Everything about The Taj Mahal totally explained
The
Taj Mahal (
Persian: تاج محل,
Devanagari: ताज महल) is a
mausoleum located in
Agra,
India, that was built under
Mughal Emperor Shah Jahan in memory of his favorite wife,
Mumtaz Mahal.
The Taj Mahal (also "the Taj") is considered the finest example of
Mughal architecture, a style that combines elements from
Persian,
Turkish,
Indian, and
Islamic architectural styles. In 1983, the Taj Mahal became a
UNESCO World Heritage Site and was cited as "the jewel of
Muslim art in India and one of the universally admired masterpieces of the world's heritage."
While the white
domed
marble and tile mausoleum is most familiar, Taj Mahal is an integrated symmetric complex of structures that was completed around 1648.
Ustad Ahmad Lahauri is generally considered to be the principal designer of the Taj Mahal.
Architecture
The tomb
The focus of the Taj Mahal is the white marble tomb, which stands on a square
plinth consisting of a symmetrical building with an
iwan, an arch-shaped doorway, topped by a large dome. Like most Mughal tombs, basic elements are Persian in origin.
The base structure is a large, multi-chambered structure. The base is essentially a cube with
chamfered edges and is 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.
On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on chamfered corner areas as well. 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. The main chamber houses the false
sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level.
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, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an
onion dome (also called an
amrud or guava dome). The top is decorated with a
lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed
chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (
guldastas) 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 Hindu decorative elements.
The main dome is crowned by a gilded
spire or
finial. The finial, made of gold until the early 1800s, is now made of
bronze. The finial 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. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of
Shiva.
At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as 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 were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb.
Image:TajAndMinaret.jpg|Base, dome, and minaret
Image:TajFinial.jpg|Finial
Image:TajEntryArch.jpg|Main iwan and side pishtaqs
Image:Taj floorplan.gif|Simplified diagram of the Taj Mahal floor plan
Exterior decoration
The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture. As the surface area changes, a large pishtaq has more area than a smaller one, and the decorations are refined proportionally. The decorative elements were created by applying paint or
stucco, or by 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.
The calligraphy found in Taj Mahal are of florid
thuluth script, created by Persian calligrapher
Amanat Khan, who signed several of the panels. The calligraphy is made by
jasper inlaid in white marble panels, and the work found on the marble cenotaphs in the tomb is extremely detailed and delicate. Higher panels are written slightly larger to reduce the skewing effect when viewing from below. Throughout the complex, passages from the
Qur'an are used as decorative elements. Recent scholarship suggests that Amanat Khan chose the passages as well.
The texts refer to themes of judgment and include:
As one enters through 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."
Abstract forms are used especially in the plinth, minarets, gateway, mosque, jawab, and to a lesser extent, on the surfaces of the tomb. The domes and vaults of sandstone buildings are worked with
tracery of
incised painting to create elaborate geometric forms. On most joining areas,
herringbone inlays define the space between adjoining elements. White inlays are used in sandstone buildings and dark or black inlays on the white marbles. Mortared areas of marble buildings have been stained or painted dark and thus creating a geometric patterns of considerable complexity. Floors and walkways use contrasting
tiles or blocks in
tessellation patterns.
Vegetative motifs are found at the lower walls of the tomb. They 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.
Image:TajGuldastaGeometricDeco.jpg|Herringbone
Image:TajFlowerCloseUp.jpg|Plant motifs
Image:TajSpandrel.jpg|Spandrel detail
Image:TajPaintedGeometry.JPG|Incised painting
Interior decoration
The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. Here the inlay work isn't
pietra dura, but
lapidary of precious and semiprecious
gemstones. The inner chamber is an octagon with the design allowing for entry from each face, though only the south garden-facing door is used. The interior walls are about 25 metres high and topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level. 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. Each chamber wall 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 octagonal marble screen or
jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate pierce work. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.
