The visit to incredible India cannot be complete without experiencing its most spectacular piece of architecture — the Taj Mahal, literally ‘the Crown Palace’. Its curving, gently swelling dome and the square base upon which its rests so lightly, surrounded by four lofty minarets, is a familiar image in hundreds of travel brochures and travelogues on India. This picture postcard image of the Taj, as it is lovingly called, does little justice to the legend, the poetry and the romance woven into its history. Its beauty is eternal. It overawes, it mesmerizes, and it inspires.

The beauty of Taj Mahal is so mesmerizing that one cannot avoid the enticement of capturing it into their camera. Agra Taj Mahal is believed to be the most photographed monument of India. Taj Mahal in Agra India has never failed to fascinate the tourists from the world over. If one want to understand this beauteous monument of love and would like to know more about Taj Mahal then one should experience it. No trip to India is complete without visiting the Taj Mahal Agra.

A large numbers of visitors thronged the famed Taj Mahal in Agra to mark the 353rd death anniversary of Mughal Emperor Shahjahan.

The celebration which started on July 29 was concluded on 31st July with special prayers offered for communal harmony and to end terrorism.

A 400 metre long seven-coloured chadar (sheet) was laid on the graves of the Mughal emperor Shahjahan and his queen Mumtaz Mahal.

“This year too we are celebrating this festival with same fervor. Initially, we will offer sandal and after that there will be a qawwali performance that will continue till 7 in the evening,” said Syed Munawwar Ali, a devotee.

During the anniversary celebration, the visitors got a rare opportunity to see the graves in the basement of the mausoleum as normally people are permitted to the replica of the graves on the first floor (platform).

The Taj Mahal stands on a marble platform surrounded by ornamental gardens. White minarets grace each corner and two smaller red sandstone buildings balance the postcard-perfect image on the banks of the Yamuna River .

Recently the monument was voted as the New Seven Wonders of the World.

Shahjahan had four sons and several years after the completion of the Taj Mahal, Shahjahan fell ill. The four sons entered into conflict and 3 of these sons were killed leaving only Aurangzeb who took advantage and deposed his father c. 1658. The Shah Jahan was imprisoned in the Agra Fort until his death.

The Agra Fort would have been a pleasant place to be restrained and he was allowed all his wives and concubines. He shared this retreat with one of his daughters and could view the Taj without difficulty, albeit from some distance.

A tiny mirror glass in a gallery of the Red Fort in Agra reflects the Taj mahal. Shahjahan is said to have spent his last eight years of life as a prisoner in that gallery peering at the reflected Tajmahal and sighing in the name of Mumtaz. When he was 74 he died.

Arjumand begum was born in 1593 April in Agra to Asaf Khan,who was the Prime Minister for Shah Jahan and son of the Prime Minister for Jahangir whose sister, Nur Jahan, married Jahangir.

The story goes back in 1607, when a prince of the royal Mughal household strolled down the Meena Bazaar, accompanied by a string of fawning courtiers, he caught a glimpse of a girl hawking silk and glass beads.She was an unrivalled beauty, which caught the heart of Shahjahan, the fifth Mughal emperor at first sight.Five years and a wife later (in those days princes did not marry for love alone) the regal 20-yr-old went to wed his 19-yr-old bride.

They got married in 1612, it was an extravagant grand affair. Prince Khurram was entitled as “Shahjahan” when he became the emperor in 1628 and entitled Arjumand bano his wife as “Mumtaz Mahal”. Shahjahan built beautiful palaces for her like, the Khas mahal in Agra. Desplite being the third wife of Shahjahn , Mumtaz mahal was his favourite throughout her life. She was conferred by the Emperor with the highest honor of the land-the royal seal – Mehr Uzaz. Mumtaz was so compassionate and generous and always intervened on behalf of petitioners. However it is also believed that she even enjoyed the spectacle of man in combat with animals.

Mumtaz was of great support to Shahjahan and accompanied the Emperor to all his conquests. During one such trip to Deccan where emperor went to war with Khan Jahanb Lodi, Mumtaz breathed her last breath on 17 June, 1631 during her fourteenth childbirth. It is said that Mumtaz on her deathbed asked for four promises to the Emperor. The four promises were, that the emperor build a monument of their love, second- that he should marry again, third- that he be kind to their children and the fourth one being that Shahjahan visit the tomb on her death anniversay.

Shahjahan kept the first and second promise and keeping his first promise began the construction of the splendid beauty, the Tajmahal in the year 1631.Mumtaz was given a temporary burial at Zainabadi garden in Burhnpur. After six months the body of Mumtaz Mahal was exumed and brought to Agra for final burial. Thus with the construction of Tajmahal, Shahjahan immortalized their love.

Taj Mahal Monument reopens – The Taj Mahal Monument has reopened to tourists after a curfew was lifted following riots that left one person dead and dozens injured in the northern city of Agra.

Thousands of visitors usually flock to the riverside the Taj, but only a few braved the tense Agra streets after the monument opened as usual just after dawn.

