International Journal of History
and Research (IJHR)
ISSN(P): 2249-6963; ISSN(E): 2249-8079
Vol. 6, Issue 3, Jun 2016, 1-12
© TJPRC Pvt. Ltd.
KASHI KARI IN WAZĪR KHAN MOSQUE
AMNA ANSARI1, MARIA ANSARI2 & FARJAD FAIZ3
1
2,3
College of Art and Design, Punjab University, Lahore, Pakistan
University College of Art and Design, The Islamiya University, Bahawalpur, Pakistan
ABSTRACT
The masjid is a subject that interests architects, art critics and theologians as it overlaps both the arts and
religion and provides a focused appreciation of Islam’s most significant building. The Mughal era has left an
unquestionable imprint on the subcontinent in many walks of life. An example of this is their perfection in the field of
architecture in both India and Pakistan. The Mughal s built a wide variety of architectural masterpieces, yet their special
love for mosques remains outstanding. It can truly be said that the mosques built in their era have a distinguished
reputation throughout the Muslim world. Masjid (mosque) Wazīr Khan situated near the Dehlī Gate (Lahore), which is
in the heart of the walled city is one of the most admired. The fine quality and extensive coverage of the faience tile work,
Kashi kari, mosaic and calligraphy, make it totally different, not just from other mosques in the area, but from all other
constructions of the Mughal period. This paper covers the decorative work used in the Masjid Wazīr Khan. It considers
how the mosque is inextricably bound to convey the message of Islam through its architecture and decorative designs
Original Article
and how mosque architecture symbolizes heavenly realities and the perfection of nature.
KEYWORDS: Kāshī Kārī, Calligraphy, Decorative Work
Received: Apr 17, 2016; Accepted: May 03, 2016; Published: May 06, 2016; Paper Id.: IJHRJUN20161
INTRODUCTION
It is Lahore, which was once the capital of the Mughal Dynasty that holds the richest Islamic architectural
heritage in Pakistan. The third emperor, Akbar the Great, moved his capital from Agra to Fatehpur Sikrī, and then
to Lahore, constructing a town and a fort at each location. Even after the capital was returned back to Agra and
Delhi, the successive emperors continued construction in Lahore, as an important military position in the western
region in India.
Among several famous mosques Masjid Wazīr Khan at Lahore is one such glorious buildings of the
Mughal Era, (Shāhjahān’s period) constructed by Ilam-ud-Dīn Ansarī, the Governor of Punjab under Shāhjahān
the successor of Jahangir.
Ilam-ud-Dīn Ansarī, originally form Chiniot (a small and old town on the left bank of River Chenab in
Jhang District of Punjab), became one of the most respectable personality due to his knowledge and intellectual
approach, besides being a good physician who cured Nūrjahān and was given the title of Wazīr Khan.
The Construction of this mosque started in 1634 and took 7 years for completion. It has exuberant architectural
decorations that embellish its exterior and interior surfaces. In essence these are of two kinds - exterior surface
decorations which are chiefly in the form of glazed ceramic tile murals; and interior decorations in the form of
naqqashi wall painting - a semi-dry form of fresco (painting on fine lime plaster renders). Both these forms of
embellishment have integral calligraphic components drawing on the Quran and the Hadith
www.tjprc.org
[email protected]
2
Amna Ansari, Maria Ansari & Farjad Faiz
WAZĪR KHAN MOSQUE
History and Location of the Mosque
Located on the western side of Wazīr Khan Chowk (square) about 260 meters from Delhi Gate, and surrounded
by the thick urban fabric of the Walled City, Wazir Khan Mosque complex is the centre piece of an historic urban
ensemble. This ensamble including the Chowk Wazīr Khan and the shops on the northern side of the mosque complex.
Historically, as part of the royal thoroughfare connecting Delhī Gate and the Lahore Fort, the Wazīr Khan Mosque together
with its square formed a singular and very important element punctuating the urban fabric of the Walled City.
During Shāhjahān’s reign, Wazīr Khan’s mosque served as the imperial Jāmia Masjid, used by the emperor and
his grandees with a large retinue to offer prayers every Friday. The adjacent market place served as the centre for the
trading and social life of the common people Since there was no other central mosque in the fort during Shāhjahān ’s reign,
the grand Bādshahī Masjid was built later on the site of the Roshnāyi Gate of the city.