Muslim tradition forbids elaborate decoration of graves and hence Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber with their faces turned right and towards
Mecca. Mumtaz Mahal's
cenotaph is placed at the precise center of the inner chamber with a rectangular marble base of 1.5 meters by 2.5 meters. Both the 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. 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 that identifies Shah Jahan. On the lid of this casket is a traditional 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. Ninety Nine Names of God are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt including
"O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that 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."
Image:TajJaliArch.jpg|Arch of Jali
Image:TajJaliPiercwork.jpg|Delicate pierce work
Image:TajJaliInlay.jpg|Inlay detail
Image:Jali-inlay.jpg|Detail of Jali
The garden
The complex is set around a large 300-meter square
charbagh, a
Mughal garden.
The
garden uses raised pathways that divide each of the four quarters 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
gateway, with a
reflecting pool on North-South axis reflects the image of the Taj Mahal. Elsewhere, the garden is laid out with avenues of trees and
fountains. The raised marble water tank is called
al Hawd al-Kawthar, in reference to "Tank of Abundance" promised to
Muhammad. The charbagh garden, a design inspired by
Persian gardens, was introduced to India by the first Mughal emperor
Babur. It symbolizes four flowing rivers of
Paradise and reflects the gardens of
Paradise derived from the Persian
paridaeza, meaning 'walled garden'. In
mystic Islamic texts of Mughal period, paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.
Most Mughal charbaghs are rectangular with a tomb or
pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, instead is located at the end of the garden. With the discovery of
Mahtab Bagh or "Moonlight Garden" on the other side of the
Yamuna,
Archaeological Survey of India interprets 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 similarity in layout of the garden and its architectural features such as fountains,
brick and marble walkways, and geometric brick-lined flowerbeds with
Shalimar's 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 the management of Taj Mahal, they changed the landscaping to resemble that of
lawns of
London.
Outlying buildings
The Taj Mahal complex is bounded by
crenellated red sandstone walls on three sides with river-facing side open. Outside these walls are several additional mausoleums, including those 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 the smaller Mughal tombs of the era. The garden-facing inner sides of the wall are 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 that may have been viewing areas or watch towers like the
Music House, which is now used as a museum.
The main gateway (
darwaza) is a monumental structure built primarily of marble and is reminiscent of Mughal architecture of earlier emperors. Its
archways mirror the shape of tomb's archways, and its
pishtaq arches incorporate
calligraphy that decorates the tomb. It utilizes 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.
At the far end of the complex, there are two grand red sandstone buildings that are open to the sides of the tomb. Their backs parallel western and eastern walls, and these two buildings are precise mirror images of each other. The western building is a mosque and its opposite is the
jawab (answer) whose primary purpose was architectural balance and may have been used as a guesthouse. The distinctions between these two buildings include the lack of
mihrab, a niche in a mosque's wall facing
Mecca, in the
jawab and that the floors of
jawab have a geometric design, while the mosque floor was laid with 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-Jahan Numa, or Jama Masjid of Delhi, a long hall surmounted by three domes. The Mughal mosques of this period divide the
sanctuary hall into three areas with a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an enormous vaulting dome. These outlying buildings were completed in 1643.
Construction
The Taj Mahal was built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three
acres was excavated, filled with dirt to reduce seepage and leveled at 50 meters above riverbank. In the tomb area, wells were dug and filled with stone and rubble as the
footings of the tomb. Instead of lashed
bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle. According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site. Teams of twenty or thirty oxen were strained to pull blocks on specially constructed wagons. An elaborate
post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of
purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.
The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex. Estimates of the cost of the construction of Taj Mahal vary due to difficulties in estimating construction costs across time. The total cost of construction has been estimated to be about 32 million Rupees at that time which now runs into trillions of Dollars if converted to present currency rates.
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,
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.
A labour force of twenty thousand workers was recruited across northern India. Sculptors from
Bukhara, calligraphers from
Syria and Persia, inlayer from southern India, stonecutters from
Baluchistan, a specialist in building turrets, another who carved only marble flowers were part of the thirty-seven men who formed the creative unit. Some of the builders involved in construction of Taj Mahal are:
