In this blog, you will discover the history and techniques behind India's exquisite marble artistry. There is a detailed look at Mughal inlay art, relief carving, and jali work, highlighting their evolution and cultural impact. In displaying traditional and modern marble artworks, it emphasizes the craftsmanship, heritage, and enduring allure of marble as a medium of dynamic expression.
Do you know the meaning of Sangamarmar? A term used for marble, Sangamarmar means the stone (sang) of Marmara, an island in Greece known for its shimmering white marble that is used the world over to create beautiful architecture and art. The pristine white color of marble has made it a favorite of artists of the Mughal court as well as the Italian master Michelangelo. In this article, we will learn all about this lovely stone and how it is transformed into timeless pieces of art.
Prevalent in ancient and contemporary art alike, marble artworks have a prominent place in many major art movements and are among some of the most famous sculptures in the world. For millennia, artists have opted for marble, a metamorphic rock, due to its soft, easy-to-carve composition and the translucence of its surface. In ancient Mesopotamia, marble was used to create crude models of animals (both naturalistic and anthropomorphic) and figures, though other mediums like limestone, diorite, and terra-cotta were used more frequently.
Similarly, ancient Egyptians artistically employed a wide variety of stones. While limestone and granite were their mediums of choice, they occasionally used marble to craft figures of pharaohs, gods, and guardians for temples and tombs. Like the Mesopotamian figures that came before, these pieces are primitive in design, showcasing flat and stylized silhouettes rather than realistic forms or lifelike details.
During Ancient Greece's Archaic Period of art (8th century-500 BCE), artists began to show increasing interest in marble. Though rendered with more realism than sculptures from preceding periods, marble figures from this time are not yet naturalistic, as their expressions remain relatively stoic and their poses convey little movement.
In India, Mughal Inlay art has been a remarkable feature of Mughal architecture and Inlay art was an instrument of dynamic expression in the age of the Mughal Empire. The Monuments of Agra (India) provide different stages of the development of Mughal Inlay art in a progressive sequence during the sixteenth to the seventeenth century as practiced under Akbar (r. 1556-1605), Jahangir (r. 1605-1627), and Shah Jahan (r. 1628-1658).
Marble inlay- ‘Pachchikari’ or ‘Parchinkari’ is one of the most beautiful and popular forms of Mughal art developed indigenously in India. It is to be believed that it is typically Italian in origin and some contend it to be of Indian origin itself. Inlay technically known as Pietra dura (Italian for "hard stone") is marble inlaid with designs in precious or semi-precious stonework. Inlay work particularly on marble or pietra dura, generated a lot of debate as far as its origin is concerned.
Some argue that the inlay art is Italian in origin and Indian artisans adapted it to their needs, gave it an indigenous touch, and used the technique to carve out traditional Indian motifs that are today the crown of Indian art. Some believe it is developed slowly in India as we can observe the differences found in the inlay work of the buildings of Akbar to Jahangir and then Shah Jahan. A continuous development in Inlay art can be seen in Jahangiri Mahal to Akbar’s Tomb and then in the Tomb of Salim Chisti and Itmad-ud-Daulah tomb.
The tomb of Itmad–ud–Daulah supplies a link between two important phases, namely those of Akbar and of Shahjahan. It is the first notable building in white marble with its rich ornamentation in pietra dura that provides the impression of a miniature precious object magnified into a piece of architecture. It represents the transition from the red sandstone phase of Akbar’s buildings with their direct simplicity and robustness of structural design to that of sumptuous marble with all the changes.
With a remarkable eye for excellence in design and execution in the arts and crafts, Jahangir encouraged talent and promoted merit without discrimination. Jahangir had a taste for the fine things of life - for beautifully designed artifacts, and the enjoyment and appreciation of cultural activities. In his memories, he says that there should be such grand buildings in all great cities as might be fit for royal accommodation.
Probably when Jahangir visited Mandu, the fascinating inlay work of Mandu impressed him and the continuous refinement of inlay work can be seen in the Jahangir buildings i.e., from Akbar’s tomb to Salim Chisti’s tomb, and ultimately a remarkable change in the tomb of Itmad-ud doulah. It may as well be possible that there could have been interaction between Mandu’s artisans and Jahangir’s architect.
Jahangir had sent his architect AbduI-Karim to look for the repair of the buildings of the old rulers in Mandu. It is predictable that Abdu-I-Karim would have come in contact with the local artisans of Mandu and would have shared their techniques which inspired them to do it more minutely.
Another possibility is that Nur Jahan, the wife of Jahangir, would have been fascinated by the inlay work of Mandu. As explained about the visit of Nur Jahan with Jahangir in the Memories of Jahangir. She saw all the places of Mandu as per the instruction of her husband. It is expected that Nur Jahan was inspired by the inlay work and applied the same in her father’s Tomb with much-sophisticated style.