Architectural Layout of the Mosque
The structure of the mosque can be divided into three horizontal planes. Level 0 comprises the shops on the
eastern and northern side. Level I occupy the maximum area of the mosque, comprising all the major spaces in the mosque.
Level II defines the spaces which can be accessed from level I via staircases.
The layout of the mosque is rectangular in plan. Among the architectural elements and decorations of the Wazīr
Khan Mosque which represent influences from the pre- Mughal era and from neighboring regions like Persia and Central
Asia, one special feature is the formal “bazaar” which constitutes a key element of the entrance system to the courtyard of
the mosque itself. This bazaar comprises two rows of shops facing each other and traversing the entire width of the site. It
is quite unique that the principal entrance façade of the mosque is also the façade of two layers of shops that form the
calligraphers’ bazaar, and not of the enclosure of the mosque proper. Half way along its length, the linear axis of this
bazaar crosses the axis of the entrance to the mosque. This crossing is marked by an octagonal dome. This is the first
example in the subcontinent (and not widely emulated elsewhere), of a purpose built bazaar in an adaptation of a Central
Asian chārsū. However, in this ensemble only two bazaars lead off from the dome of the chārsū, the remaining
(two or three) bazaars having been replaced by the entrance system to the mosque.
Wazīr Khan Mosque (inside the Old City), which had 12 gates (not all the gates have survived). From the Delhi
Gate (below left) you take a crowded, narrow street full of shops (below center) to the Wazīr Khan intersection where you
see the minarets of the mosque on the corner.
The glorious mosque is made of bricks and faced with gaily-coloured glazed mosaic tiles. It is justifiably famous
for the colourful fresco and tile decorations, which adorn both interior and exterior of the building. The use of inlaid
pottery decoration in the wall panelling is remarkable. Watching closely, it reveals that each section is a separate piece of
tile and the work in strictly inlay and not painted; small bricks laid in Kankar time with a sprinkling of red sandstone.
The grills of the mosque are in terra cotta.
The mosque is not as huge as the Bādshāhī Mosque, but rectangular on plan. The total area of the mosque is
279.5' x 159', while the hall is 131.3' x 42'. Its vestibule is approached through the majestic gate provided on the east by a
flight of six steps paved with red sandstone. The vestibule on north and south is connected with bazaar. Its imposing
Impact Factor (JCC): 1.6369
Index Copernicus Value (ICV): 6.1
Kashi Kari in Wazīr Khan Mosque
3
gateway is crowned with dome and clad with colorful tile mosaics
On the corners of the building are elegantly erected octagonal minarets measuring 107' in height. These minarets
are decorated with mosaic tiles and are outstanding features of art. The square base minarets transform it into projecting
balconies having kiosks. Each minaret have three parts i.e the base, octagonal shaft and kiosk .On request one may get the
permission to climb 69 steps of a minaret to the place of muezzin. The gallery offers a superb panorama of the old city.
The prayer hall has five chambers; each surmounted by a dome. The front wall of the mosque is decorated with
verses from Quran-a-Pak. The sub halls are also elegantly decorated with verses and tile work. In the central chamber there
is an artistically carved wooden pulpit for delivering sermon.
The courtyard is flanked on three sides by 32 small cubicles (hujrahs). In old times mosques served as schools for
religious students where they resided.
The floor is built in cut and dressed small brickwork in 13 level was raised to 5 feet from its original level, to
overcome the drainage problem, the original floor still exists 5 feet below.
For the embellishment of Wazīr Khan Mosque, many famous styles have been used such as Fresco, Kashī Kārī,
Tāzā Kārī (brick imitation), vivid colors, Islamic calligraphy, geometrical patterns, floral designs, and arabesque.
This living legacy is an intricate masterpiece of work, which portrays great devotion and sincerity of its builders
and designers. To keep this heritage in its pristine beauty is the need of time.
Architectural Decoration in Wazīr Khan Khan
Artistically, the mosque displays some of the best examples of Mughul architectural ornamental and decorative
techniques, surpassing others in its delicacy and comprehensive decorative scheme. Most of the other Shāhjahāni era
monuments - Dai Ānga Mosque, Āsif Khan Tomb, Gulabi Bāgh entrance in Lahore also have a combination of kāshīkārī
(glazed tiles work), naqqashī (frescos) and tazākārī (faux brickwork) as architectural décor but the enormous scale of these
decorations in the Wazīr Khan Mosque certainly makes this mosque conspicuous in its artistic quality. Color, pouring
animation with varying combinations i.e sharp contrast and harmonizing colors and its symbolic representation display the
decoration of the mosque. This mosque presents a fine composition in every angle as far as harmony, contrast, balance and
focal points are concerned. It fulfills all the needs of an exquisite composition. The panels painted just above the main
mehrāb is the focal point of the whole building. Subject matter offers variation in decorative detail, providing interesting
entertainment for the vision in various directions. It includes calligraphy which is depicted in different styles i.e Nasta’līq,
Tughrā and Thulth in attractive combinations and modifications, especially in the interior and exterior of the sanctuary.
Geometric patterns provide definite space to every part. The simple shapes like octagonal, squares, pentagons, hexagons
and star-shapes form the borders, adorning the floor of the courtyard and the prayer chamber in various interwoven styles.
Similarly floral forms cover greater spaces of the mosque, giving the allusion of paradise garden. Various decorative
patterns have been executed in fresco and stucco ( interior), and mosaic (exterior) most effectively.
The calligraphic embellishment on main gateway have some sort of common of common message for mankind i.e
the message of hope and rewarding future. The main gateway display an invitation in Persian to pendentives to enter the
holy place ensuring that it will remain open for all mankind presenting an allusion of earthy paradise. Whereas the mehrāb
which in itself is called” the way to paradise” depicts on its spandrels the holy words indicating that Allah himself taking
www.tjprc.org
[email protected]
4
Amna Ansari, Maria Ansari & Farjad Faiz
the responsibility of opening the real gates leading to paradise. The brilliantly inscribed panel just above the mehrāb
depicts in addition some verses from the Holy Quran which exhorts the mankind not to despair of mercy of Allah and to
concentrate on worship and good deeds for reward of the worlds hardship and striving is paradise for believers as well as
for non-believers if they repent.
These geometric patterns, abstract shapes, calligraphic decorations creates in the whole architectural composition,
•
Stability and balance
•
Contrast and rhythm
•
Field of force
•
Harmony and unity
•
Movement
Thus the intricate ornamentation is being tactfully controlled on the structure of building. The entire wall surface
is divided up into panels and bands accommodating variety of decorations. Thus the decoration belongs to the following
main categories.
•
Mosaic decoration ( kāshī kārī)
•
Calligraphy
•
Fresco
•
Miscellaneous
Mosaic
The origin of mosaic can be traced back to Byzantine churches. In east it was started in Persia (A.D 1300) at
Tabrez. The mosaic of Kashan have influence of Persian tile making in color and shape. In Punjab, use of ordinary faience
tiles covered with enamel and painted patterns which were substituted into earthern tiles of an artificial base body, made of
siliceous sand and lime and other ingridients held together with gum or rice water. Then they are cut into pieces following
the line of design. After execution of design they are re-embedded in lime mortar.
According to M.A. Chughtaī “ the origin of Kāshī kārī in Punjab seems different in Persia. In which several colors
are cut to shape in the manner of colored glass in a stained glass window and are than embedded in matrix of mortar. It has
been suggested here that base composing the body of the pieces, was cut to shape and glazed in proper color before firing.”
Kāshī Kārī In Masjid Wazīr Khan
The exquisite kāshī work done on the mosque makes it individual Mughal monument in the whole subcontinent. It
presents colorful pictures of variegated glazed tiles and mosaic work. Its octagonal minarets with their cypress and star
shaped decoration, the enamel of these shine brightly in the light of sun. The exterior and interior of the façade of vestibule
on the east, the northern enclosing wall on the bazaar side, the lofty minarets etc, all are richly embellished with this mode
of decoration.
The Main gateway viewed as a whole looks like a huge upright rectangular panel which accommodates in the
Impact Factor (JCC): 1.6369
Index Copernicus Value (ICV): 6.1
Kashi Kari in Wazīr Khan Mosque
5
centre a high arch and is marked on both sides by two engaged columns, decorated by chevron pattern in blue and white
and four projecting narrow bands which encircles them at regular intervals. Their bases are in the form of trilobite
moldings in red brick color. The tops of the columns are adorned with white small cupolas bearing foliated bases.
The façade of gateway has rectangular border framing the deep recess of the main entrance. The border is composed of
decorative panels of various sizes. Above the arch it takes the form of single elongated horizontal panel depicting
calligraphy in blue on white background.
