Ajali orjaali (jālī, meaning "net") is the term for a perforated stone orlatticedscreen, usually with an ornamental pattern constructed through the use ofcalligraphy,geometry or natural patterns. This form of architectural decoration is common inIndo-Islamic architecture and more generally inIndian architecture.[1] It is closely related tomashrabiya in Islamic architecture.[2]
According to Yatin Pandya, thejali allows light and air in while minimizing the sun and the rain, as well as providing cooling throughpassive ventilation.[3] The holes are nearly the same width or smaller than the thickness of the stone, thus providing structural strength. It has been observed that humid areas likeKerala andKonkan have larger holes with overall lower opacity than compared with the dry climate regions ofGujarat andRajasthan.[3]
With the widespread use of glass in the late 19th century, and compactness of the residential areas in modern India,jalis became less frequent for privacy and security matters.[4] In the 21st century, it has gained popularity again as alow-energy building solution for the environmental footprint of energy use by buildings.[2]
The earliestsanctuaries in India, dedicated toBuddhism,Jainism andHinduism, were often dimly lit and confined, resembling naturalcaves. Worshippers gathered in front of the sanctuaries' doorways for prayers and offerings. To control the harsh daylight entering thetemples, screens known asjalis were used to filter and soften the light, encouraging devotion and directing attention to the sacred images. The tradition of using jalis persisted in laterIndian architecture, including Hindu and Jain temples. Over time, the designs ofjalis evolved, incorporating geometric and naturalistic patterns. With the advent ofIslamic architecture inGujarat, the use ofjalis expanded and became a prominent feature inmosques and tombs, following the same symbolic importance of light inIslam. The adoption ofjalis in Islamic buildings shows a fusion of architectural styles and motifs from Hindu, Jain, and Islamic traditions, largely influenced by the guilds of masons working for patrons across different cultural backgrounds.[5][6]
Earlyjali work with multiple geometric shapes was built by carving into stone, ingeometric patterns (first appearing in theAlai Darwaza of 1305 at Delhi besides theQutub Minar); later on, theMughals used very finely carved plant-based designs (as at theTaj Mahal). They also often addedpietra dura inlay to the surrounds using marble andsemi-precious stones.[1][7][failed verification]
In theGwalior Fort near the Urwahi gate, there is a 17-line inscription dated Samvat 1553 mentioning names of some craftsmen and their creations. One of them is Khedu, who was an expert inGwaliyai jhilmili (jali screens crafted in the Gwalior style).[8] The Mughal period tomb ofMuhammad Ghaus, built in 1565 AD at Gwalior, is remarkable for its stonejalis.[9] Many of Gwalior's 19th-century houses used stonejalis.Jalis are used extensively in Gwalior'sUsha Kiran Palace Hotel, formerly Scindia's guest house.
Some of thejalis are in major museums in the U.S. and Europe. These include theIndianapolis Museum of Art,[10] theMetropolitan Museum of Art[11] and theVictoria and Albert Museum.[12]
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