“The Taj Mahal has been open for the past three hours, but only three buses and four private tourist cars have arrived at the car park,” gate official Raj Kumar said.

The fighting began yesterday over four young Muslims who were crushed under a truck. Angry Muslims spilled out into the streets, throwing rocks and bottles at police

One person was killed, 50 more injured and a dozen car were set on fire. Authorities issued an advisory telling tourists to remain in their hotels until order was restored.

Nearly three million domestic and foreign tourists visit the Taj Mahal annually. Mughal emperor Shah Jahan built the monument in memory of his queen Mumtaz Mahal, who died giving birth to their 14th child in 1631.

Taj Mahal is the symbol of eternal love, a visitor may often get lost in the memories of the stories he had heard from his child-hood looking at this structure as well as its image reflected in the pool below. The story is that this beautiful structure was built by one of the most powerful emperor in the history of India for the memory of his queen who passed away in her young age. This romantic story along with the rare and beautiful spectacles visible here all combine in to his mind to form a feeling of surprise, nostalgia and a drop of tear for the beautiful queen who passed away early.

20,000 Men; 16 years!
The Taj is an architectural marvel formed of the fusion between Indian, Persian, Turkish and the Islamic styles. Its construction started on 1632 took 16 long years when it was finally completed in 1648! Such a long period was taken not because of any obstruction in the site, but it was such a massive structure involving a lot of precision works that deserved so much man-day involving the service of 20,000 skilled artisans; a good number of them imported from all over Asia. The ramp intended to transport materials for the dome was two mile long!

Mumtaz Mahal.
Shah Jehan (Shahbuddin Mohammed Shah Jehan (5 -1 1502 to 22 -1 1666) the fifth ruler of the Mughal dynasty) wanted was sheer beauty and top class construction. ‘Makrana marble’ (the glittering white marble mined from Rajasthan) silver, gold and the jewels (mostly imported from Persia and Turkey) all were so lavishly used to decorate floral designs. The construction to take place was no ordinary building it was intended for the memory of his dear wife Arjumand Banu Begum popularly known as Mumtaz Mahal. Mumtaz was Shah Jehan’s second wife and she died in child birth.

Symmetry.
The exquisite ‘jalies’ (perforated ornamental designs in wood or stone) and the calligraphy (that adorns the walls with holy verses of Qur’an) lavishly made in perfect symmetry all were all made by human hands; how many man-days would have taken for their work can only be imagined. Skilled workers from as far as Persia were brought in for the work.

Ustad Ahmed Lahauri.
Who was its chief architect is still not confirmed. Gerronimo Verroneo an Italian who was engaged by the Mughals was presumed by some. Yet another opinion (more reliable) is Ustad Istakhan Effendi a Persian architect and his pupil Ustad Ahmed Lahauri were the makers the typical Persian and Islamic style adopted support this view. There are stories doing round that Shah Jehan blinded or dismembered the artisans after the work so that they will not build another structure like this else where!

An integrated complex.
The Taj got listed as ‘UNESCO World Heritage Site’ in 1983 as a universally admired master piece of world heritage. The domed marble structure often considered as the Taj, but the Taj is actually an integrated complex of many structures covered on three sides by crenellated wall made of red sand-stone. (Some of the structures like mausoleums of Shah Jehan’s other wives located out side the walls are also coming under the Taj complex; of which that of Mumtaz’s favorite maid is the largest). The side facing the Yamuna River is left open.

The sights..
The structures coming under the Taj complex are mainly the following, The Gateway, The outside buildings and tombs, The Taj-Mosque (Masjid) and the Jawab (served the purpose of a guest-house), The Minarets (on the four corners of the plinth), the garden (in design akin to the Mughal Gardens), The Reflecting Pools, The tomb (iwan – a structure with open front and other three sides enclosed), The dome constructed on the top of the tomb, the finial and many exclusive forms of jalies with intricate floral designs, Calligraphy, bas – reliefs and valuable interior decorations.

The tomb.
The focus of Taj Mahal is the white tomb; its elements are all Persian with symmetrical buildings with iwan (large hall with open front – generally with large arch- and other three sides enclosed). The marble dome (in the shape of onion called amrud or guava dome) that rests upon the tomb is the most spectacular view for a visitor who looks the Taj from outside.

Finial
The finial is the crown exactly on the top of the dome which catches the immediate attention of the onlooker (originally it was made of pure gold later replaced by bronze). The moon with its horns facing heavenwards and the central point jointly raises the memory of a trident a Hindu symbol.

The Taj-Masjid and the Jawab.
The Masjid is akin in design to the Delhi Jumas Masjid and is decorated with calligraphy (calligraphy here are a script (thuluth language) designed by Amanat Khan of the palace. The Taj Masjid is floored with black marble and covered with expensive Persian carpets.

The Jawab is basically designed for the sake of symmetry and it served as a visitors hall.

