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SIKH ARCHITECTURE
Architecture of Golden temple

The major dates known for construction and reconstruction are as follows: The first construction took place sometimes between 1588 and 1604A.D. Subsequent reconstruction took place between 1764 and 1776A.D., following attacks by Ahmad Shah Abdali. Renovation, and perhaps a major change in the design and fabric, was done by Maharaja Ranjit Singh starting from 1802 and continued through 1839A.D The decorations are strictly mural paintings with floral patterns interspersed with animal motifs. The boundary line of the pool was laid in AD 1570. The tank was named Amritsar and the town also came to be called by the same name. The solid foundation was laid on a level higher than the bottom of the tank with lime and bricks. Broad walls were built. A bridge connecting the temple with Darshani Deorhi (entrance gate) was constructed over the support of Surang Duraries (aqueducts) mehrabs and dats (arches).

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Instead of building the Hari Mandir on a higher level, it was built on a level lower than the surrounding ground.It has doors facing all four cardinal sides. The main structure rises from the centre of the sacred pool on a square platform that is 67ft square. The structure is 40.5 ft square and is approached by a causeway that is 202 ft in length and 21 ft wide. Functionally and technically a three stories structure. An archway on the western side of the pool opens on to the causeway bordered with balustrades of fretted marble, and lamps set at close intervals on the marble columns. The building has the lower part in white marble, but the upper part is covered with plates of gilded copper. The ground floor interior is where the Guru Granth Sahib is placed under a gorgeous canopy, studded with jewels. The second storey above it is known as Shish Mahal or the Mirror Room. It is designed so as to have just a square opening in the center to view the ground floor, with a narrow circumambulatory around the square opening. The interior of the Shish Mahal is ornamented with pieces of mirror in various shapes and sizes, skillfully inlaid on the walls with mostly floral designs. Above the Shish Mahal is another very small square pavilion, surmounted by a low fluted golden dome, lined at its base with a number of smaller domes. The walls of the two lower stories, forming parapets, terminate with several rounded pinnacles. There are four chhatris or kiosks at the corners. The combination of large, medium and miniature domes of gilded copper create a dazzling effect. The first plate on the temple was fixed in 1803. The archway under the Darshani Deorhi was also embellished with sheets of gilded copper by Sangat Singh, the Raja of Jind. The decorations are strictly mural paintings with floral patterns interspersed with animal motifs. There are about 300 different patterns on the walls, which look like Persian carpets. The only mural depicting human figures is on the wall behind the northern narrow stairway leading to the top of the shrine, representing Guru Gobind Singh on horseback.

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In addition there is work in embossed copper, gach, tukri, jaratkari and ivory inlay. Most of the exterior upper portions of the walls of the Golden Temple are covered with beaten copper plates, heavily gilded. The raised decorations are mainly floral and abstract, but there are some panels with human figures. Gach, a sort of gypsum, was treated to a paste and applied on the wall like lime. Then it was fashioned with steel cutters and other implements. Gach work is inlaid with coloured glass known as tukri work and is seen on the second story of the Shish Mahal. Jaratkari work involved inlaying of coloured cut-stones in marble and is found on the lower portion of the exterior walls of the temple. Also called pietra dura work, which consists of inlay work in semi-precious stones, such as lapis lazuli and onyx. The ivory inlay work is seen only on the doors of the Darshani Deorhi. The doorframe of the arch is 10ft in height and 8 ft 6 inches in breath. The gate is made of shisham wood, the front is covered with silver sheets and the back is inlaid with ivory in geometrical and floral patterns. Some of the ivory inlay is coloured green and red. Today many paintings by Mahant Ishar Singh have been covered over with marble slabs. The causeway is connected with a 13 ft wide circumbulatory path. It runs around the main shrine and it leads to the to the Har ki Pauri -steps of God. On the first floor here the Granth Sahib is read continuously. Most of the painters and craftsmen, who worked in various branches of mural arts and its appurtenances in the Golden Temple, remained unknown. A good deal of the old work, particularly mural in character, has disappeared. Sri Harmandir Sahib, also know as the Golden Temple

in Amritsar is the holiest shrine of the Sikh religion. Also known as the Shri Darbar Shaib, it is in the center of the old part of Amritsar. The Golden Temple sits on a rectangular platform, surrounded by a pool of water called the Amrit Sarovar from which the City is named.

