How traditional Kashmiri architecture was designed to withstand even severe tremors

In the traditional houses of Kashmiri, refinements such as Zoon Dub – or a cantilevered balcony designed to see the moon – were common.

The balconies and eaves with beautiful designs worked known details of pinjarakari, wooden pendants in the form of jhumkas bells are still visible, but the violence of almost three decades in combination with the terrible attack modern construction methods did not work by inheritance.

The writing of the beauty and shared culture of the valley before 1989 raises a riddle: first, a writer should be careful with the romantic and thus slip into their history and violent history of Kashmir, but there is also the importance of Memory and memory function of aesthetics in daily life, architecture influenced by history and geography.

Perhaps these reasons explain the importance of new museums such as the Museum of Music in Amritsar, the lost museum objects BBC tackle the Syrian and Iraqi treasures lost through violence, and even the museum of innocence of Orhan Pamuk in Istanbul , Where memories become meaningful because they are linked to the memory of a loved one.

In this context, the valley’s vernacular and colonial architecture celebrate the historical jurisdiction of kashmiriens artisans and demonstrate how traditional houses adapt to geography using local stones, wood and bricks. The most typical examples of vernacular architecture are found in Srinagar along the Jhelum and in areas where mohallas developed by occupation, as in Kralepur Zadibal (or enclave potters) and Kagaz Saz mohalla, or according to clan, as in Razdan Kocha.

The permanent image of Srinagar is its houses facing the sea. Most of the branch roads at right angles to the river, since the water transport was once the main mode of travel. Pandit houses are still standing along the river today are mostly abandoned and collapsed, but speak of a tributary past – they are the most imposing size, four or five stories. Some homes have steps leading directly to the water inside a private porch.

Small Ghats talk about a life of friendship and communal harmony. The increasing interdependence and current division of the two communities can be expressed acutely in the farewell poem Agha Shahid Ali, who spent part of his youth in Kashmir: “On the lake, temples and mosque weapons are locked in the thoughts of the other “.

The French physician François Bernier and writer Walter Roper Lawrence were both struck by the green view of Srinagar a view: ceilings were then birch bark covered with a seclusion of fertile clay and grass, studded with tulip bulbs and lilies.

Known by burze pash, these paintings explode-color tone in April. Unfortunately, the ceilings were lost when the British began to supply the corrugated valley galvanized sheets cheap. Grander’s houses became the tiles. Grass roofs were environmentally friendly, cool in summer and warm in winter, but almost no example survives today.

The interiors of these ceilings, ceilings of Srinagar houses, were no less sublime. False ceilings of khatamband wood panels, interlaced geometric shapes, have drawn their origin in Persian art. Made of walnut or cedar wood from the Himalayas, they are known for their invisible woodwork.

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