The Minarets
These minarets are examples of the symmetry –the watch-word- in the construction of Taj. They are constructed on the four corners of the plinth, each exactly 40 meters in height consisting of three portions, with two working balconies that ring the tower. They have been constructed in such a distance that even if by any event they fall the tomb will not be effected.

The Cenotaphs.
The cenotaph of Mumtaz is in the center of the inner chamber on a rectangular marble base (1.5m * 2.5 m). It is decorated with precious stones and calligraphy praising and identifying her. The cenotaph of Shah Jehan is bigger and placed in slightly elevated floor. The casket is with inscriptions praising god.

Royal Prisoner!
Shah Jehan had a cruel fate as the completion of the building he had been put in to house arrest by his own son in a nearby building and till death he had to live as a virtual prisoner. The only favor the dear father received was that he could the view Taj from his ‘prison’ and that sight of the mausoleum of his wife would have given him some consolation in his confinement. A visitor to Taj is enriched (burdened) with a collage of emotions by the rare sights of Taj complex as well as the stories they had to tell, among them he can cherish the image of an emperor who built all these and had to see them until death as a prisoner.

TTThank you people, you have done that. Taj Mahal is now among the seven wonders of world.

More details very soon.

Thank You…. Thank You…Thank You

Do you know most of the people in this word thinks that Taj Mahal is the example of Muslim Art? They are so ignorant that they equalize Mughal Art to Muslim art… Does Only muslim community was involved in the making of Taj?

Why not they correct their history and stop seeing everything in India from religious point of view?

Taj Mahal is in the news for the voting which is being done to select new seven wonders of the World?

Do You know that official site of this campaign has categorized Taj Mahal as the exampl of Muslims art in India.

As per the site

This immense mausoleum was built on the orders of Shah Jahan, the fifth Muslim Mogul emperor, to honor the memory of his beloved late wife. Built out of white marble and standing in formally laid-out walled gardens, the Taj Mahal is regarded as the most perfect jewel of Muslim art in India. The emperor was consequently jailed and, it is said, could then only see the Taj Mahal out of his small cell window.

How they have distorted the history… They are wrong on two counts……

1. TajMahal is the example of Muslims Art.
2. Shah Jahan was jailed for building Taj Mahal (They have used ‘Consequently’).

In the light of history associated with the Taj Mahal, I don’t agree on both points.

Taj Mahal was built with the help of all communities of India.

And ShahJahan was jailed by his own son, so he (his son) can grab the power.

Here comes the one important point… many religious fanatics regard Aurangjeb (Son of Shah Jahan who jailed him) as religious leader and those fanatics are out to demoralize the campaign for Taj.

They don’t want Taj to be in the seven wonders… Because they think that if Taj goes in the seven wonders book… world will know the truth about Aurangjeb….

So Please beat them Just vote Taj………

Please don’t regard Taj as Muslim art only…… It is symbol of Love …. Symbol of India… our brother/sisters in UK has vote for Shilpa and a history was created….

Lets do it with our Taj…. Dispite being one of the largest populated country in world… We are not doing it …… So Please Go And Vote for It….

Agra, once the capital of the Mughal Empire during the 16th and early 18th centuries, is one and a half hours by express train from New Delhi. Tourists from all over the world visit Agra not to see the ruins of the red sandstone fortress built by the Mughal emperors but to make a pilgrimage to Taj Mahal, India’s most famous architectural wonder, in a land where magnificent temples and edificies abound to remind visitors about the rich civilization of a country that is slowly but surely lifting itself into an industrialized society.

The postcard picture of Taj Mahal does not adequately convey the legend, the poetry and the romance that shroud what Rabindranath Tagore calls “a teardrop on the cheek of time”. Taj Mahal means “Crown Palace” and is in fact the most well preserved and architecturally beautiful tomb in the world. It is best described by the English poet, Sir Edwin Arnold, as “Not a piece of architecture, as other buildings are, but the proud passions of an emperor’s love wrought in living stones.” It is a celebration of woman built in marble and that’s the way to appreciate it.

Mumtaz MahalShah JahanTaj Mahal stands on the bank of River Yamuna, which otherwise serves as a wide moat defending the Great Red Fort of Agra, the center of the Mughal emperors until they moved their capital to Delhi in 1637. It was built by the fifth Mughal emperor, Shah Jahan in 1631 in memory of his second wife, Mumtaz Mahal, a Muslim Persian princess. She died while accompanying her husband in Burhanpur in a campaign to crush a rebellion after giving birth to their 14th child. The death so crushed the emperor that all his hair and beard were said to have grown snow white in a few months.

When Mumtaz Mahal was still alive, she extracted four promises from the emperor: first, that he build the Taj; second, that he should marry again; third, that he be kind to their children; and fourth, that he visit the tomb on her death anniversary. He kept the first and second promises. Construction began in 1631 and was completed in 22 years. Twenty thousand people were deployed to work on it. The material was brought in from all over India and central Asia and it took a fleet of 1000 elephants to transport it to the site. It was designed by the Iranian architect Ustad Isa and it is best appreciated when the architecture and its adornments are linked to the passion that inspired it. It is a “symbol of eternal love”.