In Shah Jahan’s period, the Musamman Burj, the Diwan-I–Aam, Diwan-I–Khas of Agra Red Fort; the Taj Mahal, Agra (1631-1652), Red Fort and Palaces, Delhi (1639-1648) were the examples of its most refined and perfect stage and it was an incessant phenomenon in the field of Mughal Inlay art. From 1630 onwards, pietra dura appeared in buildings as well as on moveables, small objects as decorative panels, with bird and flower motifs, suitable for cabinet fronts and tabletops.
Unlike the pietra dura of Italy and particularly the Florentine tradition, Indian inlay work is not three-dimensional but flatter. It is not appropriate to say that the inlay art came from Europe but it is a continuous development of Inlay work. It is observed that there is no European inlay motif in the Jahangir period and there is not much difference between the inlay technique of Itmad-ud-Daulah’s Tomb and the technique of Shah Jahan’s buildings inlay work. It reached its most gracious position in the period of Shah Jahan with the placement of inlay motifs and in the use of negative and positive space of the inlay motifs.
To recapitulate briefly the three major points about the visit of Jahangir at Mandu that have bearings on the origin and development of the Mughal Inlay art are the following: Firstly, when Jahangir visited Mandu, the fascinating inlay work of Mandu impressed him and as the continuous refinement of inlay work can be seen in the Jahangir buildings i.e. from Akbar’s Tomb to Salim Chisti’s Tomb and, ultimately, a remarkable change in the Tomb of Itmad-ud Doulah.
There is also the possibility that there was an interaction between Mandu’s artisans and Jahangir’s architect. The other possibility can be that Nur Jahan, the wife of Jahangir, was impressed by the inlay work of Mandu during her visit along with her husband. As a result, she applied it in her father’s Tomb in a much-refined manner. To sum up, in the Jahangir period a remarkable change can be seen in Mughal Inlay art, which is not only an indigenous Indian art but also developed rapidly in the period of Jahangir rather than Shah Jahan.
Having introduced ourselves to the story of marble, let us now see how the artists transform stone slabs into expressive and moving pieces of art. It is a process that slowly chips away the coarseness of marble and makes it a polished and intricately sculpted statue. Quarries in Rajasthan, Gujarat and Madhya Pradesh supply marble to Indian artisans who then start the process of making stone into art.
☛ The process begins with sketching, in which the design or statue is envisioned and drawn as a guide for the sculptor.
☛ Chisels are used to create a rough outline of the statue in the stone. Excess marble is removed during this process. The artist has to be careful while shaping the stone a small mistake can ruin the entire slab.
☛ Intricate carving with files and other fine tools is done at this stage. Soft features such as expressions, flow of garments, and gestures and poses of the subject are added.
☛ Once the details are finished, polishing begins. The natural shine of marble is enhanced with an even polish that gives it a lustrous look.
☛ Final touches are added to the statue, with colors and embellishments if needed.
In addition to the generic carving, sculpting, and polishing, there are certain traditional techniques learned by artists as hereditary skills, which are used to give a marble artwork a refined and regal finish. These techniques first emerged during the ancient or medieval period and were patronized by kings and elites, whose taste is reflected in the finesse of these styles.
☛ Marble Inlay : Pachachikari or Pietra Dura, this technique involves piecing small precious and semi-precious or colored stones into marble. This was popularized under the Mughals who used gemstones like ruby, turquoise, sapphire, and emerald in the floral decorations of their architecture. Marble inlay works on precise cuts and measured etchings in the hard stone, making it a difficult and time-consuming process.
☛ Relief Carving : Cutting the marble to create a three-dimensional effect is known as relief carving. The sculptures created with this technique are made on a flat surface but perfectly capture the perspective and depth of a roundly made statue.
☛ Jali Work : Jali or lattice designs were popular in Indian Rajput havelis, palaces, and the forts of the Mughals. The intricate pattern of Jali allows for air and sunlight to enter a space beautifully, adding to the grandeur of any architecture. Jali work today can be seen in historic monuments, especially in the windows and screens. In modern spaces, the lattice is added to create the stunning effect of light and shadow. Marble Jali is used today as a part of traditional homes, temples, and other public structures which draw their inspiration from medieval palaces.
☛ Free-Standing Statues : Free-standing statues, especially idols for temples or homes, and large marble statues from home décor are some of the most cherished pieces of art made with this charming white stone. These statues are often crafted with intricate details, naturalistic depictions of body and pose, and handprinted to give them a unique, beautiful effect. Free-standing marble statues of Radha-Krishna and other Hindu gods and goddesses are some of the most exquisite examples of large, independently standing marble statues.