On the sides of the entrance the border is divided into eight panels of which there are four on each side with
identical designs. Of these the two uppermost smaller and horizontally placed white panels depict Persian inscriptions in
blue. Below them on each side is projecting balcony supported on four beautifully carved and colored brackets. The roof of
the balcony with two pinnacles on top and projecting eaves stands upon small white columns inter connected by grills at
the base level. The area below the balcony is occupied by an upright arched panel depicting Persian inscriptions in blue
upon white ground. The empty space in all the calligraphic and inscribed panles have miniature floral decorations.
The lowest most portion just beneath the inscribed panels is marked with monochromish, red brick-colored,
carved decoration. It reveals three rows of twenty one horizontal and square very small panels. The uppermost of the
façade is framed by a broad band having a row of alternating elongated and square panels.
The huge entrance gateway has panels of mosaics in geometric and floral patterns. The colors used are yellow,
orange, deep blue, two shades of green( lighter and darker shade), Turquoise, and maroon. The severity of the walls is
relieved by the division of the surfaces into rectangular panels, alternately vertical and horizontal, and slightly sunk for the
reception of enameled tile decoration. Colors and designs show the inside of the entrance gate with panels of enamel
decoration. There are varieties of designs, each panel have different one but in some cases it is repeated. The spandrel of
the arches are decorated with delicate floral designs and intertwining creepers. The main spandrel on top has a white
background, with design in blue, orange and green colors.
The top parapet has a Marlon shape decoration. The panel on the inside of the entrance gateway, with background
is white, the flowers in orange and maroon, the leaves and stems in green and the vase deep blue with patterns in a lighter
shade, shows Chinese influence, in the use of such motifs as “Chinese clouds” on top of the flowers and the shape of the
vase. There is a plant design with three petaled flowers on either side of this vase. The spandrel of this arched panel is
decorated with an intertwining design.
A panel on cloister wall with white background depicts a tree with flowers like daffodils. On either side of the
three are plants with flowers looking like irises. The whole design is conventionalized. The ground is orange; the stems are
green maroon almost brown. The flowers are orange with green leaves. This design is repeated on numerous panels, with
change of color, sometimes the background is orange instead of white. Another design is the vase without flowers.
On the sanctuary wall, are panels with superb calligraphy in deep blue on a yellow background? Here as in
intricate, flower designs, the Indian tile maker shows his skill in the craft. The inscriptional arched panel, found on the
sides of the two flanking arches on either side of the high framed central arch.
The four octagonal minarets are decorated with panels of flower designs. The decoration changes from stage to
stage (base, octagonal shaft and kiosk). The square base upper row has three upright panels. The central panel
www.tjprc.org
[email protected]
6
Amna Ansari, Maria Ansari & Farjad Faiz
accommodates an arched motif in white and depicts a vase placed over yellow saucer having variety of flowers.
The spandrels of the arches are blue with white floral designs. The yellow panels on both sides of the central one are
similar in design. Their yellow surfaces are adorned with blue vases containing bouquets of flowers. Blue flowering plants
on both sides of the vase make the composition more balance. Middle have three square panels. The central panels show
geometric designs in blue thick dissecting lines. In the centre is a white six-armed star surrounded by yellow orange
shapes. All these shapes filled with blue and orange flora. The side panels are similar in shape bearing white tetramerous
‘flower with yellow carpel’s and orange patches upon white petal and the bottom row is similar to topmost row in design.
The octagonal shaft, bottom portion has no decoration. The area above is divided into two unequal parts by cornice. In the
lower part each side of the octagonal shaft is relieved by two upright rectangular panels larger in size which alternate with
two horizontal and smaller panels. This arrangement repeated on all sides. Thus total number of panels on the shaft is
thirty-two. The small panels enclose large amulet-patterns filled with colourful floral designs, whereas the large vertical
panels enclose white and yellow cusped arches alternating with each other. Under the arch in each case stands single
branch tree in the middle of the panel. The spandrels of the arched panels have tiny floral patterns.
Above these panels a decorative broad band can be seen in golden and brown harmonizing colors, Geometric
shapes here form a central row of stars. In the upper part are sixteen vertically placed closely spaced elongated arched
panels. The panels in the middle of each facet have blue flowering plant on white surface, whereas the other eight panels
alternating with the former are adjusted at the corners of the octagonal sides and are decorated with single tapering cypress
tree in turquoise blue with intertwining grape vine on either side. The pointed ends of all sixteen panels have ghālub kārī
pattern slightly projecting to carry the balcony. The base of the balcony has three decorative colorful bands .The kiosks on
above the minarets have white dome. The dome shows bright blue lines and the cylindrical neck of the dome has two
narrow decorative bands encircling it in various colors.