The Taj rises on a high red sandstone base topped by a huge white marble terrace on which rests the famous dome flanked by four tapering minarets. Within the dome lies the jewel-inlaid cenotaph of the queen. So exquisite is the workmanship that the Taj has been described as “having been designed by giants and finished by jewellers”. The only asymmetrical object in the Taj is the casket of the emperor which was built beside the queen’s as an afterthought. The emperor was deposed by his son and imprisoned in the Great Red Fort for eight years but was buried in the Taj. During his imprisonment, he had a view of the Taj.
As a tribute to a beautiful woman and as a monument for enduring love, the Taj reveals its subtleties when one visits it without being in a hurry. The rectangular base of Taj is in itself symbolic of the different sides from which to view a beautiful woman. The main gate is like a veil to a woman’s face which should be lifted delicately, gently and without haste on the wedding night. In indian tradition the veil is lifted gently to reveal the beauty of the bride. As one stands inside the main gate of Taj, his eyes are directed to an arch which frames the Taj.

The dome is made of white marble, but the tomb is set against the plain across the river and it is this background that works its magic of colours that, through their reflection, change the view of the Taj. The colours change at different hours of the day and during different seasons. Like a jewel, the Taj sparkles in moonlight when the semi-precious stones inlaid into the white marble on the main mausoleum catch the glow of the moon. The Taj is pinkish in the morning, milky white in the evening and golden when the moon shines. These changes, they say, depict the different moods of woman.

Different people have different views of the Taj but it would be enough to say that the Taj has a life of its own that leaps out of marble, provided you understand that it is a monument of love. As an architectural masterpiece, nothing could be added or substracted from it.

The Taj Mahal is a mausoleum located in Agra, India. The Mughal Emperor Shah Jahan commissioned it as a mausoleum for his favorite wife, Mumtaz Mahal. Construction began in 1632 and was completed in approximately 1648. Some dispute surrounds the question of who designed the Taj Mahal; it is clear a team of designers and craftsmen were responsible for the design, with Ustad Ahmad Lahauri considered the most likely candidate as the principal designer.

The Taj Mahal (sometimes called “the Taj”) is generally considered the finest example of Mughal architecture, a style that combines elements of Persian, Turkish, Indian, and Islamic architectural styles. While the white domed marble mausoleum is the most familiar part of the monument, the Taj Mahal is actually an integrated complex of structures. It was listed as a UNESCO World Heritage Site in 1983 when it was described as a “universally admired masterpiece of the world’s heritage.”
Contents

Origin and inspiration
Agra (India),Location of the Taj Mahal within India
Shah Jahan, who commissioned the Taj Mahal:

In 1631 Shah Jahan, emperor during the Mughal’s period of greatest prosperity, was griefstricken when his second wife, Mumtaz Mahal, died during the birth of their daughter Gauhara Begum, their fourteenth child. Contemporary court chronicles concerning Shah Jahan’s grief form the basis of the love story traditionally held as the inspiration for the Taj Mahal.

Construction of the Taj Mahal was begun soon after Mumtaz’s death. The principal mausoleum was completed in 1648, and the surrounding buildings and garden were finished five years later. Visiting Agra in 1663, the French traveller François Bernier wrote the following:

I shall finish this letter with a description of the two wonderful mausoleums which constitute the chief superiority of Agra over Delhi. One was erected by Jehan-guyre in honor of his father Ekbar; and chah-Jehan raised the other to the memory of his wife Tage Mehale, that extraordinary and celebrated beauty, of whom her husband was so enamoured it is said that he was constant to her during life, and at her death was so affected as nearly to follow her to the grave.

The Tomb of Humayun constructed in 1560 shares substantially the same pattern as the Taj Mahal

The Taj Mahal incorporates and expands on many design traditions, particularly Persian and earlier Mughal architecture. Specific inspiration came from a number of successful Timurid and Mughal buildings. These include the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun’s Tomb, Itmad-Ud-Daulah’s Tomb (sometimes called the Baby Taj), and Shah Jahan’s own Jama Masjid in Delhi. Under his patronage, Mughal building reached new levels of refinement. While previous Mughal building had primarily been constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones.

The garden:

The complex is set in and around a large charbagh (a formal Mughal garden divided into four parts). Measuring 300 meters × 300 meters, the garden uses raised pathways which divide each quarter of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and the gateway, and a linear reflecting pool on the North-South axis reflect the Taj Mahal. Elsewhere the garden is laid out with avenues of trees and fountains.

