1

M.R. Thilagam

Introduction

Man has travelled a long way towards the fulfillment of his aspirations for the comfort, pleasure and amenities of life, from cave cells in remote mountainous regions and forests to modern flats, with labour-saving gadgets in the urban areas and better facilities even in smaller towns with power and water supplies. Today, the city dweller has to live, not in a small cave cell, but in a sophisticated apartment with his entire family in a huge mountain-like structure within an area not much larger than that of a cave cell or a small mud hut. India has had her own style of architecture, mode of town planning and homes with provisions for amenities according to the prevailing conditions through the ages..

So far as India is concerned, it is difficult to comprehend what is meant by interior decoration, unless some important aspects of the matter are borne in mind. The traditional forms of interior decoration in India differ from those of the West. The people of India have from time immemorial been constantly engaged in a search for things of lasting value, things of a permanent character, in contrast to those of an ephemeral nature.

Objectives:

The main objectives of the study are to trace information on

1 .The history of the interior decoration in India

2.  To observe the changes in the concept of interior decoration in different phases.

The development of  Interior design is discussed under the following categories:-

A.    The Home of Nagarika or Citizen in Ancient India

B.     The Period of Indo-Aryan Fusion

C.     The Golden Age

D.    Decoration in Medieval India

E.     The Influence of Western Styles

F.      Period of Indian Renaissance

The Home of a Nagarika or Citizen in Ancient India

A peep into India’s past reveals that town planning, good housing, and comfortable and aesthetic living were not neglected in any way in this country. The life of comfort led by the nagarikas or residents of urban areas, described by Vatsyayana, is ample evidence of the recognition of the importance of comfortable and aesthetic living in those early times.

From Jain and Buddhist literature it is clear that society had become wealthy and prosperous and lived in contentment. The middle classes of the time owned huge mansions with large gardens surrounding them, and the country was dotted with garden retreats and rest-houses. Apart from the decorative features inside a house, its surroundings were equally important. Houses needed gardens around them, with well laid out flower-beds, decorative plants, trees that yielded fruit in different seasons, and large trees that gave shade. In the gardens were paths with overhanging bowers on which flowering creepers bloomed in all their glory, filling the air with their fragrance. The earliest reference to a garden is by Megasthenes who found the 570 breathtaking towers of Pataliputra . “The palace, which was built chiefly of wood, excelled in its splendour. It stood in an extensive park filled with flowering trees and shrubs containing many fish-ponds. There were shady groves and trees set in clumps forming bowers with their branches interwoven .There are birds there, free and unconfined, nesting in branches„ birds of all kinds besides the parrots that are kept there.

In India, a garden meant flower-beds lay out, constructed paths, built ponds with steps and pedestals on which flower-pots were arranged. Fountains sprayed their water, around and ferneries. A garden could not be complete without an aviary, where beautiful peacocks would be seen strutting in pride, their feathers fanned out, while smaller birds billed and cooed to their hearts’ content. The nagarika would find rest and relaxation in such surroundings. Ponds with lotus blooms were an added attraction, while large terraces provided opportunities for holding moonlight parties.

The house of a city dweller was divided into two parts, an apartment for the women of the house and another for the men. Women dancers, singers and courtesans were however welcome in the latter to provide the men with entertainment, while the women of the house could amuse themselves with games, including ball games, in the garden. By and large, they were the presiding deities of the house, leading a protected and pious life, and looking after the comforts of the home and the family.

The rooms in the house had to be elegantly furnished. The furnishings included carpets and mats spread on the floor, on which the nagarikas sat, while bolsters and cushions served them as back-rests. Flowers and foliage decorated the doorways. Ivory brackets adorned the rooms. Musical instruments, on special racks, were important requisites of a cultured home. Book-rests for reading were also part of the furniture. Painting materials played an equally important role. The beds and bedsteads were most important. They had to be comfortable, and placed in suitable positions. A low table was essential for keeping toilet requisite.

Village life, which more or less approximated to tribal life, reflected the aesthetic aspirations of the people who lived in the villages. Their homes were decorated with icons, drawings on the walls, carved woodwork, terracotta figurines and masks. They also included beautiful articles of utility, like tobacco-cases, baskets, chests for storing things, lovely earthenware, embroideries and loom tapestries.

The Period of Indo-Aryan Fusion

The period of Indo-Aryan fusion, the second phase, is evident from Vedic literature the Vedangas, the Upanishads and the Puranas. There are also numerous references in the Epics which provide ample proof that interior decoration was known to our ancestors who were in the period which produced the writers of the Epics. Do we not find vivid descriptions of scenes of festivities which speak of the spreading of gorgeous carpets for distinguished guests, artistic toranas (hangings) decorating the entrances, specially built houses for the accommodation of guests, and the burning a incense on festive occasions?

From the literature of this period it is clear that high seats with backs and foot-rests, which were exquisitely carved or inlaid with gold, silver, copper or other metal or semi-precious stones, were in use by important persons like kings, princes and the aristocrats. There are specific references to simhasana, padmasana, garudasana, gaja-simhasana, hansasana, mrigasana, and many more asanas or seats. The general name for a throne was rajasana. Thrones with designs of different motifs were provided for different personages.

The Golden Age

The Third phase of interior decoration in India is a glorious one. In this period one comes face to face with forms of the many beautiful things that adorned homes and palaces. We may start from the births of Mahavira and Buddha, or about the 6th century B.C., and passing through the Gupta age, which is known as India’s- Golden Age of art and literature,. This was an era of what may be described as great happenings. It was during this momentous era that two new approaches to religion—Jainism and. Buddhism—were established,

The imposing and gigantic rock-cut temples of Ajanta and Ellora and the Rathas of Mahabalipuram reveal that cave- dwellings continued till about the beginning of the eighth century A.D., The frescos of Ajanta are illustrious examples of the art of interior decoration. From some of these paintings it would appear that wood as well as stone and brick masonry were employed for the interior decoration of the houses as seen in them. The exquisitely carved columns, lintels, arches and ceilings of the interiors of these houses indicate that much timber was used to decorate them.

Apart from the architectural beauty of the interiors of the private dwellings, with their sculptured columns, friezes and alcoves, we find the rooms in these dwellings furnished with couches, divans charpoys, chowkies, stools of different shapes, foot-rests, bolsters, cushions, trays, book-rests, carpets, curtains, pelmets and musical instruments and, last but not least, painted ceilings and murals. Even the stairs leading into the interior of the houses are ornamented with figures of animals or some design or other.

Interior decoration has thus been a part and parcel of life in the Indian home, though it has taken different forms at different times. By and large, furniture in the home was reduced to the minimum. A mat, durrie, carpet or some floor covering was spread out for sitting on. The high seats with backs and invariably with rests for the feet that one sees in the frescos of Ajanta are proof that high seats, somewhat like chairs, were in vogue. Writing tables, however, such as we know them today, are not found. Rests for books existed. Perhaps low stools were used for writing when necessary. Many types of chairs, both plain and ornamental, were certainly in use. Round cushions for sitting on and bolsters as rests for the back and arms were in fashion. Cane stools are also seen in the murals.

   In the fresco of the famous toilet scene in Cave No. 17 at Ajanta one can see in the-background trellis work of wood on which creepers are shown climbing. The flowering tree with elongated leaves and flowers scattered on the ground, which serves as a back-drop to the scene, reminds one of the trees so common in India even today, with their showers of blossoms spread out almost like a carpet. In a verandah scene- in another fresco there is a pedestal for a potted plant and a lotus pond in the foreground.

The curtains, valances and-divan covers or bed-spreads, with gathered or plain hems, were also in vogue. It is evident from Cave No. 1 at Ajanta, belonging to 7th century A .D. Decorative chair covers and carpets form parts of the furnishings . Carved boxes for keeping jewels and decorative lamps were included among the household articles of utility combined with beauty that formed items of interior decoration. Apart from the bedstead, bolster and decorative column, a niche in the wall is adorned with curios.

Decoration in Medieval India

Temple architecture, like the architecture of the viharas or Buddhist monasteries, had its influence on domestic architecture as well. The earlier domestic architecture was greatly influenced by the chaitya -windows, projecting balconies, pillars supporting’ upper storeys and rooms built around the central hall. Domestic architecture came to be set in a square plan.