Thus, on the upper stage of the minarets below the stalactite geometric decoration in various colors, all round the
minarets, are alcoves. These contain cypress and a tree with star shaped flowers alternately. The cypress as a decorative
motif in enameled mosaic work appears first time here. The cypress is in turquoise color with dark maroon almost brown
stem on yellow background. A grape wine creeper is found on the back of the cypress with bunches of grapes and on either
side of the cypress are plants with blue flowers with white centers.
The other panel in the alcove has a tree with star shaped flowers or leaves, in green and turquoise. The stems are
dark maroon with plant designs on either side on a white background. The mosaic tile work found in this mosque is on
plaster base, made up of a composition of siliceous sand with lime and other ingredients held together with cementing
material. Several colors are cut to shape in the manner of colored glass in stained glass window and then embedded in
matrices of mortar. The colors used are vivid, glowing and perfect.
The door-ways of small rooms, hujrās have decoration only in their spandrels and in lintels in the form of
rectangular panel creating harmony and infinity in the courtyard of the mosque. The floral scrolls in the spandrels are
executed beautifully upon bright blue, yellow and white grounds. In the arched recess just above the lintel of door,
horizontally place rectangular panel has floral vines in blue, white and yellow.
The vestibule is architecturally two storied square chamber (square externally and octagonal internally), crowned
with four square pavilions at each corner and large bulbous dome in the centre decorated with lotus cresting and a pinnacle.
The square pavilions are placed on a raised platform and their chattri, consisting of a spire and high dome rests on rows of
Impact Factor (JCC): 1.6369
Index Copernicus Value (ICV): 6.1
Kashi Kari in Wazīr Khan Mosque
7
columns, four on each side. The two bracketed oriels flank the outer face of the vestibule. Inside there are galleries and
small rooms divided by open doors on each storey. The whole outer surface of the façade is divided into various sunken
panels for the purpose of decoration and avoiding monotony. The exterior of the façade is decorated with mosaic tiles as
well as Arabic and Persian inscriptions done in the same mode. The main inscription gives the Kalīma and the date of the
construction of the mosque. The exterior wall of the vestibule proper facing the courtyard has been beautifully adorned
with decorative panels upon red-brick patterned background. This face of the wall is like a huge upright panel divided into
three main vertical sections of which the middle one is broader and larger in size. The spandrels of the central arch have
bright-colored floral vines upon white ground. This arch encloses two open arches of which the lower, larger in size leads
to vestibule and has colored flora in blue spandrels. The arch above, opening in the upper storey has decorative spandrels.
The lower portion of this arch has perforated white screen in three sections. The space between the two open arches is
occupied by a larger colorful inscribed panel. The bright blue Persian verses present sharp contrast with mustard yellow
background.
The surface of the sides of the central arch in each case is relieved by seventeen rectangular panels in three rows
depicting various subjects. In the middle row the uppermost smaller horizontal panel shows a conventional design, whereas
the two upright panels below it have single flowering plant. The panel in the middle of these three has a perforated screen
in the middle, opening into the interior in the flight of the steps. The two vertical rows on the sides have similarly designed
panels. Of these two uppermost upright panels show a single flowering tree in dark colors upon light colored background.
Below these are two smaller horizontally placed panels with a conventional design. They alternate with two large upright
panels having a single flowering plant. The upper edge of the four sides of vestibule proper is topped by a parapet with
continuous colored pattern.
The side entrances of the mosque facing south and north a similar in design. The northern side entrance very
much resembles the main gateway, but is smaller in size with engaged columns and chevron-pattern in blue, white and
yellow, once on each side whereas the southern one has been walled up.
The façade of the prayer chamber is rectangular with a line of five domes above and stately minarets at each end.
The façade is interrupted by five open arches. The central arch is larger. The façade presents marvelous decoration in
colorful mosaic on bands, panels and spandrels of the arches which are composed beautifully on red and white brick
pattern’ background in true fresco. The upper edge of the façade is lined with a parapet, decorated in ‘Madakhal pattern’.
Beneath the parapet line there is a narrow projecting band, next to which small gap appears broader calligraphic band
following the path of the parapet line. This band frames the central arch along three sides. On the north and south of the
central arch this and reappears but here it is broken into three elongated, horizontally placed bands. The elongated bands
are adorned with verses of Holy Quran. All these panels are framed with geometric floral borders, composed of one row of
tetramerous flowers.