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The entrance to the Golden Temple complex is through an ornate archway with intricate inlay work. Verses from the Granth Sahib are inscribed on the doorway. The main north entrance is under a Victorian clock tower. Known as the Darshani Deori, the entrance is up a flight of steps and down again to the temple and holy tank. The temple is a two storey marble structure reached by a causeway known as Gurus Bridge. The lower storey is in white marble with the walls decorated with inlaid flower and animal motifs in the pietradura style of the Taj Mahal. The architecture of the golden temple is a blend of the Hindu and Muslim styles. The upper storey is gold plated, crowned with a dome (the Golden Dome) shaped like an inverted lotus. With the first light of dawn, the reflection of the temple in the tank gives an ethereal atmosphere to the complex. As the sun shifts, the temple presents myriad views, each magnificent and captivating. The Golden Dome (said to be glided with 100 kg of pure gold) is supposed to represent an inverted lotus flower, pointing back to earth to symbolize theSikhs concern with the problems of this world.

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The

Akal Takht, next to the Golden Temple, is the seat of the Shiromani Gurudwara Prabandhak

Committee, the religious governing body of the Sikhs. The building of Sri Akal Takhat is a five storeyed structure with a dome at the top. The faade of the monument consisting of four stories including the basement has a semicircular orientation. Architecturally speaking the monument is quite complicated in its details of composition and layout. The ground floor larger platform having one hall underneath, with only one opening in the northern side. The hall is flanked by stairways on its northern and southern side leading to the first floor. The faade has an attached pillared marble portico, cusped arch opening on a raise plinth in its central part. The first floor Divided into three parts. It consists of a central hall and rooms on both the northern and southern sides.
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The faade of the central hall has three openings formed by two pillars. On both the sides of this central opening, there are two chambers having openings to the east and to the central hall.

The second floor Repeats the same scheme of the first floor. It has same rooms in the south and a gallery in the form of a rectangular room on the northern side. The facade of this floor is in the form of a gallery formed by side chambers and central pillared openings of the type similar to that of the lower storey

The faade terminates into projected eave, supported by decorative brackets & is surmounted by parapet.

A flight of steps spirals in the western wall upto the top The third floor A large hall formed by cusped arches and square pillars, and galleries on all sides. In the faade, there are nine cusped arched openings The faade terminates into a projected eave supported on pairs of decorative brackets. Two beautiful octagonal minarets, each supporting an octagonal kiosk surmounted by domes are there on N-E and S-E corner of the floor.

The fourth floor It is an extension of the lower central hall and has three foliated arched openings on each of its sides.

Each of its four corners has a pilaster. Page 6

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The room is decorated with a projected ornamental eave and a kiosk on each corner. Finally, there springs a graceful fluted dome with lotus petal base on a circular drum. It is surmounted by an inverted lotus which supports a big Kalasa.

The Gurudwara Baba Atal is basically a smadh (cenotaph) to the memory of Baba Atal, the revered son of the sixth Guru, Har Gobind. It is located to the S-W of the Golden Temple, Amritsar. The monument of Baba Atal is the highest building in the city of Amritsar. It is 150 feet high. It is constructed on an octagonal plan. A larger octagonal structure encloses another structure of the same plan upto the sixth storey, thus leaving circumambulatory path in between. The inner sanctuary, where the Holy Granth is enshrined rises upto Ninth storey surmounted by the fluted gilded dome.

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The outer structure has four rectangular gates, one in each alternate side. The exterior walls are relieved by various decorative patterns. There are 2 stairways on northern and southern walls leading upto the sixth storey. The most interesting feature is the projected balconies supported on brackets throughout the exterior walls.

The top of the 6th storey is in the form of an open octagonal space guarded by balustrade supported on number of pairs of decorative brackets and surmounted by an iron railing.

The 7th stage does not have any opening on the exterior excepting a perforated screen throughout. The 8th stage has one arched opening on each of its sides The 9th stage has one arched opening in each of its alternate facets, the remaining ones have windows or projected balconies. Finally, there springs the graceful fluted dome with the inverted lotus supporting Kalasa in the centre. Within the premises, there is a large tank named Kaulsar, in the west, and also the mausoleums of Nawab Kapoor Singh, S.Jassa Singh and of other sardars.

