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Jharokhas: Looking through time and space - Maati

Jharokhas: Looking through time and space

Balconies in popular culture have usually been associated with romance. However there is one Indian balcony that has gone beyond the folklores of love and has been graced by the most powerful emperors of India and now continues to enjoy the limelight of thousands of instagram pages. These beautiful balconies are the jharokhas. Enter a heritage monument in Rajasthan and one will find flocks of tourists getting clicked at a jharokha. Found in plenty across the monument, these striking window cum balconies have been one of the most exquisite elements of the Rajput architecture. 

Fig.1 Modern jharokha

One of the earliest prototypes is found in the Mauryan architecture. It later evolved and developed in a jharokha during the mediaeval period. A jharokha is a window or a balcony protruding out of the exterior facade of a building. They usually face the streets, markets or open grounds. They are meticulously carved with intrinsic motifs, ranging from flora and fauna to beautiful figurines. They are the crown jewels of facades of many beautiful havelis across India. However they are most common in the areas of Gujarat and Rajasthan. Initially found in Rajput and Mughal architecture they were later also adopted for residences across the subcontinent because of their elegance and practicality. Their form and material differ from region to region. 

Fig.2 Jharokhas of the Patwon-ki-Haveli, Jaisalmer

Apart from being used for ornamentation, jharokhas also provided the residents privacy while they can look out of their windows. This was especially true for the ladies of the house at a time when the women were supposed to be hiding from the public gaze. Women would often use the jharokha to enjoy the views of the streets and the markets without getting seen. Inside the palaces and the noble houses the jharokhas were used as veiled windows from where the noble women could witness the proceedings of the court. When used on the outer walls of the windows they would also provide light and ventilation in the rooms. Especially in the hot and humid areas they could be used as shaded outer space in the houses. They provided passive light and ventilation protecting from dust and harsh climate. The inner walls would not heat directly as the jharokhas would act as a buffer zone. Hence jharokhas are fairly prominent in the regions of Gujarat and Rajasthan.

Fig.3 Noblewoman at a Jharokha Window Holding a Rose, from a Portraits of Women series c. 1730. Northwestern India, Rajasthan, Rajput Kingdom of Sawar

Jharokhas are not just physical features of any monument but their importance was also translated into rituals and traditions of the mediaeval Indian society. Their importance can be ascertained by the fact that they were eventually adopted not just by the Rajputs but also the Mughals and the British later for their court rituals. The Mughals adopted the practice of the Jharokha darshan for public appearance. The practice not only allowed for public communications but also created a sense of awe and divinity as the emperor walked out of the balcony. This practice was later also continued by the British when King George V and Queen Mary performed the ceremony to make a public appearance to legitimise their rule as the rulers of India using native tradition.

Fig.4 Abu’l Hasan. Emperor Jahangir At The Jharokha Window Of The Agra Fort. ca. 1620, Aga Khan Museum

Jharokhas have also been adopted by the modern architects because of their practical as well as beautiful form. They can not only be used as elevation but also as small protruding windows. Lack of space and the increasing temperatures make them an ideal addition to the buildings. They can be easily built using cost effective local materials like stone or wood. Their practicality and aesthetics helped them to also become part of important traditions and rituals. Jharokhas are a perfect example of symbolisms of architecture transcending regions, space and time.

Fig. 5 Jharokha Darshan at the State Garden Party, 1911

References

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