1-4: Architecture of Mughal India | Catherine B. Asher (1992) – A Monumental Study of Imperial Grandeur | Volume I: The Mughals and their contemporaries | The New Cambridge History of India

Architecture of Mughal India | Catherine B. Asher (1992)

Published in 1992 as a segment of Volume I: The Mughals and Their Contemporaries within The New Cambridge History of India series, Catherine B. Asher's Architecture of Mughal India presents a thoroughly researched and visually engaging examination of one of the most important legacies of the Mughal Empire — its architectural achievements.
The Mughals were not merely rulers; they were builders. Their construction ranged from grand forts and mausoleums to mosques and gardens, encapsulating a distinct blend of Persian, Indian, and Central Asian design elements. This work explores how Mughal emperors utilized architecture to manifest their authority, convey religious significance, reflect personal tastes, and maintain dynastic lineage.

Book Overview

The Mughal Architectural Vision
The book commences by presenting Mughal architecture as a tool for establishing the empire. It transcended mere visual appeal; each fort, garden, and tomb narrated tales of power, devotion, and belief systems.

From Humayun to Aurangzeb: Architectural Development Over Time

Humayun and the Persian Legacy

• The initial phase of Mughal architecture showcased a profound influence from Persian Timurid designs.
• The Tomb of Humayun in Delhi signifies the start of Mughal imperial architecture, merging Persian symmetry with Indian artistry.

Akbar’s Innovations

• Akbar embraced innovative designs, fusing Hindu and Islamic artistic elements.
• Prominent constructions: Fatehpur Sikri, Agra Fort, Buland Darwaza
• Utilization of red sandstone, expansive courtyards, chhatris, and jalis (ornamental screens)

Jahangir’s Refinement

• Under Jahangir, architecture evolved into a refined form with a focus on graceful, naturalistic decorations.
• Shalimar Gardens in Kashmir and tombs such as Itmad-ud-Daulah exemplified the harmony of architecture and surroundings.

Shah Jahan’s Grandeur

• The Taj Mahal stands as a symbol of remarkable symmetry, exquisite marble, and deep significance.
• He also constructed the Red Fort in Delhi and Jama Masjid, epitomes of architectural achievement.
• Prominent use of white marble, pietra dura inlay, and dome structures.

Aurangzeb’s Simplicity

• Aurangzeb preferred a more minimalist architectural approach, mirroring his traditional Islamic beliefs.
• He focused less on opulence and more on practicality, as seen in the Badshahi Mosque in Lahore.

Gardens, Mosques, and Forts

• Charbagh gardens, emblematic of paradise, became integral to Mughal aesthetic values.
• Mosques served dual purposes as places of worship and centers of political significance — showcasing grandeur and craftsmanship.
• Forts were not only military installations but also represented royal power.

Integration of Indian Elements

Asher details how the Mughals embraced Indian architectural elements — melding features such as:

• Lotus motifs
• Chhatris (domed pavilions)
• Brackets and beams

This combination resulted in a unique Indo-Islamic architectural style that continues to hold influence today.

Visual and Cultural Symbolism

Architecture extended beyond physical structures — it communicated:

• Religious authority (in mosques and tombs)
• Dynastic legacy (monuments honoring predecessors)
• Imperial dominance (gates, forts, ceremonial routes)
• Celestial harmony (geometry, balance, heavenly symbolism)

Why This Book Matters

• This volume remains one of the foremost and approachable discussions on Mughal architecture.
• It situates buildings within their political, religious, and artistic frameworks.
• Perfect for both academic professionals and casual readers who have an interest in Indian culture, history, and heritage.
• Accompanied by photographs, architectural layouts, and illustrations.

About the Author: Catherine B. Asher

Catherine B. Asher is a prominent art historian and educator focused on Islamic and South Asian art and architecture, particularly that of the Mughal era. She is well-regarded for her efforts to connect scholarly research with public appreciation of Indian cultural history.

Who Should Read This Book?

• Students focused on Indian or Islamic architectural styles
• Architects and individuals passionate about design
• Readers captivated by Mughal history and cultural inheritance
• Academics studying South Asian art
• Visitors or researchers exploring locations such as the Taj Mahal, Agra Fort, and Fatehpur Sikri