About Taj Mahal in Agra

The Taj Mahal 'Crown of the Palace', originally the Rauza-i-munawwara is an ivory-white marble mausoleum on the southern bank of the river Yamuna 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 favourite wife, Mumtaz Mahal; it also houses the tomb of Shah Jahan himself. The tomb is the centrepiece of a 17-hectare (42-acre) 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 Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million rupees, which in 2020 would be approximately 70 billion rupees (about U.S. $956 million). 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 was designated as a UNESCO World Heritage Site in 1983 for being "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage". It is regarded by many as the best example of Mughal architecture and a symbol of India's rich history. The Taj Mahal attracts 7–8 million visitors a year and in 2007, it was declared a winner of the New 7 Wonders of the World (2000–2007) initiative.

Inspiration- The Taj Mahal was commissioned by Shah Jahan in 1631, to be built in the memory of his wife Mumtaz Mahal, who died on 17 June that year, while giving birth to their 14th child, Gauhara Begum.Construction started in 1632, and the mausoleum was completed in 1648, while the surrounding buildings and garden were finished five years later. The imperial court documenting Shah Jahan's grief after the death of Mumtaz Mahal illustrates the love story held as the inspiration for the Taj Mahal.

Architecture and design- The Taj Mahal incorporates and expands on design traditions of Indo-Islamic 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 which inspired the Charbagh gardens and hasht-behesht (architecture) plan of the site, 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 tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Indo-Islamic in origin.

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres (180 ft) on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres (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 metres (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 emphasised 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 (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 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 metres (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.

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'an that comprise some of the decorative elements. Recent scholarship suggests that Amanat Khan chose the passages.

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 emphasise the exquisite detailing of the 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 of yellow marble, jasper and jade, polished and levelled to the surface of the walls.

Garden-The complex is set around a large 300-metre (980 ft) square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four-quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the centre of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The elevated marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.

Elsewhere, the garden is laid out with avenues of trees labeled according to common and scientific names and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden.' In mystic Islamic texts of the 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 centre. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan.Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees. As the Mughal Empire declined, the Taj Mahal and its gardens also declined. By the end of the 19th century, the British Empire controlled more than three-fifths of India, and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.