The charbagh garden was introduced to India by the first Mughal emperor Babur, a design inspired by Persian gardens. The charbagh is meant to reflect the gardens of Paradise (from the Persian paridaeza — a walled garden). In mystic Islamic texts of the Mughal period, paradise is described as an ideal garden, filled with abundance. Water plays a key role in these descriptions: In Paradise, these text say, four rivers source at a central spring or mountain, and separate the garden into north, west, south and east.
Walkways beside reflecting pool

Most Mughal charbaghs are rectangular in form, with a tomb or pavilion in the center of the garden. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end rather than at the center of the garden. But the existence of the newly discovered Mahtab Bagh or “Moonlight Garden” on the other side of the Yamuna provides a different interpretation — that the Yamuna itself was incorporated into the garden’s design, and was meant to be seen as one of the rivers of Paradise.

The layout of the garden, and its architectural features such as its fountains, brick and marble walkways, and geometric brick-lined flowerbeds are similar to Shalimar’s, and suggest that the garden may have been designed by the same engineer, Ali Mardan.

Early accounts of the garden describe its profusion of vegetation, including roses, daffodils, and fruit trees in abundance. As the Mughal Empire declined, the tending of the garden declined as well. When the British took over management of the Taj Mahal, they changed the landscaping to resemble the formal lawns of London.

Gateway to the Taj Mahal:

The Taj Mahal complex is bounded by a crenellated red sandstone wall on three sides. The river-facing side is unwalled. Outside the wall are several additional mausoleums, including those of many of Shah Jahan’s other wives, and a larger tomb for Mumtaz’s favorite servant. These structures, composed primarily of red sandstone, are typical of smaller Mughal tombs of the era.

On the inner (garden) side, the wall is fronted by columned arcades, a feature typical of Hindu temples later incorporated into Mughal mosques. The wall is interspersed with domed kiosks (chattris), and small buildings which may have been viewing areas or watch towers, such as the so-called Music House, now used as a museum.

The main gateway (darwaza) is a monumental structure built primarily of marble. The style is reminiscent of that of Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb’s archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. It utilises bas-relief and pietra dura (inlaid) decorations with floral motifs. The vaulted ceilings and walls have elaborate geometric designs, like those found in the other sandstone buildings of the complex.

Interior of jawab:

At the far end of the complex, two grand red sandstone buildings open to the sides of the tomb. Their backs parallel the western and eastern walls.

Taj Mahal mosque or masjid

The two buildings are precise mirror images of each other. The western building is a mosque; its opposite is the jawab (answer) whose primary purpose was architectural balance (and which may have been used as a guesthouse during Mughal times). The distinctions are that the jawab lacks a mihrab, a niche in a mosque’s wall facing Mecca, and the floors of the jawab have a geometric design, while the mosque floor was laid out with the outlines of 569 prayer rugs in black marble.

The mosque’s basic design is similar to others built by Shah Jahan, particularly to his Masjid-i-Jahan Numa, or Jama Masjid of Delhi — a long hall surmounted by three domes. Mughal mosques of this period divide the sanctuary hall into three areas: a main sanctuary with slightly smaller sanctuaries to either side. At the Taj Mahal, each sanctuary opens onto an enormous vaulting dome.

The outlying buildings were completed in 1643.

The tomb

Base

Simplified diagram of the Taj Mahal floor plan.
Main iwan and side pishtaqs

The focus of the Taj Mahal is the white marble tomb. Like most Mughal tombs, the basic elements are Persian in origin consisting of a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome. The tomb stands on a square plinth. The base structure is a large, multi-chambered structure. The main chamber houses the cenotaphs of Mumtaz Mahal and Shah Jahan with the actual graves located a level below.

The base is essentially a cube with chamfered edges, roughly 55 meters on each side (see floor plan, right). On the long sides, a massive pishtaq, or vaulted archway, frames the iwan, with a similar arch-shaped balcony above. These main arches extend above the roof of the building by use of an integrated facade. On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on the chamfered corner areas.

The design is completely symmetrical on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb.

Base, dome, and minaret

The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters. Its height is accentuated because it sits on a cylindrical “drum” about 7 meters high.

Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top of the dome is decorated with a lotus design, which serves to accentuate its height. The dome is topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements.

Finial

The dome shape is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of main dome. Their columned bases open through the roof of the tomb, and provide light to the interior. The chattris also are topped by gilded finials.

Tall decorative spires (guldastas) extend from the edges of the base walls, and provide visual emphasis of the dome height.

The lotus motif is repeated on both the chattris and guldastas.

Finial

The main dome is crowned by a gilded spire or finial. The finial was made of gold until the early 1800s, and it is now made of bronze. The finial provides a clear example of the integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of the moon and the finial point combine to create a trident shape — reminiscent of the traditional Hindu symbols of Shiva.

Minarets

At the corners of the plinth stand minarets — four large towers each more than 40 meters tall. The minarets again display the Taj Mahal’s penchant for symmetry.

The towers are designed as working minarets, a traditional element of mosques, a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb.

The minaret chattris share the same finishing touches: a lotus design topped by a gilded finial. Each of the minarets was constructed slightly out of plumb to the outside of the plinth, so that in the event of collapse (a typical occurrence with many such tall constructions of the period) the material would tend to fall away from the tomb.