Even those who appreciate the kaleidoscopic beauty of marble inlay work, wonder sometimes, why is this piece so costly. Here are some of the reasons why marble inlay work is a luxurious and thus costly art-
☛ Skills of the Artist : Not every marble artist can do good inlay work. The process takes immense precision and hand-eye coordination in cutting fine gaps in the marble and setting precious stones. The work is done with patience and finesse, making marble inlay artworks costlier than many other art forms.
☛ Time : As a result of the handiwork required, inlay in marble is a time-consuming process, and a single piece can take months to complete if it is complex.
☛ Quality of Material : From the marble used to the precious and semi-precious stones encrusted in it, every material in the process is high-quality, and the price to procure them is also quite high.
☛ Durability : Marble pieces can last you for generations. This durability along with the unmissable beauty of marble inlay makes it worthy of the high cost.
The primary centers of marble carving in India are located in the western part of the country.
☛ Makarana, Rajasthan : Popular among the lovers of marble art as the home of Taj Mahal’s marble, Makarana has earned a reputation as the source of one of the most high-quality marbles in the world. Artisans living in and around Makarana create beautiful statues and utility objects that are exported around the globe.
☛ Jaipur, Rajasthan : Marble inlay work, intricately carved jewelry boxes and tabletops of Jaipur are loved the world over. Decorative items of marble are made by trained artisans of this tourist hub, and sold to visitors, locals, and exported to an international customer base.
☛ Agra, Uttar Pradesh : The capital of Mughals for years, Agra is the home of fine inlay work done by artists whose ancestors worked in the royal workshops.
☛ Khurja, Uttar Pradesh : Also known for its unique Khurja pottery, this north Indian city produces beautiful marble idols of Hindu gods and goddesses.
Though marble is a durable and sturdy stone, artworks made with marble need to be cherished properly, which includes regular cleaning and maintenance.
☛ Simply dusting your marble statues and décor pieces with a clean cloth is the easiest way to maintain their beauty. Do not use any chemical or harsh cleaner as it could erode the stone.
☛ Stains can be removed from the surface with a gentle soap or detergent.
☛ Do not keep marble statues in the sunlight for long.
☛ If the statue is displayed in a damp place such as a fountain, thoroughly clean it at regular intervals to avoid any algae buildup.
☛ Use sealants available in the market to protect the marble from moisture and discoloration.
If you are a connoisseur of traditional crafts and want to include marble statues or home décor in your space, here are some unparalleled works that you should consider. Marble statues are a divine presence in home temples and hall spaces of homes and offices. The expressive and emotive deception of gods and goddesses in marble makes these statues heavenly and adds a serenity to the ambiance.
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This magnificent statue of the goddess Saraswati is an example of how marble is finely carved by the artist, to a point where it no more seems solid. The elegant pose of the goddess, the blooming lotuses around her, and the pristine white, polished marble create a statue ideal for temples or home Puja halls.
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White marble statues of Radha-Krishna are a beautiful vision in modern Hindu temples. Adorned with silk garments, floral garland, and ornaments, these statues appear animated with the presence of the divine duo, whose poised stance and gentle smile make this a transcendental image for home temples.
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Capturing stillness and divine animation of the standing Buddha in the symmetrical waves of his garment, this marble statue represents the finesse of the artists who bring the stone to life.
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Another masterfully crafted marble Buddha, this is perfect for creating your personal mediation space or a zen garden in the company of the Enlightened One.
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A white marble statue of Ganesha as the sacred décor and a centerpiece that fills your space with auspicious energy.
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For the devotees of Maa Durga, this marble statue is like the Darshana of the goddess on earth.
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Inspired by Pichwai paintings, this marble screen is the perfect background for a grand home temple.
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A marble inlay piece recreating the rich Pachichakari of the Mughal period, this is all you need to make your home into a palace.
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Your garden will love a makeover with this classic white marble fountain, that brings a serene and dynamic air to the outdoors.
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Place your favorite blossoms in this handcrafted marble vase, decorated with traditional details that are always in style.
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Make festivals a time of celebrating art with this hand-painted Urli, glowing with its golden finish and seamless design that blends well with traditional and modern décor.
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Welcome your guests with the enchanting beauty of this white marble Namaste lady, detailed sculpting, and eye-catching colors uniting to conjure a lady from the heavens in your space.
The natural beauty of white marble, its pure, milky white appearance and texture has clearly inspired artists around the globe, from ancient times, to beautify the material and create timeless pieces of art. Indian white marble statues are a representation of traditional techniques, iconographical perfection, and artist’s innovation coming together. Carved with hands but made with hearts, marble statues and their awe-inspiring aesthetics continue to charm art lovers today, an art that is enduring in every way.
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