Jali

History

The earliest sanctuaries in India, dedicated to Buddhism, Jainism and Hinduism, were often dimly lit and confined, resembling natural caves. Worshippers gathered in front of the sanctuaries' doorways for prayers and offerings. To control the harsh daylight entering the temples, screens known as jalis were used to filter and soften the light, encouraging devotion and directing attention to the sacred images. The tradition of using jalis persisted in later Indian architecture, including Hindu and Jain temples. Over time, the designs of jalis evolved, incorporating geometric and naturalistic patterns. With the advent of Islamic architecture in Gujarat, the use of jalis expanded and became a prominent feature in mosques and tombs, following the same symbolic importance of light in Islam. The adoption of jalis in Islamic buildings shows a fusion of architectural styles and motifs from Hindu, Jain, and Islamic traditions, largely influenced by the guilds of masons working for patrons across different cultural backgrounds.

Early jali work with multiple geometric shapes was built by carving into stone, in geometric patterns (first appearing in the Alai Darwaza of 1305 at Delhi besides the Qutub Minar); later on, the Mughals used very finely carved plant-based designs (as at the Taj Mahal). They also often added pietra dura inlay to the surrounds using marble and semi-precious stones.

In the Gwalior Fort near the Urwahi gate, there is a 17-line inscription dated Samvat 1553 mentioning names of some craftsmen and their creations. One of them is Khedu, who was an expert in Gwaliyai jhilmili (jali screens crafted in the Gwalior style). The Mughal period tomb of Muhammad Ghaus, built in 1565 AD at Gwalior, is remarkable for its stone jalis. Many of Gwalior's 19th-century houses used stone jalis. Jalis are used extensively in Gwalior's Usha Kiran Palace Hotel, formerly Scindia's guest house.

Museum collections

Some of the jalis are in major museums in the U.S. and Europe. These include the Indianapolis Museum of Art, the Metropolitan Museum of Art and the Victoria and Albert Museum.

Illustrations

File:Window at Alai Darwaza, Qutb complex.jpg|Window at Alai Darwaza, Qutb complex File:Sidi Saiyyad Ni Jaali.jpg|Jali in Sidi Saiyyed mosque in Ahmedabad, exhibiting the traditional Indian tree of life motif File:Salim Chishti Tomb-2.jpg|Jali at Tomb of Salim Chishti in Fatehpur Sikri, showing Islamic geometric patterns developed in Western Asia File:Taj Inside 1.jpg|Details of marble jali screens around royal cenotaphs, Taj Mahal File:Bibi-Ka-Maqbara- net.jpg|Jali at Bibi Ka Maqbara in Aurangabad, with typical Indian motifs File:Doors Champaner-Pavagadh.jpg|Jali at Champaner, utilizing traditional Indian geometric patterns and Islamic geometry File:Mohammad Gaus Tomb Gwalior - panoramio.jpg|Jalis in Mohammad Gaus Tomb in Gwalior File:P 306--Winter India.jpg|19th-century house in Gwalior, using stone jalis

References

Sources

References

1. Pandya, Yatin. (2011-10-16). "Yatin Pandya on 'jaali' as a traditional element".
2. Satyaprakash Varanashi. (30 January 2011). "The multi-functional jaali". [[The Hindu]].
3. (20 September 2022). "How India's lattice buildings cool without air con". www.bbc.com.
4. (2021-11-02). "Jali by Mapin Publishing - Issuu".
5. (17 November 2022). "Jali: Lattice of Divine Light, with Navina Najat Haidar".
6. Thapar, Bindia. (2004). "Introduction to Indian architecture". Tuttle Publishing.
7. Hariharnivas Dvidedi, Gwalior ke Tomar, 1976, p. 378-380
8. (2017). "Nonperiodic Octagonal Patterns from a Jali Screen in the Mausoleum of Muhammad Ghaus in Gwalior and Their Periodic Relatives". Nexus Network Journal.
9. [https://collection.cooperhewitt.org/objects/52272397/ JALI PANEL (INDIA), LATE 19TH CENTURY]
10. [https://www.metmuseum.org/art/collection/search/453241 Pierced Window Screen (Jali) early 17th century]
11. [https://collections.vam.ac.uk/item/O430678/one-of-twenty-nine-drawings-drawing-unknown/ Drawing ca.1882 (made)]