Forgotten Wonder

Taj Mahal

Picture courtesy of The Majestic Mahal
Located at the city of Agra in the State of Uttar Pradesh, the Taj Mahal is one of the most beautiful masterpieces of architecture in the world. Agra, situated about 200 km south of New Delhi, was the Capital of the Mughals (Moguls), the Muslim Emperors who ruled Northern India between the sixteenth and nineteenth centuries. The Mughals were the descendents of two of the most skilled warriors in history: the Turks and the Mongols. The Mughal dynasty reached its highest strength and fame during the reign of their early Emperors, Akbar, Jehangir, and Shah Jehan.
It was Shah Jehan who ordered the building of the Taj, in honor of his wife, Arjumand Banu who later became known as Mumtaz Mahal, the Distinguished of the Palace. Mumtaz and Shah Jehan were married in 1612 and, over the next 18 years, had 14 children together. The Empress used to accompany her husband in his military campaigns, and it was in 1630, in Burhanpur, that she gave birth to her last child, for she died in childbirth. So great was the Emperor love to his wife that he ordered the building of the most beautiful mausoleum on Earth for her.
Although it is not known for sure who planned the Taj, the name of an Indian architect of Persian descent, Ustad Ahmad Lahori, has been cited in many sources. As soon as construction began in 1630, masons, craftsmen, sculptors, and calligraphers were summoned from Persia, the Ottoman Empire, and Europe to work on the masterpiece. The site was chosen near the Capital, Agra on the southwest bank of the River Yamuna. The architectural complex is comprised of five main elements: the Darwaza or main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana or rest house, and the Rauza or the Taj Mahal mausoleum. The actual Tomb is situated inside the Taj.
The unique mughal style combines elements of Persian, Central Asian, and Islamic architecture. Most impressive are the black and white chessboard marble floor, the four tall minarets (40 m high) at the corners of the structure, and the majestic dome in the middle. On closer look, the lettering of the Quran verses around the archways appears to be uniform, regardless of their height. The lettering spacing and density has been customized to give this impression to the beholder. Other illusionary effects have been accounted for in the geometry of the tomb and the tall minarets. The impressive pietra dura artwork includes geometric elements, plants and flowers, mostly common in Islamic architecture. The level of sophistication in artwork becomes obvious when one realizes that a 3 cm decorative element contains more than 50 inlaid gemstones.
Related Links
Taj Mahal at Indian Travel Port
Explore the Taj Mahal
The Majestic Mahal
Taj Mahal: A Shrine of Love Official Page
Uttar Pradesh: Agra, the City of Taj Mahal
The Seven Wonders of the Ancient World
Forgotten Wonders
Modern Wonders
Natural Wonders

Explore the Taj Mahal

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18 Apr 2007 - One of the most beautiful buildings in the world, the Taj Mahal is all set to get a facelift. - HindustanTimes.com
10 Jan 2007 - Gates at India's Taj Mahal Get Facelift ...Archaeologists and conservationists have starting giving the massive gates of the Taj Mahal a facelift to repair weather damage to the majestic 17th-century monument. - WashingtonPost.com
22 Nov 2006 - China's Hu savours Taj Mahal ... Chinese President Hu Jintao put aside his official duties to soak up the beauty of the Taj Mahal - Reuters.com
18 Aug 2006 - Letter Threatens to Blow Up Taj Mahal ... purportedly sent by al-Qaeda supporter - ABC News
In December 1631, the fifth Mughal Emperor, Shah Jahan, commenced the construction of one of the greatest monuments of all time, the Taj Mahal. It is a mausoleum built in the memory of his beloved and favorite wife, Mumtaz Mahal, fulfilling one of the promises that he made to her as she lay on her deathbed: To erect a monument to match her beauty.
Our online virtual tour enables visitors to interactively explore the "UNESCO World Heritage Site", the Taj Mahal at Agra in India. Visitors may tour 22 different areas of the monument and gardens through 360° panoramas, maps, narrated mini-movies, music and text. A small 360° panorama above a clickable map allows a quick view of any area. Having spotted something of interest, visitors can then click to open a window with a much larger and higher quality 360° panorama, and then zoom in and pan around for a detailed inspection. For example: To view the inlaid semi-precious stones on the Dome itself. At any point, visitors can view narrated mini-movies about the people, architecture, politics and history of the site (also includes full Text for the hearing-impaired).
An easy-to-follow map also ensures that, unlike a real tourist, our virtual visitors can jump around the gardens and monument with a single click. There are even exclusive 360° panoramic views taken from the Roof and in the Crypt of the monument - these areas are completely Off-Limits to the public. All of our panoramas have descriptive narration, music, integrated text for the hearing-impaired, and MS Word files with pictures.