Thus the patterns of kāshīkārī are spread at the outer walls of the mosque Wazīr Khan while there is no
ornamentation at the back side wall, where bricks construction pattern is prominent but the ridge of the outer back wall is
decorated with kāshīkārī. In the construction of mosque, wherever there is an arch or dome, are decorated with the fine
work of kāshīkārī,even the door frames are decorated with mosaic work. In reality there is a movement of kāshīkārī
patterns in the whole mosque
Vegetation Depiction in Mosque
www.tjprc.org
[email protected]
8
Amna Ansari, Maria Ansari & Farjad Faiz
•
Paradise concept
•
Vegetation depicted in following variation:-
•
Trees (include cypress, chinār, banyan, date palm, peach and pear tree)
•
Climbers and creepers
•
Flowers in abstract, geometric and conventionalized form
•
Structural flora
Cypress tree is widely distributed almost every part of mosque, as this is symbol of eternity. Similarly chinār trees
with unusual fresh blue leaves are decorating on the minaret shaft. Date tree is indication of superiority and can be
observed in the interior of kiosk, in the squinch arches. Similarly other variation is also depicted .
Calligraphy
Calligraphy is the most important and most common kind of Islamic art. It has always been considered the best
form of art because the Qur'an, the Muslim holy book, is written in Arabic. The use of beautiful writing (calligraphy) is
found in all arts including books and manuscripts; decorations in mosques and on palace walls; and in metalwork, pottery,
stone, glass, wood, and textiles. Calligraphy was also used as art in other languages such as Persian, Turkish, and Urdu
which were written in the Arabic script. It is closely linked to geometry governed by mathematical rules which are
interwoven one within the other. Rhythmic lines and beautiful curves of calligraphy adorning various portions of the
mosque. Calligraphic embellishments usually in blue upon white background.
Calligraphy and Islamic Architecture
Calligraphy as the major unit of decoration defined the specific significance of the monument. Arabic inscription,
whether partly invincible, as on the upper part of the Dome of the Rock or immediately accessible as on the mihrāb of the
Qutabā Mosque played a very constructive role in the development of an exclusively Islamic art based entirely on
calligraphy.
Arabic calligraphy on monuments, therefore, appeared as a dominating graphic and ornamental device. The use of
calligraphy was not restricted to monuments; as Islam established in the conquered lands its word was the principal vehicle
of thought and documentation. The art based on calligraphy, therefore, soon became the most ubiquitous art in the Islamic
world Calligraphy is one of the few artistic skills of Muslims about which we are plausibly well informed.
The achievement of calligraphy is only understandable as a consequence of the role accorded to the Arabic script by virtue
of its association with the Qur’an. It is the association of the script and scripture in the mind of every Muslim that accounts
for the rapid development and spread of the script. Fragments of the Qur’an have been found in several ordinary scripts.
Most of these pages are not easy to read for want of diacritical marks and orthographic signs developed over the centuries
to clarify the Arabic script. The difficulty becomes intelligible if we recall that the observer knew the Qur’an and found a
minimal symbol adequate to grasp the whole text.
In the art of calligraphy, the summarized value visible to all very much presupposes a full knowledge of the
written text. From the earliest times in Islamic history, inscriptions were included in the designs of religious architecture
particularly in the case of mosques; a large variety of Qur’anic texts were used for decoration. But, sometimes calligraphy
was also used to delineate the vital statistics of the monument. On the facades of the mosque, a large inscription is
introduced which has an iconographic meaning. Arabic writing on buildings was more than decoration; it was a subject
Impact Factor (JCC): 1.6369
Index Copernicus Value (ICV): 6.1
Kashi Kari in Wazīr Khan Mosque
9
matter for the architecture of Muslim-based and Muslim-ruled community. Though the use of calligraphy for iconographic
and ornamental purposes was current at a very early stage, most of the Iraqi and Syrian buildings were without it.
Inscriptions on buildings in these regions appeared around the ninth century A.D. In the middle ages, foliated and floriated
Kufic was used in both religious and secular architecture particularly when stucco or carved stone was employed for
epigraphically purposes. Whenever Kufic was used to write Qur’ānic quotations on a mosque facade or interior, its
apparent indecipherability did not present the kind of problem which we might apprehend; these quotations were not meant
to be read, but to create a divine presence, a feeling of holiness and piety.