Decoration

Exterior decoration
Calligraphy on large pishtaq

Nearly every surface of the entire complex has been decorated. The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture of any period.

Once again, decoration motifs are repeated throughout the complex. As the surface area changes — a large pishtaq has more area than a smaller — the decorations are refined proportionally.

The decorative elements come in basically three categories:

* Calligraphy
* Abstract geometric elements
* Vegetative motifs

Islamic strictures forbade the use of anthropomorphic forms.

The decorative elements were created in three ways:

* Paint or stucco applied to the wall surface
* Stone inlay
* Carvings

Calligraphy

Herringbone

Throughout the complex, passages from the Qur’an are used as decorative elements. The calligraphy is a florid and practically illegible thuluth script, created by the resident Mughal court’s Persian calligrapher, Amanat Khan who signed several of the panels. As one enters through the Taj Mahal Gate, the calligraphy reads “O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you.”

The calligraphy is made by jasper inlaid in white marble panels. Some of the work is extremely detailed and delicate, especially that found on the marble cenotaphs in the tomb. Higher panels are written slightly larger to reduce the skewing effect when viewed from below.

Recent scholarship suggests that Amanat Khan chose the passages as well. The texts refer to themes of judgment: of doom for nonbelievers, and the promise of Paradise for the faithful. The passages include: Surah 91 (The Sun), Surah 112 (The Purity of Faith), Surah 89 (Daybreak), Surah 93 (Morning Light), Surah 95 (The Fig), Surah 94 (The Solace), Surah 36 (Ya Sin), Surah 81 (The Folding Up), Surah 82 (The Cleaving Asunder), Surah 84 (The Rending Asunder), Surah 98 (The Evidence), Surah 67 (Dominion), Surah 48 (Victory), Surah 77 (Those Sent Forth) and Surah 39 (The Crowds).

Abstract geometric decoration

Incised painting

Abstract forms are used especially in the plinth, minarets, gateway, mosque, and jawab, and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. (The incised painting technique is to scratch a channel in the stone, and to then lay a thick paint or stucco plaster across the surface. The paint is then scraped off the surface of the stone, leaving paint in the incision.)

On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in the sandstone buildings, dark or black inlays on the white marble of the tomb and minarets. Mortared areas of the marble buildings have been stained or painted dark, creating geometric patterns of considerable complexity.

Floors and walkways throughout use contrasting tiles or blocks in tessellation patterns.

Vegetative motifs

The lower walls of the tomb are white marble dados that have been sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of these carvings.

The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are yellow marble, jasper and jade, leveled and polished to the surface of the walls.

Spandrel detail

Interior decoration
Jali screen surrounding the cenotaphs

Detail of the Jali screen

The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. One may say without exaggeration that this chamber is a work of jewelery. Here the inlay work is not pietra dura, but lapidary. The inlay material is not marble or jade but precious and semiprecious gemstones. Every decorative element of the tomb’s exterior has been redefined with jeweler’s art.

The inner chamber

The inner chamber of the Taj Mahal contains the cenotaphs of Mumtaz and Shah Jahan. It is a masterpiece of artistic craftsmanship, virtually without precedent or equal.

The inner chamber is an octagon. While the design allows for entry from each face, only the south (garden facing) door is used.

The interior walls are about 25 meters high, topped by a “false” interior dome decorated with a sun motif.

Eight pishtaq arches define the space at ground level. As is typical with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas; each balcony’s exterior window has an intricate screen or jali cut from marble.

In addition to the light from the balcony screens, light enters through roof openings covered by the chattris at the corners of the exterior dome.

Each of the chamber walls has been highly decorated with dado bas relief, intricate lapidary inlay and refined calligraphy panels, reflecting in miniature detail the design elements seen throughout the exterior of the complex.

The jali

The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate piercework. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.

The cenotaphs and tombs

Cenotaphs, interior of the Taj Mahal

The actual tombs of Shah Jahan and Mumtaz Mahal in the crypt of the Taj Mahal

Mumtaz Mahal’s cenotaph is placed at the precise center of the inner chamber. On a rectangular marble base about 1.5 meters by 2.5 meters is a smaller marble casket. Both base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet.

Muslim tradition forbids elaborate decoration of graves, so the bodies of Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber of the Taj Mahal. They are buried on a north-south axis, with faces turned right (west toward Mecca).

Shah Jahan’s cenotaph is beside Mumtaz’s to the western side. It is the only visible asymmetric element in the entire complex . His cenotaph is bigger than his wife’s, but reflects the same elements: A larger casket on slightly taller base, again decorated with astonishing precision with lapidary and calligraphy which identifies Shah Jahan. On the lid of this casket is a sculpture of a small pen box. (The pen box and writing tablet were traditional Mughal funerary icons decorating men’s and women’s caskets respectively.)

“O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious… ” These are six of the Ninety Nine Names of God, which are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt. The tomb of Shah Jahan bears a calligraphic inscription, not taken from the Qur’an, but referring to the resting place of this Mughal Emperor. Part of the inscription reads; “He traveled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri.”

