The Kutub Minar showing the carving on the first gallery, Delhi
Photograph
1860s (photographed)
1860s (photographed)
| Artist/Maker | |
| Place of origin |
This photograph shows the detailed carving on one part of the Qutb Minar. The minar is part of the Quwwat-ul-Islam mosque in Delhi. It was designed as a place from which to call people to prayer and as a symbol of victory. Both the minar and the mosque were built by Qutbuddin Aibak. An inscription on the minar states that building work started in 1199, although only the first storey was built in Qutbuddin Aibak’s lifetime.
Here you can see the main section of the first storey leading into the second storey. They are divided by a balcony from which the call for prayer was probably made. The carved inscriptions shown here are the fourth, fifth and sixth from the base of the first storey, and the first line of the second storey. The fifth line consists of the 99 names of God and the sixth line contains verses from the Qur’an.
The balconies are held up by an interesting technique called stalactite vaulting. The photograph shows the series of mini arches that support a system of little brackets which support the balcony. The Gothic balustrades which surround the balconies were added later by Major Robert Smith in 1828.
The diameter of the base is 14.32 metres. The first storey is characterised by a 24 alternating angular and rounded flutes. The second storey only has rounded flutes but they are aligned with those of the first storey.
The British photographer Samuel Bourne lived and worked in India between 1862 and 1869. During this time he toured the Himalayas and travelled through the subcontinent, photographing its landscape, architecture and historical sites. He set up a studio in Simla with Charles Shepherd and sold his prints sold to an eager public both in India and Britain.
Here you can see the main section of the first storey leading into the second storey. They are divided by a balcony from which the call for prayer was probably made. The carved inscriptions shown here are the fourth, fifth and sixth from the base of the first storey, and the first line of the second storey. The fifth line consists of the 99 names of God and the sixth line contains verses from the Qur’an.
The balconies are held up by an interesting technique called stalactite vaulting. The photograph shows the series of mini arches that support a system of little brackets which support the balcony. The Gothic balustrades which surround the balconies were added later by Major Robert Smith in 1828.
The diameter of the base is 14.32 metres. The first storey is characterised by a 24 alternating angular and rounded flutes. The second storey only has rounded flutes but they are aligned with those of the first storey.
The British photographer Samuel Bourne lived and worked in India between 1862 and 1869. During this time he toured the Himalayas and travelled through the subcontinent, photographing its landscape, architecture and historical sites. He set up a studio in Simla with Charles Shepherd and sold his prints sold to an eager public both in India and Britain.
Object details
| Categories | |
| Object type | |
| Title | The Kutub Minar showing the carving on the first gallery, Delhi (assigned by artist) |
| Materials and techniques | Albumen print from wet collodion glass negative |
| Brief description | Photograph showing a detail of the Qutb Minar, Delhi, India, by Samuel Bourne, 1860s. |
| Physical description | This photograph shows the detailed carving on one part of the Qutb Minar. The minar is part of the Quwwat-ul-Islam mosque and was built by Qutbuddin Aibak. An inscription on the minar states that building started in 1199, although only the first storey was built in Qutbuddin Aibak’s lifetime. It was designed as a place from which to call people to prayer and as a symbol of victory. The photograph shows the main section of the first storey leading into the second storey and divided by a balcony from which the call for prayer was probably made. The diameter at the base is 14.32m. The first storey is characterised by a 24 alternating angular and rounded flutes. The second storey only has rounded flutes but they are aligned with those of the first storey. An interesting feature of the minar are the balconies, one of which can be seen here. They are held up by a technique called stalactite vaulting. A series of mini arches support a system of little brackets which support the balcony. The Gothic balustrades which surround the balconies were added later by Major Robert Smith in 1828. The inscriptions that can be seen in this photograph are the fourth, fifth and sixth from the base up of the first storey, and the first line of the second storey. The fifth line consists of the ninety-nine lines names of God and the sixth line contains versus from the Quran. Source: Architecture of Ancient Delhi, Henry Hardy Cole, 1872, p80. |
| Dimensions |
|
| Marks and inscriptions | Signature and negative number in bottom left hand side. |
| Object history | The photograph was initially part of the photographic collection held in the National Art Library. The markings on the mount are an indication of the history of the object, its movement through the museum and the way in which it is categorised. The mount is white and has a label with: A.in. Delhi Bottom left: Label from Bourne catalogue, with 'Delhi' handwritten next to it. |
| Historical context | The architectural historian, James Fergusson said of the Qutb Minar: ‘ …it is not too much to assert that the Qutb Minar is the most beautiful example of its class known to exist anywhere. The rival that will occur at once to most people is the campanile at Florence, built by Giotto. That is, it is true, 30 ft. taller, but it is crushed by the mass of the cathedral alongside; and, beautiful though it is, it wants that poetry of design and exquisite finish of detail which marks every moulding of the minar. The only Muhammadan building known to be taller than this is the minaret of the mosque of Hasan, at Cairo; but it has a far nobler appearance, and both in design and finish far surpasses not only its Egyptian rival, but any building of its class known to me in the whole world.’ A History of Indian and Eastern Architecture, James Fergusson, London, Vol II. 1910, p206. Bourne took this photograph on his journey through India during the 1860s. In the published account of his journey, on his first encounter with Delhi on June 25th 1863 he wrote: ‘Of course Delhi can’t fail to be interesting to the photographer: the Cashmere Gate, the fort, and other noted places must be taken, while its mosques and similar buildings will be photographed for their own merits. About eleven miles from Delhi is the famous Kootub, of which many of my readers have seen Beato’s large photograph, published by Hering, of Regent Street.’ Bourne, S, Photography in the East, The British Journal of Photography, September 1 1863, pg 345. |
| Production | Bourne visited Delhi in 1863, as mentioned in his writings. He is also likely to have made subsequent visits in 1864 and 1866 though this is not recorded in his writings. This print would have been made before March 1867. |
| Places depicted | |
| Summary | This photograph shows the detailed carving on one part of the Qutb Minar. The minar is part of the Quwwat-ul-Islam mosque in Delhi. It was designed as a place from which to call people to prayer and as a symbol of victory. Both the minar and the mosque were built by Qutbuddin Aibak. An inscription on the minar states that building work started in 1199, although only the first storey was built in Qutbuddin Aibak’s lifetime. Here you can see the main section of the first storey leading into the second storey. They are divided by a balcony from which the call for prayer was probably made. The carved inscriptions shown here are the fourth, fifth and sixth from the base of the first storey, and the first line of the second storey. The fifth line consists of the 99 names of God and the sixth line contains verses from the Qur’an. The balconies are held up by an interesting technique called stalactite vaulting. The photograph shows the series of mini arches that support a system of little brackets which support the balcony. The Gothic balustrades which surround the balconies were added later by Major Robert Smith in 1828. The diameter of the base is 14.32 metres. The first storey is characterised by a 24 alternating angular and rounded flutes. The second storey only has rounded flutes but they are aligned with those of the first storey. The British photographer Samuel Bourne lived and worked in India between 1862 and 1869. During this time he toured the Himalayas and travelled through the subcontinent, photographing its landscape, architecture and historical sites. He set up a studio in Simla with Charles Shepherd and sold his prints sold to an eager public both in India and Britain. |
| Bibliographic reference | Bourne, S, Photography in the East, The British Journal of Photography, September 1 1863, pg 345. |
| Other number | 1371 - Negative number |
| Collection | |
| Accession number | 53216 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | December 21, 2004 |
| Record URL |
Download as: JSONIIIF Manifest