Its transmission in the innate language gave absolute supremacy to Arabic, a bond which united the whole Islamic
world together forever. Calligraphy was an important element in all artistic creations and had a special impact on Muslim
architecture. This gave enhanced importance to the decorative functions of a building in space.
For this reason, it is essential and proper to understand the architectural style to give as much attention to
calligraphy as to structure when studying different stages of development of Islamic architecture and architectural
calligraphy.
Large number of inscriptions, geometrical patterns, arabesque and calligraphy have been used for the
embellishment of Masjid Wazīr Khan.
CALLIGRPHY IN MASJID WAZĪR KHAN
Wazīr Khan Mosque portrays an exquisite work of calligraphic adornments.
In Wazīr Khan Mosque, calligraphy is combined with the kāshī kārī and mosaic work in such a way that it is
unanticipated. The most surprising is that there is neither a single word in this calligraphy that is considered to be
objectionable. This Islamic calligraphy can be seen starting from the outer side of main eastern door till the alcove of main
prayer hall and the most impressing is that there are almost all styles of Islamic calligraphy that exists in this mosque is a
very creative and unique manner. Even today, most of the calligraphists visit this mosque to observe and research of the
Islamic calligraphic wonderful patters. The precisely selected Qurānic verses, Ahadīs and poetry can be seen everywhere in
kāshī kārī in the outer walls while in main prayer hall, it can be seen in aqua color ground and in mosaics. It is one of the
beautiful architecture in the Islamic world that has the combination of kāshī kārī, mosaic along with Islamic calligraphy.
Calligraphy is on the,
•
Frontend of the mosque,
•
Façade on the northern side entrance (facing bazaar),
•
Façade of the prayer chamber
•
Interior
Persian Inscription 7 panels having Persian inscription in Nastaliq in bright blue upon off white and yellow
ground. Six are found on the forefront of the mosque and one above the arched entrance of vestibule, facing the courtyard.
Above the central arch of Main Entrance Door and compound / threshold: is inscribed the Kalima Tayyiba and the
chronogram of the mosque in bold nasta’liq.
www.tjprc.org
[email protected]
10
Amna Ansari, Maria Ansari & Farjad Faiz
It is remarkably embellished with various calligraphic works in kufic, nask, nasta’liq, thulth and tughra, ma’koos
by master calligraphers.
Below it, the two inscriptions containing date and the name of the founder have been given in the beginning of the
description of the mosque.
Inscription in bold Persian characters is present on the gateway inside the mosque.
The panel on the right is a panegyric stating that it was executed in the reign of Shāhjahān., while the panel of the
left gives the date, 1044 and the chronogram:
The two lowest panels on either side of the central arch are of particular interest as they contain Persian quatrains
which explain the concept of this whole elaborate gateway. The lowest panels are almost eye level and the customary
formalities are relegated to the lofter panels so it can be noticed and read by the visitors to the mosque.
The panels on the right declares that” This structure, like heavens, is a manifestation of Bounty, and contains, like
the temple of Ka’ba, great benefit for all mankind. To all who turn towards the Qibla in prayer, may this door remain wide
open with prosperity till the day of resurrection?”
The panel on left addresses us as “tillers”, and reminds us that” everything we sow in this world we will reap in
the next. Lay a good foundation in this life, for everyone must pass through this gate to Paradise.” The panel is signed by
the Calligraphist .Muhammad Ali, who is known to have been a disciple of the sufi saint, Mian Mir.
In other words, this elaborate entrance is intended to symbolize the transition from this life to the next.
As we climb the steps into the generous portico we find we find ourselves in a classic “Chāh Tāq”, that is the
ancient Persian form of domes chander with four entrances, which was assimilated into Islamic-architecture, with its
symbolism of the earthly, material aspect of life represented by the hemispherical dome above and dome have frescos
round its base showing fruits of all kind on silver platters and pitchers of wine and trees in pairs (Quranic paradise
reference).
Moving into courtyard of mosque we are confronted by a façade of five arches, reflecting the five domed bays of
the prayer hall beyond. Inscription in Arabic as the main embellishments of this façade including Qurānic texts, hadith and
some Tughras.
The three horizontal panels above the arches in the north wing include texts from the Sura Baqra and on the last
panels of this north wing also contain the prayer of forgiveness and peace for the viewers and calligraphists while the
similar panels on the south wing carry extracts from the Surah Aal Imran, and Tauba and the calligraphists who sighed the
last three panels of south wing are Haji Yousaf Kashmīrī.