Construction

Ground layout of the Taj Mahal

The Taj Mahal was built on a parcel of land to the south of the walled city of Agra which had belonged to Maharajah Jai Singh: Shah Jahan presented him with a large palace in the centre of Agra in exchange. Construction began with setting the foundations for the tomb. An area of roughly three acres was excavated and filled with dirt to reduce seepage from the river. The entire site was leveled to a fixed height about 50 meters above the riverbank. The Taj Mahal is 55 meters tall. The dome itself measures 18 meters in diameter and 24 meters high.

View from the Agra Fort.

In the tomb area, wells were then dug to the point that water was encountered. These wells were later filled with stone and rubble, forming the basis for the footings of the tomb. [An additional well was built to same depth nearby to provide a visual method to track water level changes over time.]

Instead of lashed bamboo, the typical scaffolding method, workmen constructed a colossal brick scaffold that mirrored the inner and outer surfaces of the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle. According to legend, Shah Jahan decreed that anyone could keep bricks taken from the scaffold, and it was dismantled by peasants overnight.

A fifteen-kilometer tamped-earth ramp was built to transport marble and materials to the construction site. According to contemporary accounts teams of twenty or thirty oxen strained to pull the blocks on specially constructed wagons.

To raise the blocks into position required an elaborate post-and-beam pulley system. Teams of mules and oxen provided the lifting power.

The order of construction was

* The plinth
* The tomb
* The four minarets
* The mosque and jawab
* The gateway

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years. (Since the complex was built in stages, contemporary historical accounts list different “completion dates”; discrepancies between so-called completion dates are probably the result of differing opinions about the definition of “completion”. For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex.)

Water infrastructure

Water for the Taj Mahal was provided through a complex infrastructure. Water was drawn from the river by a series of purs — an animal-powered rope and bucket mechanism. The water flowed into a large storage tank, where, by thirteen additional purs, it was raised to large distribution tank above the Taj Mahal ground level.

From this distribution tank, water passed into three subsidiary tanks, from which it was piped to the complex. A 0.25 meter earthenware pipe lies about 1.5 meters below the surface, in line with the main walkway; this filled the main pools of the complex. Additional copper pipes supplied the fountains in the north-south canal. Subsidiary channels were dug to irrigate the entire garden.

The fountain pipes were not connected directly to the feed pipes. Instead, a copper pot was provided under each fountain pipe: water filled the pots allowing equal pressure in each fountain.

The purs no longer remain, but the other parts of the infrastructure have survived.

Craftsmen

Taj Mahal viewed from Gateway, framed by arched entranceway (by Leonardo C. Fleck)

The Taj Mahal was not designed by a single person. The project demanded talent from many people.

The names of many of the builders who participated in the construction of the Taj Mahal in different capacities have come down through various sources.

* The Persian or Turkish architect, Ustad Isa and Isa Muhammad Effendi, trained by the Ottoman architect Koca Mimar Sinan Agha are frequently credited with a key role in the architectural design of the complex,[10][11] but in fact there is little evidence to support this tradition.

* ‘Puru’ from Benarus, Persia (Iran), has been mentioned supervising architect in Persian language texts.

* The main dome was designed by Ismail Khan from the Ottoman Empire, considered to be the premier designer of hemispheres and builder of domes of that age.

* Qazim Khan, a native of Lahore, cast the solid gold finial that crowned the Turkish master’s dome.

* Chiranjilal, a lapidary from Delhi, was chosen as the chief sculptor and mosaicist.

* Amanat Khan from Persian Shiraz, Iran was the chief calligrapher (this fact is attested on the Taj Mahal gateway itself, where his name has been inscribed at the end of the inscription).

* Muhammad Hanif was the supervisor of masons.

* Mir Abdul Karim and Mukkarimat Khan of Shiraz, Iran handled finances and the management of daily production.

The creative team included sculptors from Bukhara, calligraphers from Syria and Persia, inlayers from southern India, stonecutters from Baluchistan, a specialist in building turrets, another who carved only marble flowers — thirty-seven men in all formed the creative nucleus. To this core was added a labour force of twenty thousand workers recruited from across northern India.

Particularly during the the British Raj, some commentators suggested that the Taj Mahal was the work of European artisans. As early as 1640, a Spanish friar who visited Agra wrote that Geronimo Veroneo, an Italian adventurer in Shah Jahan’s court, was primarily responsible for the design. There is no reliable evidence to back up such assertions. E.B. Havell, the principal British scholar of Indian art in the later Raj, dismissed this theory as inconsistent with the methods employed by the designers. His conclusions were further supported by the research of Muhammad Abdullah Chaghtai, who concluded that some of these theories may have been based on the misapprehension that “Ustad Isa”, so often credited with the Taj’s design, must have been a Christian because he bore the name “Isa” (Jesus). In fact this is a common Muslim name as well. Furthermore there is no source earlier than the 19th century which mentions an “Ustad Isa” in connection with the Taj Mahal . Chaghtai thought it more likely that the chief architect was Ustad Ahmad, the designer of Shahjahanabad, but admitted that this could not be conclusively proved from existing sources.