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RAJPUT ARCHITECTURE
Amber Fort is located in Amber, 11 km from Jaipur, Rajasthan state, India. It was the ancient citadel of
the ruling Kachhawa clan of Amber, before the capital was shifted to present day Jaipur. Amber Fort is known for its unique artistic style, blending both Hindu and Muslim (Mughal) elements, and its ornate and breathtaking artistic mastery.[1] The fort borders the Maota Lake, and is a major tourist attraction in Rajasthan.[2] Structure

An interior view of a room in the palace covered in thousands of tiny mirrors. The structure which is known today as "Amber Fort" was initially a palace complex within the original fort of Amber that is today known as Jaigarh Fort. Connected to Amber via fortified passages, Jaigarh Fort is located on a hill above the Amber complex, and is constructed of red sandstone and white marble. It overlooks Maotha Lake, and was reputed to be the treasure vault of the Kacchwaha rulers. Like the entire fort complex, Amber Fort is also constructed of white and red sandstone. The Fort is unique in that its outside, an imposing and rugged defensive structure, is markedly different from its inside, an ornate, lavish interior influenced by both Hindu and Muslim (Mughal) styles of ornamentation.

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The walls of the interior of the fort are covered with murals, frescoes, and paintings depicting various scenes from daily life. Other walls are covered with intricate carvings, mosaic, and minute mirror work.[5] Amber Fort is divided into four sections. Each is accessible via large staircases from a central location, or from a broad pathway leading to each of the sections. The pathways are currently used to transport tourists via an elephant ride. The main entrance of Amber Fort, Surajpol, leads to the Jaleb chowk, the main courtyard of the Fort where the staircase to the palace is located. In ancient times, Jaleb Chowk was the area where returning armies were paraded back home.

Just prior to the palace entrance is a narrow staircase leading to the Kali Temple, also known as the Shila Devi Temple, made popular for its enormous silver lions. The origins and purpose of these large lions is still unknown. The Kali Temple is known for its silver doors with raised reliefs. According to legends, Maharaja Man Singh I had worshiped Kali for a victory over the rulers of Bengal. The legend says that Kali appeared in the Maharaja's dream and ordered him to recover her statue from the Jessore seabed (now in Bangladesh) and place it in an appropriate temple. The accuracy of the legend has not been verified. However, it is said that the Maharaja recovered the statue from the bed of the sea and created the temple. A tourist curiosity is an image of Ganesha at the temple entrance, carved entirely from a single piece of coral.[6]

1. Suraj Pol (Victory) 4. Diwan-i-Am Gate HistoryChowk of architecture and culture UNIT 5 2. Jaleb 5.IV Jess/Jai Mandir 3. Shiva Devi Temple 6. Ganesh Pol

7. Sukh niwas
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9. Zenana

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1. Suraj Pol (Victory) Gate 2. Jaleb Chowk 3. Shiva Devi Temple

4. Diwan-i-Am 5. Jess/Jai Mandir 6. Ganesh Pol

7. Sukh niwas 8. Baradari 9. Zenana

The fort has 4 sections; each with the premises and one has to climb up through the imposing stairway or else the broad aisle, where one can ride on the elephant back for royal feel. The main gate Surajpol that leads to the Jaleb chowk, which is the main courtyard from where one can walk up the stairway, that leads to the palace. Jaleb Chowk was also the area where returning armies were welcome and they would display their war earnings to the population at large.

Before you enter the palace just towards the right is a sleep aisle and a narrow staircase reaching up to Kali Temple also called Shila Devi Temple famous for its mysterious history and the huge silver lions. It is a gorgeous temple featuring silver doors with raised relief. According to a legend, Maharaja Man Singh I had worshiped the Goddess for a victory over the rulers of Bengal. The Goddess appeared in the Maharaja's dream and ordered him to recover her statue lying under sea near Jessore (now in Bangladesh) and install it in a befitting Temple. True enough, after subjugating the enemies the Maharaja recovered the statute from the bed of the sea. The temple is called after Shila Devi, "shila" meaning stone slab. Like all temples this too has an image of Ganesha on the doorway, but carved from a single piece of coral.

Getting back from the temple the main stairways lead to the second courtyard of the fort. Here situated is the imposing Diwan-I-Aam, the hall of public audiences where the Maharaja received the populace and their petitions. This is a pavilion of double row of columns each capped by an elephant shape. There is a lattice gallery also. Page 11

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Behind the exquisite and fabulous Ganesh Pol, "pol" meaning gate are located in the residential apartments of the Maharaja. The Jai Mandir, the Hall of Victory is famous for its inlaid panel and dazzling mirror ceiling. Much of it had deteriorated with neglect and is under restoration. On the other side is Sukh Niwas, the residence of pleasure or pleasurable residence. The palace has an ivory inlaid sandalwood door. A channeled laid for flow of water is an inventive system of cooling. The water flowing from the channel wasn't wasted as it was allowed to flow in the garden. From there you can also take pleasure in viewing of the fort rampart and its reflection in the Moata Lake. The Zenana or the palace of the women is in the fourth courtyard. The rooms are though connected through a common corridor are cleverly designed to give each room privacy.

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1. Mubarak Mahal 2. Sileh Khana 3. Rajendra Pol

4. Diwan-I-Khas 5. Pritam Niwas Chowk 6. Chandra Mahal

7. Diwan-I-Am

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The City Palace of Jaipur in Rajasthan or the main palace of Jaipur is an imposing blend of traditional Rajasthan and Mughal architecture. City Palace of Jaipur forms one of the most famous tourist attractions and a major landmark in Jaipur of Rajasthan. The beautiful palace was built by Maharaja Sawai Jai Singh during his reign. City Palace complex of Rajasthan covers a huge area, which is divided into a series of gardens, courtyards and buildings. Initially, Raja Jai Singh built the outer wall occupying a huge area. Architecture and Layout of the City Palace of Jaipur in Rajasthan The City Palace complex of Rajasthan houses several palatial structures like Chandra Mahal of Rajasthan, Mubarak Mahal of Rajasthan, Mukut Mahal of Rajasthan, Maharani's Palace of Rajasthan, Shri Govind Dev Temple of Rajasthan and the City Palace Museum of Rajasthan. Nakkarkhana-ka-Darwaza, the imposing gateway of the City Palace of Rajasthan guarded by stone elephants, is monumental. In the first courtyard is the 'Mubarak Mahal' of Rajasthan, built by Maharaja Madho Singh II in the late 19th century to entertain his guests. It has a beautifully carved marble gate with heavy brass doors on either side of this gate. Today, the Mubarak Mahal of Rajasthan, or the Auspicious Palace is converted into a costume gallery, which displays royal attires of the Kings. After crossing the first square, there is a magnificent gateway with a grand door in brass opening to a stately courtyard. There lies the Diwan-I-Khas or 'Hall of Private Audience'- an open hall with a double row of columns with scalloped arches. On display are the two largest silver vessels in the world figured in the Guinness Book of World Records. These were used for carrying water from the holy Ganges for personal use, by Madho Singh II on his journey to England. Across the paved square, with its intricate decorations in deep red and gold, Afghan and Persian carpets, miniature paintings, astronomical manuscripts in Persian and Sanskrit lies the 'Diwan-EHistory of architecture and culture IV UNIT 5

Rumi Gate

Gateway leading into main courtyard

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Chhota Imambara, Monument of Lucknow

Chhota Imambara was built by Muhammad Ali Shah in 1840. It is rather remarkable in its architectural style. The Jami Masjid, the largest Nawabi mosque in Lucknow, stands to the south-east of the Chota Imambara.