Inscription on the central bay have long text which frames the tall central arch running partially up the right hand
side, across top and down the left side is complete Surah Fatha. Four of the verses in this sura refers to victory and ten
refers to Prophet. Calligraphic inscriptions inside the main Aiwān (prayer chamber) we find popular prayer of Abrahim and
several tughras invoking Blessings and hadiths . Around the central dome is another complete Surah Hashr written in relief
by one Hussain.
The Mihrābs of the two northern and the two southern bays carry tughras glorifying Allah in the formulas of “
Impact Factor (JCC): 1.6369
Index Copernicus Value (ICV): 6.1
Kashi Kari in Wazīr Khan Mosque
11
Praise be to God most high” and “ Praise be to God most Gracious”. But the central principle mehrāb have simple
invocation ya Fattah. When you leave the mosque, the bold Persian inscription above the exit.
“Muhammad of Arabia, who is the honor of both worlds, Dust upon the head which is not the dust of his
threshold.”
At Wazīr Khan mosque the calligraphy is bold and elongated with the striding height of the arches but does not
amalgate with the rest of the floral, geometric and honeycomb designs
GHALUB KARI ( A TRACERY OF PENDENTIVES)
The arrangement of ghālub kārī, a tracery of pendentives, is used in large as well as intricate beehive patterns
(honey combing), giving a special flavour to the building.
The pendentives of intersecting arches, producing curved vaults are more skillfully wrought. Ordinary clay was
used for curves of such details, the base of which resembles the ordinary hard mortar in its texture
The gateway is fronted by brick colored steps which leads to deep recess (rectangular in plan) with half dome
ceiling above containing colorful designs. The top of the ceiling has five -armed half star from the corners of which ghālub
kārī pattern expands gradually downwards on the semi-circular ceiling and finally meets the apices of nine closely spaced
elongated arched panels, covering the half dome into a rectangular, enclosed by walls from the west, north and south. The
ghālub kārī pattern also in the vestibule.
Honeycomb decoration, which has executed in the haunches of the held doom ceiling of the arches inside the
main entrance gate and other places in the interior chamber . Especially such places are provided to decorate specimens of
calligraphy, frescoes etc. Wazīr Khan mosque the honeycomb facets are bold and imposing, and the line used in these
facets is equally forceful.
MISCELLANEOUS
The mosque has also other decorations like frescos work and other decoration
Some traces of beautiful work of taza kārī, stucco etc are also preserved on the mosque. The floor of the mosque
were usually set with bricks on the edge finished in different geometrical and diaper designs etc.
CONCLUSIONS
The mosque has an alluring beauty emanating from its interior and the transcendent colours of its ceramics.
The whole building presents a dazzling view of tile-mosaic, which could hardly have been imagined as you battled your
way through the narrow, winding streets filled with jostling crowds. Indeed it decorated with the best tile mosaics of the
Shāhjahān era. One of its most attractive features is the colourful floral and calligraphic designs. These have been glazed
and set into a tile mosaic. Thus the extraordinary blend of calligraphy, geometrical forms and floral decoration, along with
large-scale scintillating kāshī kārī (tile mosaics), fresco painting, stone and chuna (plaster) decoration, with tāzā kārī
(brick outline fresco), lends the mosque a character entirely its own. Lock wood Kipling was not far wrong when he
declared “This beautiful building is in itself a school of design.” Professional architects are required to supervise these
projects which include such invariable design, as the study and documents tell us regarding other buildings.
REFERENCES
www.tjprc.org
[email protected]
12
Amna Ansari, Maria Ansari & Farjad Faiz
1.
Rehmani, Dr.F.M.Anjum. History And Architecture of Mughal Monumnets at Lahore. Thesis. Lahore: unpublish Documnets,
2oo2.
2.
http://cipa.icomos.org/fileadmin/template/doc/PRAGUE/129.pdf 17 February, 2014.
3.
http://www.arch.edu.sy/wp-content/uploads/2012/practical/Arch-Historyclass3/%D8%A7%D9%84%D8%AD%D8%B7%20%D8%A7%D9%84%D8%B9%D8%B1%D8%A8%D9%8A.pdf
17
February, 2014.
4.
http://www.lafzmedia.com/masjid-wazir-khan/ 17 February, 2014.
Impact Factor (JCC): 1.6369
Index Copernicus Value (ICV): 6.1