Materials

The Taj Mahal was constructed using materials from all over India and Asia. Over 1,000 elephants were used to transport building materials during the construction. The translucent white marble was brought from Rajasthan, the jasper from Punjab and the jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

Costs

Estimates of the cost of the construction of the Taj Mahal vary due to the difficulties of estimating construction costs across time. The total cost of the Taj Mahal’s construction has been estimated to be about 32 million rupees. However, when considering the labor costs and the time period that it took, and the difference in economic eras, it is, to many, considered priceless.

History

Soon after the Taj Mahal’s completion, Shah Jahan was deposed and put under house arrest at nearby Agra Fort by his son Aurangzeb. Legend has it that he spent the remainder of his days gazing through the window at the Taj Mahal. Upon Shah Jahan’s death, Aurangzeb buried him in the Taj Mahal next to his wife, the only disruption of the otherwise perfect symmetry in the architecture.

By the late 19th century parts of the Taj Mahal had fallen badly into disrepair. During the time of the Indian rebellion of 1857 the Taj Mahal faced defacement by British soldiers and government officials who chiseled out precious stones and lapis lazuli from its walls.

Protective wartime scaffolding

At the end of the 19th century British viceroy Lord Curzon ordered a massive restoration project, completed in 1908. He also commissioned the large lamp in the interior chamber (modelled on one hanging in a Cairo mosque when local craftsmen failed to provide adequate designs). It was during this time the garden was remodelled with the more British looking lawns visible today.

By the 20th century the Taj Mahal was being better taken care of. In 1942 the government erected a scaffolding over it in anticipation of an air attack by the German Luftwaffe and later by the Japanese Air Force . During the India-Pakistan wars of 1965 and 1971 scaffoldings were erected by the government to mislead would-be bomber pilots.

Its most recent threats came from environmental pollution on the banks of the Yamuna River including acid rain occurring due to the Mathura oil refinery (something opposed by Supreme Court of India directives).

As of 1983 the Taj Mahal was designated a UNESCO World Heritage Site. Today it is a major tourist destination.

Recently the Taj Mahal was claimed to be Sunni Wakf property, on the grounds that it is the grave of a woman whose husband Emperor Shah Jahan was a Sunni. The Indian government has dismissed claims by the Muslim trust to administer the property, saying their claims are baseless and the Taj Mahal is Indian national property.

The poet Tagore, a Nobel laureate, called Taj Mahal “a drop of tear on the cheek of history”.

Visiting

The Taj Mahal is often described as one of the seven wonders of the modern world. Millions of tourists have visited the site – more than three million in 2004, according to the BBC – making it one of the most popular international attractions in India.

Myths

Myths about the Taj Mahal are now so old or compelling that they are often repeated as facts.
Jean-Baptiste Tavernier, one of the first European visitors to the Taj Mahal and source of the Black Taj myth

A longstanding myth holds that Shah Jahan planned a duplicate mausoleum to be built in black marble across the Jumna river. The ‘black taj’ idea originates in the fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. The story suggests that Shah Jahan was overthrown by his son Aurangzeb before the black version could be built. Ruins of blackened marble across the river, in the so-called ‘moonlight garden’ seemed to support this legend. However, excavations carried out in the 1990s and found only white marble features discoloured completely to black. Others speculate that the ‘black taj’ may refer to the reflection of the Taj in the large pool of the moonlight garden.

Numerous stories describe often in horrific detail the deaths, dismemberments and mutilations which Shah Jahan inflicted on various architects and craftsmen associated with the tomb. No evidence for these claims exist.

Sometimes misinformation about the Taj has been used for political or self-serving advantage.Lord William Bentinck, governor of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. There is no contemporary evidence for this story, which may have emerged in the late nineteenth century when Bentinck was being criticised for his penny-pinching Utilitarianism, and when Lord Curzon was emphasising earlier neglect of the monument. Bentinck’s biographer John Rosselli says that the story arose from Bentinck’s fund-raising sale of discarded marble from Agra Fort.

The speculations of P.N. Oak, through his book Taj Mahal: The True Story have received lots of attention. He claims that the Taj Mahal was originally a Shiva temple and that all structures in India, currently ascribed to the Mughals, actually have an earlier Hindu origin.In 2000 India’s Supreme Court dismissed Oak’s petition to declare that a Hindu king built the Taj Mahal and reprimanded him for bringing the action. – - A more poetic story relates that once a year, during the rainy season, a single drop of water falls on the cenotaph. The story recalls Rabindranath Tagore’s description of the tomb as “one solitary tear hanging on the cheek of time”. Another myth suggests that beating the silhouette of the finial (set into the paving of the riverside forecourt) will cause water to come forth. To this day officials find broken bangles surrounding the silhouette.