The Chhota Imambara occupies a rather distinguished position among the Imambaras of Awadh. Even though it is smaller than the Bara Imambara, it is quite outstanding in its architectural setting, its finish, its elaborate and harmonious design and its lavish ornamentation. The Imambara complex has a remarkable ground plan. Entrance is gained through two successive gateways. A water channel with a hanging bridge and ornamental waterfalls of yellow and black stones runs through the centre and up to the Imambara. On either side of the channel are symmetrical gardens in which stand two graceful replicas of the Taj Mahal. Located to the south-east of the Imambara is the Jami Masjid, the largest Nawabi mosque in Lucknow. This impressive mosque rises above a platform. From the six-storied minarets crowned by graceful cupolas, it is possible to get a panoramic view of the historic city of Lucknow. However, entry into the minarets is no longer allowed. The main entrance to the first enclosure of the Imambara has three arches and faces the Rumi Darwaza. The second gateway is notable for its three-storied design in which the central arch is balanced by a symmetrical arrangement of smaller arches. The structure is crowned by a graceful pediment and conical turrets. This gate is certainly a replica of the magnificent gate of Dargah Hazrat Abbas, built by Nawab Saadat Ali Khan. The Imambara is erected on a rectangular platform. The facade is remarkable for its projecting portico, which has five graceful arched openings. The central arch bears a white marble slab on which the date 1837 is inscribed in the Nastaliq script.
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The two tiered parapet is decorated with miniature arches and solid domes while the square turrets are crowned with cupolas. The rectangular structure at the side constitutes the main Imambara with a central hall and narrow halls at the rear with recessed Shahnashins. The roof of the hall is topped by a fluted dome, with an inverted lotus crowned by a pot-finial and crescent. Both the dome and the finial are embellished in gold. The brick building is covered with fine white lime plaster. The facade has white calligraphic ornamentation on a black surface. The Shiite Durud and other religious texts are represented here in the Arabic, Naskh, Thuluth and Tughra scripts.In the central hall of the Imambara lie the graves of Muhammad Ali Shah and his mother Malika-i-Aliya. The graves are fenced with silver railings and covered with a small embroidered Shamina. The most attractive aspect of the Imambara is its interior, which is furnished with rare and colourful chandeliers, Qandils and Kanwals (globe-shaped lamps). There are also large European mirrors, and ornamental metallic and glass candle-stands. These objects are painted in gold to match the bands of relief work and the arched opening, which are lavishly embellished in gold. The fluted pillars, pilasters and their capitals are also painted in gold. On one side of the hall is the Mimbar covered with ornamental silver work.In the courtyard, there can be seen the emblem of Awadh and a large brass fish installed to indicate the direction of the wind. The western area is occupied by a graceful mosque.Another attractive aspect of this historic building is the replica of the Taj Mahal, built in bricks and covered with chaste white plaster, giving the effect of marble. This small but attractive building is raised on a square platform, with arched openings and a central dome flanked by cupolas and four independent minarets. The building houses the tomb of one of the princesses and is better known as Shahzadi-Ka-Maqbara. Opposite this is an identical structure, which was made to balance the entire plan. The domes are decorated in plaster with geometric designs in bold relief. The central domes are crowned with the Kalash (pot), which forms the base of the finials. Such finials were popularly used in the domes of the royal buildings and Jami Masjid of Rampur.
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Elevation of chota imambara

ENTRANCE GATEWAY

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Chhatar Manzil, Monuments of Lucknow

Chhatar Manzil is a Nawabi Palace complex in Lucknow. It has been constructed in a kind of hybrid style and includes both Indo-Muslim as well as European elements in its architectural style. The construction of the Chhatar Manzil was begun by Nawab Saadat Ali Khan and finally completed by Ghazi ud Din Haidar.

Chhatar Manzil complex, also known as them Farhat Baksh complex, is constructed in the style of the later Nawabi architecture in Lucknow. In the second phase of Nawabi architecture, constructed from 1800-1856, are those monuments which belong to the first half of the nineteenth century, before Awadh was annexed by the British. These monuments are characterised by a hybrid style, incorporating Indo-Muslim and European elements. The Chhatar Manzil is a Nawabi Palace complex completed by Ghazi ud Din Haidar. It was earlier built by Nawab Saadat Ali Khan in memory of his mother, Chhatar Kunwar. The complex consisted of the Greater and Lesser Chhatar Manzils, the Kothi Farhat Baksh built by Claude Martin, the Lal Baradari, Gulistan-i-Iram and Darshan Vilas. The Chhatar Manzil complex essentially comprised of a series of European houses with a central garden and smaller buildings like Baradaris and pavilions, covered passageways, gateways and walled areas. The Gomti River and the Khas Bazar formed the northern and southern edges of the complex. Ghazi ud Din Haidar completed the unfinished palace on the right bank of the Gomti, near Kothi Farhat Bakhsh. The palace was crowned by a golden pinnacle in the form of an umbrella. The unique feature gave its name to two palaces- the Ban Chhatar Manzil and the Chhoti Chhatar Manzil - built opposite one another. This pinnacle became so popular that almost all the later domed buildings were decorated with an umbrella in the form of the crown of Awadh, particularly Kothi Kaisar Bagh, Kaisar Pasand and Lakhi Darwaza. The Iranian carpets, wall paintings, mirrors, portraits and chandeliers which once adorned the
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palace are now missing. Both the Chhatar Manzils and the surrounding gardens were originally enclosed within boundary walls, but General Havelock destroyed them after crushing the freedom-fighters on 25 September 1857. The elegant marble tank is now buried under the metalled road built by the British. The palace was occupied by several members of the royal family of Awadh, including the favourite Begums Malka Zamani, Kudsia Mahal and Malka Kishwar, mother of the last king, Wajid Ali Shah. After 1857, the British stripped the palace of all its costly furniture, decorations and hangings, which they sent to England. They converted the palace into the United Services Club with a library for senior British officials. Since 1950, the palace has been used by the Council of Scientific and Industrial Research and the Central Drug Research Institute.

