Architecture of Lucknow

The Lucknow School of Architecture was an experiment by the resurgent Nawabs of Awadh. It was an attempt to preserve the Mughal school of architecture by experimenting with different materials and innovating new concepts.

Among the extant architecture there are religious buildings such as ''imambaras'', mosques and other Islamic shrines, and secular structures like enclosed gardens, ''baradaris'', palace complexes.

The following are distinct features of Lucknow architecture :

*Use of Fish as an auspicious and decorative motif especially on Gates
* The use of Chattar ( umbrella ) as in the Chattar Manzil
* The Baradari ( the twelve doorway pavilions)
* Rumi Darwaza, the signature structure of Lucknow
* Enclosed Baghs like Sikandar Bagh
* Vaulted halls such as the Asafi Imambara
* The labyrinth Bhulbhulaiyan
* Taikhanas
* Use of lakhauri bricks.

Lucknow’s geography also plays a major role in determining the type of structures built. Lucknow is based on fertile land, and the land below the Himalayan foothills is known as 'Terai' or moist land. It is located in the middle of Ganaetic Plain and reaches Gomati (left of Ganga River), placing it in the center of Uttar Pradesh.

The monuments in Lucknow have been influenced by various cultures and religions throughout the years. Dating back to the 18th century, Lucknow also named "Awadh", or "Oudh" was one of the richest semi-independent states under the Mughal rule and was predominantly ruled by Muslim Shiites of Persian origin known as “Nawabs”. Being defeated by the British Imperials forces, the nawabs made an alliance with the East India Company until it was annexed in 1856. It is for this reason that you will see various influences from Persia, Turkey, and Europe (such as France).

History

The architectural history of the city only started flourishing once the capital of "Awadh" or "Oudh" moved from Faizabad to Lucknow in 1775 by Nawab Wazir Asafud-Daulah (1775-1798). Under Asafud - Daulah’s rule, the city hosted variously educated and skilled literates and workers, poets, and soldiers. Lucknow flourished under Asaf-ud-daula’s reign as it was during this period that the city grew outwards past Macchi Bhawan and the Chowk area. It was during this period that Rumi Darwaza, Daulat Khana, Asafi Kothi, Hussainabad Imambaras, Bibiapur Kothi and various gardens such as “Aishbagh, Charbagh, Yahiyaganj, Wazirganj, Amaniganj, Fatehganj, Rakabganj, Daulatganj, Begumganj and Nakkhas” (pp. 54) were built. He was also integral in making market streets or ‘bazaars’ and therefore can be attributed to Lucknow’s fame and glory.

In 'My Indian Mutiny Diary' (1957 pp57–58), William Russel's describes the city with:

"A vision of palaces, minars, domes azure and golden, cupolas, colonnade, long faced of fair perspective in pillar and column, terraced roofs - all rising up amid a calm and still ocean of the brightest verdure. Look for moles and miles away, and still the ocean spreads, and the towers of the fair-city gleam in its midst. Spires of gold glitter in the sun. Turrets and gilded spheres shine like constellation. There is nothing mean or squalid to be seen. There is a city more vast than Paris, as it seem, and more brilliant lying before us. Is this the city of Oudh?"

The change in Lacknavi landscape occurred after the introduction to Colonial rule when Wajid Ali Shah (the last Nawab) surrendered in 1856. There were various politically motivated demolitions and the change in landscape went through further change during the 1857 War of Independence.  Previously, the second ruler of Awadh, Nawab Safdar Jang (1739-1756)  attempted to restore an old fort in the city named Machchi Bhavan, however that building was destroyed by Sir Henry Lawrence during the 1857 uprising.

The city of Lucknow can easily be separated to Old or ‘Purana’ Lucknow or new Lucknow. This is because newer settlements surround the older settlements in the city - the older being south of the Gomti river with compacted settlements. Such settlement had grander courtyards which allowed for social gatherings in comparison to the newer settlements. The older section of the city has winding streets and lanes between 3-5m in width with multiple story houses.

Influences

The Indo - Islamic Influences

The Nawabs were an integral part of the city's architecture as they were the few with the means to construct the monuments that still hold today. These were the Iranian group of Mughal nobility and therefore held a close connection to Persian ideologies which influenced a lot of their stylistic features, for example, the animal motifs like the fish emblem. Majourity of these fish emblems is found on arch spandrels of many entrances and gateways to monuments. All deceased Nawabs built a tomb, and their predecessors deserted their palaces to build their own.

Indigenous houses have a Mardana (men’s quarters) and a Zenana (women’s quarter’s) to satisfy the requirements of the propriety at the time. Whilst the Mardana was accessible through the street, the courtyard allowed access to the Zenan and played the role of ventilation.  The indigenous houses also have been found to have labyrinth like networks that rarely open to big spaces and are mainly used by residents.This architecture had strategic importance as outsiders would be unable to comprehend the complexity of the narrow lanes and therefore discouraged stranger access.

Srivastava (1997) outlined the reason in their work (pp. 30–31) highlighting it

“allowed for the preservation of: (1) ritual, (2) socio-economic status of particular groups, and (3) the seclusion of women according to the Islamic traditions of Lucknow.”

European Influences

The hot Indian climate, especially through summer has been said to play a contributing factor to why the British preferred the European houses compared to the indigenous houses. The power structure and economics of the time allowed British India to construct more grander houses than ever before, which has been outlined by some to reiterate the cultural superiority felt by the British in Lucknow.

Unlike indigenous homes, European homes in the area do not have a central courtyard and have allocated private and public spaces within the house. This is effectively showcased in Dulkusha – one of the earliest European buildings in Lucknow. Furthermore, there are no separation of men and female spaces and the doors and windows were significantly larger. Ornamentation was now grandly exhibited on the outside compared to indigenous houses which ornamented on the inside.

Types of Buildings

It is well known that “in the course of a hundred years, Lucknow was all over studded with scores of palatial monuments, majestic gateways, Imambaras, mosques, tombs, country houses, including more than a hundred monuments in all”.

Imambaras

Most of these monuments diverge from the traditional stone and iron frames and use bricks and mortar instead.  They use ‘lakhauri’ bricks for bulbous domes, minarets arches and vaults, and tiles for their flooring. Keeping the religious requirements in mind, most imambaras allow for segregation and have designated male and female sections within each structure. A key aesthetic and practical component of Imambaras was the ‘Mehraab’ which was utilised to show the direction of prayer and usually included floral embellishments and engravings, along with calligraphy in the Arabic, Persian, or Urdu

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