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The Taj Mahal (pronounced /tɑʒ mə'hɑl/) (Persian: تاج محل, 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.[1]
Contents
[hide]
* 1 Architecture
o 1.1 The tomb
+ 1.1.1 Exterior decoration
+ 1.1.2 Interior decoration
o 1.2 The garden
o 1.3 Outlying buildings
* 2 Construction
* 3 History
* 4 Tourism
* 5 Myths
* 6 See also
* 7 Notes
* 8 References
* 9 External links
Architecture
Main article: Origins and architecture of the Taj Mahal
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 of the Taj is a large, multi-chambered structure
The base of the Taj is a large, multi-chambered structure
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.[2]
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.
Base, dome, and minaret
Finial
Main iwan and side pishtaqs
Simplified diagram of the Taj Mahal floor plan
Exterior decoration
Calligraphy on large pishtaq
Calligraphy on large pishtaq
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.[3][4] The texts refer to themes of judgment and 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
Surah 39 - The Crowds
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."[5][4]
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.
Herringbone
Plant motifs
Spandrel detail
Incised painting
Interior decoration
Jali screen surrounding the cenotaphs
Jali screen surrounding the cenotaphs
Tombs of Shah Jahan and Mumtaz Mahal
Tombs of Shah Jahan and Mumtaz Mahal
Cenotaphs, interior of Taj Mahal
Cenotaphs, interior of Taj Mahal
The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. Here the inlay work is not 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. O |
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