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MYSORE PALACE Architectural style of Mysore palace is hybrid. That is, its design is a mixture of various schools of architecture. The palace is made in a style collectively called Indo-Saracenic Revival style. The Islamic power in India by the turn of 12th century has a brought a new style of architecture ( largely central Asian style ) to India. A large number of Islamic structures in India during the Mugal era were build in the Sassanian ( Persia ) style. So the name Saracenic. That style when merged with the native Indian styles , gave rise to a hybrid style called IndoIslamic style or Indo-Saracenic style. Elements of Hindu styles and Islamic styles merged to form unique school. One good example of this style is the Akbars abandoned capital Fatehpur Sikri in Uttar Pradesh. Many centuries later by the turn of 19th century India came under the colonial powers. That brought rise to a further new hybrid style called Indo-Saracenic Revival style. Here the IndoIslamic style is further blended with the Gothic style (,that was the flavor of Victorian rulers) . Mysore Palace is made in this later style. In other words , one can see the elements of Hindu, Islamic and Gothic elements in its design and construction. The domes for example is an element borrowed from the Islamic school of architecture. There are many deep pink marble domes projecting at the corners of the palace structure. To understand the hybrid style, look at the tallest tower of the palace. This is a five storied tower measuring about 145 feet (45 meters) at the center of the palace. This projects up from the rest of the roof-line of the palace like a tower of a Gothic cathedral. However on top of it is a large dome, a very typical feature of Islamic/Persian style structures. However it is metal gilded. Further on top of this dome is a domed Chhatri. That is, a smaller dome supported by slender
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pillars projecting up from the large dome. Domed Chhatri is a typical Rajput ( Rajastan ) architectural feature. one can spot two more such domed Chhatris at the top on either side of the central arch of the facade. Between these two domed Chhatris and above the central arch is a sculpture of goddess Gajalakshmi. This is a common feature in Hindu architecture as the goddess Gajalakshmi is considered of wealth, prosperity and abundance.

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On the southern and northern extremities of the palace has protruding balconies. These resemble that of the jharokha one find in the Rajasthani architecture. The balconies appear three-storied from outside. There are three rows of tall windows one over the other on the balconies.

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Top of the balcony is with deep pink stone, that forms a semi dome, while the bottom is supported by a structural feature in the form a lotus.

Mysore Palace

Though each of these features are cut and paste from various types of architectures, on the whole this does not look like a hotchpotch design at tall. On the other hand this hybrid tower adds to the very character of the aesthetics. The palace building is entered through a smaller verandah located at the southern side of the palace. Looking the palace from the facade, one can see the big central archway, which is the main entrance to the palace building. On either sides of this large archway are two smaller arches. Further on either sides are 6 arches (3 each on either sides). The arches are cusped and of Sassanian in origin. These are supported by massive pillars.

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Facade of Maysore Palace

The main archway mentioned above opens to a wide passage (elephant gate) that finally leads to the expansive central court. The elephant gate is typically kept closed, baring for the ceremonial functions in the palace. The court mentioned above is open to the sky and an enclosed verandah runs around this court. At regular intervals are giant window opening to the court. Also at the three sides of the open court are porches to enter the verandah. The porches and the windows are good enough to get a view of the porch. The whole court is netted at the top to prevent birds messing the inside. Interesting items seen in this court (flanking the porch) are a set of giant lion images casted out of brass. Just south of this court is the massive marriage hall (Kalyana Mantapa). This octagonal open hall is brightly decorated. Especially noteworthy are the floor tiles, the balconies , the slender cast iron pillars and the tinted glass ceiling. Ceiling fans here (Mysore city got its first electricity supply in 1908 ). The whole superstructure of this octagonal shaped ceiling and the pillars were specially made by the legendary Scottish foundry Walter MacFarlane & Co. Ltd. The tinted glasses making a peacock theme over the ceiling were brought from Belgium.

