Mughal Architecture
First published in 1991, this revised volume is a clear, comprehensive, and accessible study of Mughal architecture, from its inception in the sixteenth century to the decline of the Mughal Empire in the nineteenth century. Although a short account, Koch’s book provides the reader with a sound foundation of understanding the development and aesthetic of architecture under the greatest Islamic kingdom of the Indian subcontinent. The 1991 volume was not only Koch’s first synthesis of a survey of Mughal buildings, but it was also the first monogram ever dedicated to the subject. Since the original publication, Koch has made significant contributions to the field through a series of books and articles. Thus, this revised edition reflects her new findings and insights.
The Introduction gives a brief overview of the history of the Mughal Empire, starting with the founder, Babur (r. 1526-1530) and concluding with Aurangzeb (r. 1658-1707), whose reign marked the beginning of the end of the Empire, and his successors. This is especially helpful, since the remainder of the book follows the same format; it traces the development and evolution of Mughal architecture from Babur to the decline of Mughal rule. Through the chronological framework, Koch is considerate yet critical in her analysis, and this treatment remains consistent throughout. However, it is strikingly clear that some rulers are given greater attention than others. For example, the chapter on Babur is only three pages long, whereas the chapters dedicated to Akbar (r. 1556-1605), Jahangir (r. 1605-1627), and Shah Jahan (r. 1627-1658) are extensive. But it is important to remember that this is no fault of Koch; some emperors were greater patrons of buildings than others, which means that material to examine is more extensive for some than for others. Yet, Koch does attempt to highlight neglected areas of architectural patronage, particularly under Jahangir, who is better known for his encouragement and commissioning of the fine and decorative arts, and Aurangzeb. Koch also brilliantly draws on connections between the Mughals and the Timurids of Central Asia, from whom they descend, as well as between the Mughals and the Safavids of Iran.
Koch uses contemporary literature, detailed images, and building plans to take the reader on a journey of each emperor’s approach to imperial architecture. She also compares and contrasts buildings that were commissioned between each emperor to highlight developments or new influences into the architectural vocabulary. Another fantastic feature is that she encompasses a wide variety of buildings: tombs, mosques, mausoleums, palaces, gardens, and public/communal works. What would have added more dimensionality to her study is including information on the actual builders of these magnificent structures. This could have easily been achieved by looking at the substantial contemporary literature and images that shed light on their work, workshops, and gilds, such as Akbar’s memoirs, the Akbarnama. This analysis is necessary, because, although the tastes of the emperors played a part in the patronage of buildings, the skill, technique, and craftsmanship of the builders would have had a much more profound impact on the outcome of these structures. It is surprising that Koch did not include this examination in her revised edition. What is also surprising is that the relationship between Mughal and indigenous Hindu architecture was not further developed from the 1991 volume. She still overlooks how integral Indian architectural elements were to Mughal buildings. The only exception is her look at the Akbar period, where she discusses that Indian features were drawn from Gujarati sultanate architecture. However, she neglects to talk about other influences, such as those from Delhi. Despite the connections to Timurid Central Asia and Safavid Iran, a greater discussion of the interaction between indigenous and Mughal structures would have emphasized the distinction of Mughal architecture from the rest of the Islamic world. Koch expresses in her Introduction to the Revised Edition that her intention was to demonstrate to the reader the originality and creativity of the Mughal world and its architectural heritage – a look at Hindu buildings and their impact would have helped further achieve her goal.
However, Koch does take the opportunity to include the impact of European influence on Mughal architecture. She discusses, for example, a “baluster shaped column” of the Shah Jahan period which was derived from European sources, as seen in a print of Cranach the Elder dated 1531 (and reproduced in the volume). Koch says that the shape and style of the column was brought to Mughal Empire by the Jesuit missions. But the “baluster shaped column” was also possibly influenced by similar structures found in India. Although Koch lightly admits this, she says that the source would have been Eastern India, despite the shape also being prevalent in Delhi.
Despite the lack of attention paid to the builders and to Hindu architecture, Koch’s volume is still the best available survey on Mughal architecture. Koch provides not only insight into the Mughal architecture, but also an understanding of Mughal culture and heritage as a whole. Her approaches, precise writing, and visual aids provide a reader with a fantastic introduction to the subject. Her extensive bibliography is ideal for the reader, who will no doubt be left with wanting to learn more, as well as for students. Koch’s volume is a prime and necessary resource for any scholar, student, or enthusiast of the subject.
Rachel Parikh, PhD. The Metropolitan Museum of Art (rachel.parikh@metmuseum.org)