To get a glimpse of the life of medieval India, both in its early and later periods, comprising the fourth phase, and one has to clip into Jain literature. Interior decoration unfolds itself in full measure, and it brings into view a picture of a simple home life, such as the woman in the kitchen, children playing in the courtyard, social gatherings on terraces, scenes of music and dance. The interiors of Rajasthani homes are superb. The elegance of the architecture, with a few decorative balconies, the layout of furniture, including screens, the few yet exquisite furnishings, give to these homes a rare style and beauty: They provide a true picture of interior decoration as it was understood in India of the time.

The advent of the Muslims into India resulted in changes in three -spheres: religious, political and cultural. Architectural changes began with the Lodi kings, but it was during the reign of the three great Mughals, Akbar, Jehangir and Shahjahan, that architecture and the industrial arts greatly flourished. The main doors of houses in Gujarat and Rajasthan indicate the gorgeous style of wood-carving that prevailed. They combine designs of lotuses, rosettes, peacocks, parrots and medallions, and show both Hindu and Mughal influences.

The Western Interlude

Interior decoration, however, did not change materially, except that it assumed more gorgeous forms in court circles during the Mughal period. The introduction of chairs and tables for general use appears to have caused a radical change in interior decoration, especially during the four hundred years of Western colonization in the country, first by the Portuguese and lastly by the British. During this time, however, most of the beautiful things that went to decorate an Indian home from time immemorial- began to disappear. Many of the curios and decorative articles began to be exported, and there was a growing tendency in the country to ape foreign ways of life. Living rooms came to be flooded more and more with ‘period’ furniture of French and British styles. Interior decoration with mirrors, gilded picture frames, docks for the mantel-shelf, porcelain vases, and tapestry for chairs, came into fashion. All beautiful things like Indian carpets, brass and bronze ware, phulkaris, gold and silver embroideries, figured muslin and carved woodwork found -their way into the international markets.

People in India came to look upon elaborate carvings and exquisite sculpture as gaudy and outdated, not to be encouraged any more. In fact, life became a kind of hybrid way of living, and people just imitated the West without ever giving thought as to whether certain things would fit into the Indian pattern of living. The glamour for imported things increased, and there was a depreciation of all things Indian, even customs and-traditions native to the country.

Carved wood and inlay work was, however, being continually produced in several places in India. Foreigners were fascinated by the ornamental pieces of furniture made in India, which were patronized both by them and by the local people.

The Indian Renaissance

A consciousness of the aesthetics of the traditional arts and crafts of India was, no doubt, revived among the masses after the dawn of Independence. The freedom movement, and particularly the ideal of swadeshi that Mahatma Gandhi placed before the people, together with the message of the charkha, brought about a change of outlook in the country.

The appreciation of antiques has of late become more pronounced. There has also been a steady flow of antiques from India to other countries. People have begun to take more interest in “period” articles. Many crafts which’ were on the point of extinction have now been revived, and homes are being- tastefully furnished with articles of indigenous manufacture..

Changing Ideas of Homes in India

A well-arranged home expresses not only its own personality or distinctive character, but reflects the personality of its members, their culture, tastes, hobbies, special interests and outlook. The West has borrowed many things from this country: carpets, divans, chowkies, ornamental chairs, decorative lamps, bronzes and brassware, bolsters and wall-hangings, handloom textiles and curios. It would be sheer folly on our part to ignore the vast aesthetic treasures that our country provides. The idea is growing all over the world that every object in a house should be both functional and aesthetic, an idea that has been deeply rooted in our country, and which has provided a basic pattern of living, simple yet artistic.

