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The TÄj Mahal (Urdu: تاج Ù…Øل‎, Hindi: ताज महल) is a mausoleum located in Agra, India. The Mughal Emperor ShÄh JahÄn commissioned it as a mausoleum for his favourite wife, Mumtaz Mahal. Construction began in 1632 and was completed in 1648. Some dispute surrounds the question of who designed the Taj; it is clear a team of designers and craftsmen were responsible for the design, with Ustad Isa considered the most likely candidate as the principal designer.[1]
The Taj Mahal (sometimes called "the Taj") is generally considered the finest example of Mughal architecture, a style that combines elements of Persian and Indian. 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 masterpieces of the world's heritage".[1
Origin and inspiration
Agra
Location of the Taj Mahal within IndiaShah Jahan, emperor of the Mughal Empire during a period of great prosperity, controlled extensive resources. In 1631 his second wife died during the birth of their daughter Gauhara Begum, their fourteenth child. Shah Jahan was reportedly inconsolable. Contemporary court chronicles contain many stories concerning Shah Jahan's grief at Mumtaz's death; these are the basis of the "love-story" traditionally held as the inspiration for the Taj Mahal.[2] 'Abd al-Hamid Lahawri, for example, noted that before her death the Emperor had "but twenty white hairs in his beard," but thereafter many more.[3]
Construction of the Taj Mahal was begun in Agra soon after Mumtaz's death. The principal mausoleum was completed in 1648, and the surrounding buildings and garden five years later. Visiting Agra in 1663, the French traveller François Bernier wrote:
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 [sic] 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.[4]
Influences
The Tomb of Humayun constructed in 1560 shares substantially the same pattern as the Taj MahalThe Taj Mahal incorporates and expands on many design traditions, particularly Hindu, 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),[5] 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.[6] Whilst previous Mughal building had primarily been constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones.
Hindu craftsmen, particularly sculptors and stonecutters, plied their trade throughout Asia during this period, and their skills were particularly sought after by tomb builders. Whilst the rock-cut architecture which characterises much of the construction of this period had little influence on the Taj Mahal (carvings are only one form of the decorative element), other Indian buildings such as the Man Singh palace in Gwalior were an inspiration for much Mughal palace architecture and the source for the chhatris which can be seen on the Taj Mahal.
The garden
The complex is set in and around a large charbagh (a formal Mughal garden divided into four parts). Measuring 320 m × 300 m, 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 centre 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 as described as 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 poolMost Mughal charbaghs are rectangular in form, with a central tomb or pavilion in the centre of the garden. The Taj Mahal garden is unusual in siting the main element, the tomb, at the end rather than at the centre 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, geometric brick-lined flowerbeds, and so on, 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 more the formal lawns of London.
Outlying buildings
Gateway to the Taj MahalThe 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 favourite 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 red sandstone. 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 jawabAt 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 masjidThe two buildings are precise mirror images of each other. The western building is a mosque; its opposite is the jawab or "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 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 Jama Masjid in 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 on to an enormous vaulting dome.
The tomb
Base
Simplified diagram of the Taj Mahal floor plan.
Main iwan and side pishtaqsThe focus of the Taj Mahal is the white marble tomb. Like most Mughal tombs, the basic elements are Persian in origin: 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 Shah Jahan and Mumtaz (the actual graves are a level below).
The base is essentially a cube with chamfered edges, roughly 55 metres 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.
To 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 uniform and consistent on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb.
Dome
Base, dome, and minaretThe 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 m. Its height is accentuated because it sits on a cylindrical "drum" about 7 m 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.
FinialThe 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 used to be made of gold until the early 1800's, but 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.
Similarly, the spire is made up of a number of bulbous forms. The central form bears a striking resemblance to a Hindu sacred water vessel (kalash or kumbh).
Minarets
At the corners of the plinth stand minarets: four large towers each more than 40 m tall. The minarets again display the Taj Mahal's basic penchant for symmetrical, repeated design.
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 pishtaqNearly 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
HerringboneThroughout 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 Mughal court's Persian calligrapher, Amanat Khan, who was resident at the Mughal court. He has 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 paintingAbstract 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. |
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