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Taj Mahal

The Taj Mahal is a white marble mausoleum located in Agra, India that was commissioned by Mughal emperor Shah Jahan between 1632-1643 as a tomb for his wife Mumtaz Mahal. It is the centerpiece of a large complex that also includes a mosque and guest house. The Taj Mahal incorporates elements of earlier Mughal and Persian architecture and is renowned for its elegant dome, minarets, and intricate decorations featuring calligraphy, geometric patterns, and floral designs made of precious and semi-precious stones.

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240 views3 pages

Taj Mahal

The Taj Mahal is a white marble mausoleum located in Agra, India that was commissioned by Mughal emperor Shah Jahan between 1632-1643 as a tomb for his wife Mumtaz Mahal. It is the centerpiece of a large complex that also includes a mosque and guest house. The Taj Mahal incorporates elements of earlier Mughal and Persian architecture and is renowned for its elegant dome, minarets, and intricate decorations featuring calligraphy, geometric patterns, and floral designs made of precious and semi-precious stones.

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Taj Mahal

The Taj Mahal is an ivory-white marble mausoleum on the south bank of


the Yamuna river in the Indian city of Agra. It was commissioned in 1632 by
the Mughal emperor, Shah Jahan (reigned from 1628 to 1658), to house the tomb
of his favorite wife, Mumtaz Mahal. The tomb is the centerpiece of a 17-hectare
(42-acre)[5] complex, which includes a mosque and a guest house, and is set in
formal gardens bounded on three sides by a crenellated wall.
Construction of the mausoleum was essentially completed in 1643 but work
continued on other phases of the project for another 10 years The construction
project employed some 20,000 artisans under the guidance of a board of architects
led by the court architect to the emperor, Ustad Ahmad Lahauri.
The Taj Mahal incorporates and expands on design traditions of Persian and
earlier Mughal architecture. Specific inspiration came from successful Timurid and
Mughal buildings including 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.
While earlier Mughal buildings were primarily constructed of red sandstone, Shah
Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings
under his patronage reached new levels of refinement.
The most spectacular feature is the marble dome that surmounts the tomb. The dome
is nearly 35 metre (115 ft.) high which is close in measurement to the length of the
base, and accentuated by the cylindrical "drum" it sits on which is approximately 7
metre (23 ft.) high. Because of its shape, the dome is often called an onion
dome or amrud (guava dome). The top is decorated with a lotus design which also
serves to accentuate its height. The shape of the dome is emphasized by four smaller
domed chattris (kiosks) placed at its corners, which replicate the onion shape of the
main dome. The dome is slightly asymmetrical. Their columned bases open through
the roof of the tomb and provide light to the interior. Tall decorative spires extend
from edges of base walls, and provide visual emphasis to the height of the dome.
The lotus motif is repeated on both the chattris and guldastas. The dome and chattris
are topped by a gilded finial which mixes traditional Persian and Hindustani
decorative elements.
The main finial was originally made of gold but was replaced by a copy made of
gilded bronze in the early 19th century. This feature provides a clear example of
integration of traditional Persian and Hindu decorative elements The finial is topped
by a moon, a typical Islamic motif whose horns point heavenward.
The minarets, which are each more than 40 metre (130 ft.) tall, display the
designer's penchant for symmetry. They were designed as working minarets—a
traditional element of mosques, used by the 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 chattris all share the
same decorative elements of a lotus design topped by a gilded finial. The minarets
were constructed slightly outside of the plinth so that in the event of collapse, a
typical occurrence with many tall constructions of the period, the material from the
towers would tend to fall away from the tomb.

Exterior:
The exterior decorations of the Taj Mahal are among the finest in Mughal
architecture. As the surface area changes, the decorations are refined
proportionally. The decorative elements were created by applying paint, stucco,
stone inlays or carvings. In line with the Islamic prohibition against the use of
anthropomorphic forms, the decorative elements can be grouped into
either calligraphy, abstract forms or vegetative motifs. Throughout the complex
are passages from the Qur'anthat comprise some of the decorative elements. Recent
scholarship suggests that the passages were chosen by Amanat Khan.
The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord
at peace with Him, and He at peace with you. The calligraphy was created in 1609
by a calligrapher named Abdul Haq. Shah Jahan conferred the title of Amanat Khan
upon him as a reward for his "dazzling virtuosity".Near the lines from the Qur'an at
the base of the interior dome is the inscription, "Written by the insignificant being,
Amanat Khan Shirazi." Much of the calligraphy is composed of florid thuluth script
made of jasper or black marble inlaid in white marble panels. Higher panels are
written in slightly larger script to reduce the skewing effect when viewed from
below. The calligraphy found on the marble cenotaphs in the tomb is particularly
detailed and delicate.
Abstract forms are used throughout, especially in the plinth, minarets, gateway,
mosque, 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. Herringbone inlays define the space between
many of the adjoining elements. White inlays are used in sandstone buildings, and
dark or black inlays on the white marbles. Mortared areas of the marble buildings
have been stained or painted in a contrasting colour which creates a complex array
of geometric patterns. Floors and walkways use contrasting tiles or blocks
in tessellation patterns.
On the lower walls of the tomb are white marble dados sculpted with realistic bas
relief depictions of flowers and vines. The marble has been polished to emphasize
the exquisite detailing of the carvings. The dado frames and archway spandrels have
been decorated with pietra dura inlays of highly stylized, almost geometric vines,
flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished
and levelled to the surface of the walls
Interior:
The interior chamber of the Taj Mahal reaches far beyond traditional decorative
elements. The inlay work is not pietra dura, but a lapidary of precious and
semiprecious gemstones. The inner chamber is an octagon with the design allowing
for entry from each face, although only the door facing the garden to the south is
used. The interior walls are about 25 metres (82 ft) high and are topped by a "false"
interior dome decorated with a sun motif. Eight pishtaq arches define the space at
ground level and, as 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, and 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 chattris at the corners. The octagonal marble screen
or jali bordering the cenotaphs is made from eight marble panels carved through
with intricate pierce work. The remaining surfaces are inlaid in delicate detail with
semi-precious stones forming twining vines, fruits and flowers.

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