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The walls facing this open hall are painted with large oil paintings depicting the Mysore Dasara. Each of the 26 paintings theme is a function or ceremony related to Dasara . The images are properly labeled and one can get the idea of pomp with which it was held. Probably that was the very idea of including such paintings in the palace. That is, to show the kings guests to the palace during those days the details of the festival. In the ground floor of the palace, there are pillars, the squinch (where the pillar meets the ceiling ) and the domical ceiling above the verandah. a great deal of plaster work on the ceiling, the capitals are beautifully carved with hard granite. This too is a present blend of native and gothic styles. One of the many features where the local tradition of craftsmanship is shown at its best is in the woodwork. You can easily notice this in the massive doors carved out of teak (yellow-brown) and rosewood (coffee colored). On the rosewood doors, frames and lintels with finely done inlay work. At first it may look like intricate painting on the door. If looked closer, these are ivory chips embedded onto the surface of the rosewood. To protect tampering (by doubtful visitors!) such inlay works are protected with transparent perplex overlay. Ceiling in the room showcase a row of silver and glass chairs. So is the ceiling around the Durbar Hall in the first floor. This woodwork in teak are one of the massive, bold and intricate found in any palace in India. First floor has the Durbar lift. This was operated by mechanical means installed at the roof. On the first floor there are two major halls. One is for the public hall and the other is a private audience hall. Durbar Hall (the Diwan-e-Am) is a huge open hall along the width of the palace on the first floor. The eastern side is open and gives a panoramic view of the garden in front of the palace. The rows of massive pillars are the special attraction of this hall. On the south and north of the eastern portion are the galleries for the courtiers.
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On the western wall of the Durbar Hall is a row of paintings. Most of it is mythical themes from Hindu pantheon. The private audience hall called Ambavilasa ( the Diwan-e-Khas ) is the most decorative of all the areas in the palace. This is where the golden Throne of Mysore is positioned. It is unlikely that one would find the thrown in the hall unless it is visited during the days of Dasara festival. Otherwise the throne is kept in safe custody. This rectangular hall has an intricately designed tinted glass ceiling. This illuminates the hall lavishly. These light plays do wonders on the otherwise brightly painted pillared Durbar Hall. On the floor , between the pillars are the embedded inlay work Pietra dura- that is popularly known as Agra work. Various bright semiprecious stones are embedded on the marble flooring to create interesting motifs. On can see a great deal of this work on the Taj Mahal of Agra ( hence the name Agra work). Like mentioned earlier , the ceiling around this portion has some massive and boldly executed woodwork in teak. Another important architectural feature of the palace is its gateways and the walls. The one located at the east is the largest of the four gateways. Between the gateways and the palace is a sprawling garden. Also number of temples can be dotted around the palace campus. The living palace where the family lived is located right behind the main palace. This too is a museum exhibiting a number of artifacts used in the palace. This is made in a more human scale, a lot traditional and can give a great insight into the life of those times.

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Thirumalai Nayakkar Mahal- MADURAI

Mannar Thirumalai Nayakkar Mahal

Main Inner Corridor of Thirumalai Nayakkar Mahal Palace Thirumalai Nayak Palace is a 17th century palace was built by King Thirumalai Nayak, one of the Madurai Nayak rulers in 1636 AD in the city of Madurai, India. This Palace was built with the help of an Italian Architect and is a classic fusion of Dravidian, Islamic and European styles. The building, which can be seen today, was the main Palace where the king lived. The original Palace Complex was four times bigger than the present structure. In its heyday, Tirumalai Nayak Palace at Madurai was considered to be one of the wonders of the South.[1]

King Thirumalai Nayak Palace Entrance way

History
The Nayaks of Madurai ruled this former Kingdom from 1545 till 1740s and Thirumalai Nayak (1623History of architecture and culture IV UNIT 5 Page 27

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