MAK

Volltext: A classified and descriptive catalogue of the Indian department, Vienna Universal Exhibition 1873

186 
Word has already its well-defined and well-known 
applieation, while Hindoostanee inlaying is properly 
architectural rather than pictorial, and is not pro- 
duced by tesselation but by the insertion of large 
masses of jewel into blocks of white marble so as to 
form geometrical patterns rather than pictorial 
designs, it is well to leave the term as we find it. 
I propose to call Indian inlaying by the name of 
“ Indian pietra dura.” 
This form of the art is peeuliar to modern India, 
and in India to the particular region with which this 
paper is concerned. Besides the use of enamelled 
tiles, the Indian Mahometans adopted early the 
applieation of eoloured stones, gradually elaborated 
from the simple courses of Toghluk’s tomb to the 
minute decoration now in vogue. The art in its 
best condition is commended by Fergusson as “ the 
“ great characteristic of Moghul architecture after the 
“ death of Akber.” As to who introduced it au- 
thentic history is silent. It first appearance may per 
haps be cited in the gate of Akber’s tomb at Sikan- 
dra. Twenty years later it appears, still in coarse and 
purely arabesque patterns, on the tomb of Itmad- 
ood-Dowlah. Tradition says that its first develop 
ment in the time of Shah Jahan was due to Persian 
artists; and this synchronizes with the arrival at 
that monarch’s court of the distinguished amateur 
Ali Murdan Khan, the designer of the Dehli Palace 
and of the canal that supplied it with water. Up to 
this time the geometric traceries of the early inlayings 
are seen timidly borrowing a few floral forms—wit- 
ness Shah Jahan’s Palace in the Agra Fort. Im- 
mediately after, however, appears the full introduction 
of flower-work in the screen that surrounds the 
tombs in the Taj Mubul; and the vexed question 
arises, How was this revolution accomplished, and 
bywhom? In the ten years that elapsed between 
the Fort buildings and the work at the Taj what 
influence had introduced an attempt at realization 
of leaves, stalks, and petals which, if not happily 
arrested, would perhaps have degenerated into a 
mongrel and rococo style ? 
I think it probable that the traditional belief, that 
European taste is here answerable, is not wholly un- 
founded. The Taj was designed by Eesa Eifendi, 
a Constantinople Turk, and the Palace at Dehli 
decorated by Austin de Bordeaux, an accomplished 
French adventurer. That Byzantium was the home 
of true Mosaic is well-known, and the kindred art 
had beeil in vogue for about eighty years previous 
in Northern Italy, with which Austin was doubtless 
acquainted.* It is thus deseribed in Sir D. Brews- 
ter’s Encyclopaedia:— 
“ Analogous to Mosaic is the pietra dura of Flo- 
“ rence, which consists of irregulär portions of hard 
“ stones, containing the gradation of colours in each, 
“ instead ofobtaining that gradation by the union of 
“ multiplied fragments.” This, it may be observed, 
is an almost exact definition (as far as it goesj cf 
the modern Indian pietra dura as seen in the screen 
of the Taj and its reproductions of to-day. And 
the three and a half flowers still pointed out by the 
curators as the work of the “ master’s ” own hand 
have effects of shadow and of reversed leaf-ends in 
* Tbere was formerly a good deal of work attributed to Austin 
at Debli, including pietra pictures of birds, beasts, and his own 
likeness in the cliaracter of a long-haired Orpheus playing on 
the violin. Fortuuately the dignity of the Taj was not com- 
promised by any such realistic efforts. 
this style which exceed the limits of the pure con- 
ventional.* 
However originated, this work is now practised 
chiefly by Hindoos. A few Musulmans at the Taj 
maintain an unsuccessful rivalry with the more 
painstaking workmen of indigenous blood; but they 
have never—as far as I am aware—exhibited, while 
the two Hindoo artists already mentioned have been 
honourably noticed and rewarded with medals, both 
in Indian and European exhibitions. 
The practice of their art is very simple. The 
master-workman traces with delicate exaetness a 
pencil outline of the design to be produced upon 
a slab of the whitest Jaipoor marble. The slab is 
then handed over to one craftsman, and a Collection 
of jeweis to another. The chief jeweis used are 
Agate, Cornelian, Jasper, Blood-stone, Lapis Lazuli, 
and Turquoise. Each piece has its bed prepared on 
the master’s tracing on the surface of the slab, while 
it is shaped by the associated workman. As each 
piece is ready it is handed to the inlayer, who fits it 
into its place with a cement of white lime. It is 
then covered with a small piece of glass, over which 
is laid a fragment of burning charcoal. When the 
annealing process is complete the glass is removed; 
and, when the whole design has been inlaid in this 
manner, the surface is rubbed over with a polishing 
powder and the work is ready. When the Cutter 
and the inlayer have done their respective offices with 
due skill, no trace of the annealing is perceptible. 
In second-class work a small rim of cement may 
always be detected by its greater whiteness, separa- 
ting the precious stone—whatever it be—from the 
bed of marble. 
As to the uses of this art it has been already shown 
that it is essentially architectural. The jambs of 
great portals in a Moghul tomb, the piliars of a 
l’alace-hall, should have their borders of bold ara 
besque. The panels of the inferior admit of the 
more delicate floral tracery of the later school. But 
this, the original and legitimate applieation of the 
art, is in abeyance. Europeans are too unsettled 
and the wealthy natives too negligent to allow of 
their dwellings being beautified by this costly method. 
The patient workmen therefore have turned their 
attention to making smaller specimens of their art, 
which is now chiefly confined to tables, inkstands, 
trays, plates, and paper-weights. The time required 
to mature even these comparatively unimportant 
works is still considerable, and the prices commanded 
are not small. An average fable will take two men 
from six to twelve months to complete; and when 
the value of the materials is taken into considera- 
tion, will not perhaps appear too expensive at a cost 
of from 30/. to 100/., according, of course, to the 
amount of labour and material.f 
The other characteristic stone industry of Agra and 
its neighbourhood is called Jalee. ' On the carved 
tracery of this part of India Mr. Fergusson only 
remarks;— 
“There are some exquisite specimens of tracery 
“ in marble at Agra and Dehli, but none quite equal 
* It is to be observed that, though Bernier does not notico 
the inlaid work at Dehli he particularly compares that of the 
Taj to the pietra of the Medicean Chapel. “ Yousee suchsort of 
" stones as are employcd to enrich the chapel of the Great Duke 
of Florence.” But ho does not notice the floral screen. Is it 
possible that this and the work at Dehli were added, after his 
visit to Aurungzeb ? 
t The mural pietra dura of the palace of Shah Jahan in Agra 
Fort is also being restoredby these menat the Charge and under 
he Orders of the British Government.
	        
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