One sees even in a simple thatched house in a village in India decorated with Kolam in South India, or rangoli in the north. An earthen pot or brick enclosure for the Basil plant in the front yard, an inviting tortilla (decorative festoon or hanging) over the main door, a drawing on the mud-plastered wall, a rush mat arid a little niche for an oil lamp were used for decoration.. The house is innocent of furniture or furnishings, but shining brass and copper vessels, piled up one on another, red and black earthen pots, a little lamp that twinkles is an alcove, and sometimes a little charpoy to sit on, complete its requirements. No one would say that such a house was devoid of aesthetic Living rooms today are supposed to have more uses than one, a thing that was normal to us in this country. Furniture also ought to have more uses than one. A divan or takht, as it is sometimes called, with cushions decorating it, is useful for sitting, relaxing or sleeping on. A low chowkie or piri (a low, four-legged stool or seat) can be kept in the living room as a seat. It can be shifted to the kitchen or the verandah when needed for work. The housewife can use it when dressing her hair. A chowkie can be either a seat or a foot-rest near the divan. A divan can be used for sitting on by day and as a bed by night. A swing can serve a threefold purposes. Apart from being a seat, it wafts the air and keeps the room cool by its movement, and can be used as a bed at night. Furniture is kept to the minimum, and there is a swing towards elegance and exquisiteness. Every little detail is planned with meticulous care, resulting in a simple yet beautiful manner of interior decoration.

In late twentieth century, articles such as a radio, a musical instrument, a record player. a sewing machine, a typewriter, a refrigerator, a cooking range and such other useful gadgets have become-almost a necessity. Every middle-class family aspires ‘to have these, and when a real socio-economic leveling takes place, most of these things will become essential for every home, and will require proper placement so that the whole family can make use of them.

What is sought after during this period is pieces of furniture that can be grouped together to form a unit, rearranged and separated when desired, so that more moving space is available, shelves within easy reach and chairs and ottomans on which one can sit at ease and fully relax. The idea of “set” or standard furniture is no longer entertained, since the tendency of people today is to break away from rigid conventions and seek the greatest possible freedom of movement for their limbs. Fortunately, we in India have always believed in such freedom.

Any form, colour or design is looked upon as beautiful, provided it is vigorous and well composed. Many new forms of sculpture, using media like wood, glass, metal or other materials, and strange colour combinations—in short, something out of the ordinary, are admired. Geometrical designs, odd shapes, forceful representations, stylized patterns, accentuated forms and nude beauty have all been exploited to the full by the Indian painter, sculptor and artisan. Today, we can choose from their rich repertoire things that will fit into the changing pattern of life.

Recent trends

Privacy has become of the major factors while designing interiors today -whether it is an apartment, independent house or individual rooms. Wi-Fi connection, smart phone apps have taken over manually controlling temperatures security, lighting etc. Concealed wiring ,routers etc had given the modern home a clean and clutter free look .In an effect to reduce carbon foot prints interior designers are looking for locally available materials .Handmade have become one of the key words today. Spaces are minimized ,individual pieces reflect traditional forms .Mix and match of colours and textures have given a natural aura to the rooms .Layering metals are no longer considered as a faux pas in interior design .Pastel colours are widely used for walls, upholsteries and accessories .Bright colours are used as accents .Geometric patterns are widely used in interiors today. Repurposing or reinventing existing pieces while designing a home has become a trend .Sustainability has become a key word today. Spaces continue to become small, and there is no space for purely decorative pieces .Dual and functionality furniture and accessories are given preference in designing interiors .As today interiors designs stress on designing environmentally friendly residences even in small apartments abundance of greenery from potted plants in bath rooms to herb gardens in window sill are preferred.

Conclusion:

An attempt has been made in this lesson to trace interior decoration as it has existed in India .India has never lagged behind other countries in Interior decoration .With her International contacts through the centuries; she has given as well as borrowed. Many changes have taken place in her social, political and economic conditions during her long history. The idea relating to planning of a home and its interiors have also changed over the years .Utility, comfort and aesthetic satisfaction have never ceased to dominate the minds of home makers .Hope the information given in this lecture would have helped you to understand the concept of interior design over the years right from the Nagarika citizen in ancient India to the modern homes.

References:-

• Dongerkery.K.S., Interior Decoration in India Past and Present, Taraporevala, Bombay.
• Gandotra.V, Shukul.M,and Jaiswal.N.,(2011), Introduction to Interior Design and Decoration, Dominant Publishers and Distributors, New Delhi-110002.
• Seetharaman.P.,and Pannu.P.,(2009), Interior Design and Decoration, CBS Publishers and Distributors Pvt.Ltd, Chennai.