u003ctd\u003e 194\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CVIII. Fatehpur Sikri: Astrologer's Seat (Detail of Base of Shaft)\u003c\/td\u003e \u003ctd\u003e 196\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CIX. to CXI. Gingee Fort, South Arcot\u003c\/td\u003e \u003ctd\u003e 198\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXII. and CXIII. Windows from the' Asar Mahal, Bijapur\u003c\/td\u003e \u003ctd\u003e 202\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXIV. Chaurasi Gumbaz, Kalpi, North-Western Provinces (Detail of One of the Upper Panels on the North Facade)\u003c\/td\u003e \u003ctd\u003e 206\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXV. Door from the Fort at Hyderabad, Sind\u003c\/td\u003e \u003ctd\u003e 208\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXVI Perforated Terracotta Window from a Tomb at Sehwan, Sind\u003c\/td\u003e \u003ctd\u003e 210\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXVII. and CXVIII. Mihrab from Ruined Mosque at Erandol, Khandesh\u003c\/td\u003e \u003ctd\u003e 212\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXIX. Part of Facade in Wood Carving from a House at Srigunda, Ahmadnagar District, Bombay\u003c\/td\u003e \u003ctd\u003e 216\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXX, CXXI, and CXXII. Tomb of the Late Navab at Pathari, Central India\u003c\/td\u003e \u003ctd\u003e 218\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXIII. Shrine Door of Temple of Samkara at Bheraghat Near Jabalpur\u003c\/td\u003e \u003ctd\u003e 222\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXIV. Decorated Ceiling Panels from the Temple of Ambarnath\u003c\/td\u003e \u003ctd\u003e 224\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXV. Mihrab in the Jami Masjid at Bharoch\u003c\/td\u003e \u003ctd\u003e 226\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXVI. Detail of Stucco Work in Western Wall Makka-ka-Naqal, Bunnur\u003c\/td\u003e \u003ctd\u003e 228\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXVII. and CXXVIII. Roof of Pathariya Masjid, Thanesar\u003c\/td\u003e \u003ctd\u003e 230\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXIX. Trellised Windows, Tomb of Shaikh Chilli, Thanesar\u003c\/td\u003e \u003ctd\u003e 232\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXX. Gateway Near Qazi's Masjid, Sadhaura\u003c\/td\u003e \u003ctd\u003e 234\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXXI. Wood-Carving from Bijapur\u003c\/td\u003e \u003ctd\u003e 236\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXXII. and CXXXIII. Old Wood Carving\u003c\/td\u003e \u003ctd\u003e 238\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXXIV. Details of Doorjamb of Medieeval [aina Temple, Formerly at Agrah\u003c\/td\u003e \u003ctd\u003e 244\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e CXXXV. Pilaster of Medieval Ruined Jaina Temple at Atru-Ganeshganj in the Koth State, Eastern Rajputana\u003c\/td\u003e \u003ctd\u003e 246\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371a.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371b.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371c.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371d.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371e.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371f.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371g.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nap371h.jpg\"\u003e\n\u003c\/center\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44632917147949,"sku":"NAP371","price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/nap371.jpg?v=1677858350","url":"https:\/\/occultnthings.com\/sa\/products\/ornamentation-in-indian-architecture-oriental-motifs-and-designs-nap371","provider":"Occult-N-Things","version":"1.0","type":"link"}