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Taj Mahal
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Architect
Emperor Shah Jahan
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Location
Agra, India map
Date
1630 to 1653 timeline
Building Type
Islamic tomb
Construction System
bearing masonry, inlaid marble
Climate
desert
Context
park setting
Style
Islamic
Notes
Onion-shape domes, flanking towers, built for wife Mumatz Mahal.
Images

Photo, from a distance
Photo, close in looking up
Photo, inset bay and entry
Photo, exterior overview
More Images Aerial view of Taj Mahal
Poster Image - Taj Mahal, Classic Overview Poster Image - Taj Mahal Rendering, Overview in Historical Context
Drawings
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More drawings available on The GBC CD-ROM. Contributions appreciated.
3D Model

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Discussion
Taj Mahal Commentary
"A white marble tomb built in 1631-48 in Agra, seat of the Mugal Empire, by Shah Jehan for his wife, Arjuman Banu Begum, the monument sums up many of the formal themes that have played through Islamic architecture. Its refined elegance is a conspicuous contrast both to the Hindu architecture of pre-Islamic India, with its thick walls, corbeled arches, and heavy lintels, and to the Indo-Islamic styles, in which Hindu elements are combined with an eclectic assortment of motifs from Persian and Turkish sources."
—Marvin Trachtenberg and Isabelle Hyman. Architecture: from Prehistory to Post-Modernism. p223.
"The Mausoleum of the Taj Mahal at Agra stands in a formally laid-out walled garden entered through a pavilion on the main axis. The tomb, raised on a terrace and first seen reflected in the central canal, is entirely sheathed in marble, but the mosque and counter-mosque on the transverse axis are built in red sandstone. The four minarets, set symmetrically about the tomb, are scaled down to heighten the effect of the dominant, slightly bulbous dome. The mosques, built only to balance the composition are set sufficiently far away to do no more than frame the mausoleum. In essence, the whole riverside platform is a mosque courtyard with a tomb at its centre. The great entrance gate with its domed central chamber, set at the end of the long watercourse, would in any other setting be monumental in its own right."
"The interior of the building is dimly lit through pierced marble lattices and contains a virtuoso display of carved marble. Externally the building gains an ethereal quality from its marble facings, which respond with extraordinary subtlety to changing light and weather."
—Sir Banister Fletcher. A History of Architecture. p624, 630.
Details
On a platform 22' high and 313' square.
Corner minarets 137' tall. Main structure 186' on a side, dome to 187'.
The mausoleum is 57 m (190 ft) square in plan. "The central inner dome is 24.5 m (81 ft) high and 17.7 m (58 ft) in diameter, but is surmounted by an outer shell nearly 61 m (200 ft) in height."
—Sir Banister Fletcher. A History of Architecture. p630.
Specific design credit is uncertain, and is given by different sources to Istad Usa, Ustad Ahmad Lahori, Isa Muhammad Effendi, or Geronimo Veroneo.
Resources
Sources on Taj Mahal
"Online Trip to the Taj Mahal", by ArchitectureWeek, ArchitectureWeek No. 38, 2001.0214, pC1.1.
Werner Blaser and Monica Stucky. Drawings of Great Buildings. Boston: Birkhauser Verlag, 1983. ISBN 3-7643-1522-9. LC 83-15831. NA2706.U6D72 1983. plan drawing, p140. section drawing, p141.
Francis D. K. Ching. Architecture: Form, Space, and Order. New York: Van Nostrand Reinhold, 1979. ISBN 0-442-21535-5. LC 79-18045. NA2760.C46. figure-ground plans, p111. eye-level perspective drawing, p141. — A nice graphic introduction to architectural ideas. Updated 1996 edition available at Amazon.com
Howard Davis. Slide from photographer's collection. PCD 2260.1012.0405. PCD 2260.1012.0405. PCD 2260.1012.0405. PCD 2260.1012.0405.
Dietrich Brandenburg. Der Taj Majal in Agra. Berlin: Verlag Bruno Hessling, 1969. NA6008.A33B7. plan, p94. elevation, p39. site plan, p68.
Sir Banister Fletcher. A History of Architecture. Boston: Butterworths, 1987. ISBN 0-408-01587-X. NA200.F63 1987. details and discussion p624, 630. Expanded 1996 edition, available at Amazon.com
G. E. Kidder Smith. Looking at Architecture. New York: Harry N. Abrams, Publishers, 1990. ISBN 0-8109-3556-2. LC 90-30728. NA200.S57 1990. photo from across reflecting pool, p87.
Great Buildings Model Kit : Great Buildings of the World. Julian Bicknell, Steve Chapman (Contributor). Clarkson Potter(June 1995). ISBN 0517883503. — A kit book with detailed pre-cut scale models of four famous buildings: Monticello, the Leaning Tower of Pisa, the Taj Mahal, and the Parthenon. available at Amazon.com
Kevin Matthews. The Great Buildings Collection on CD-ROM. Artifice, 2001. ISBN 0-9667098-4-5.— Available at Amazon.com
Find books about Taj Mahal
Search the RIBA architecture library catalog for more references on Taj Mahal
Web Resources
Links on Taj Mahal
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Taj Mahal at Archiplanet — Find, add, and edit info at the all-buildings collaboration
Search the web for Taj Mahal
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Welcome to Taj Mahal

Taj Mahal
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For other uses, see Taj Mahal (disambiguation).

The Taj Mahal, viewed from the Northern bank of Yamuna river.

Taj Mahal

The Taj Mahal, taken from a 360° view between the mosque and the mausoleum.
The Tāj Mahal (Urdu: تاج محل, Hindi: ताज महल) is a mausoleum located in Agra, India. The Mughal Emperor Shāh Jahān commissioned it as a mausoleum for his favourite wife, Mumtaz Mahal. Construction began in 1632 and was completed in approximately 1653[1]. Some dispute surrounds the question of who designed the Taj Mahal; it is clear a team of designers and craftsmen were responsible for the design, with Ustad Ahmad Lahauri considered the most likely candidate as the principal designer.[2]
The Taj Mahal (sometimes called "the Taj") is generally considered the finest example of Mughal architecture, a style that combines elements of Persian, Turkish, Indian, and Islamic architectural styles. 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."[2]
Contents[hide]
1 Origin and inspiration
1.1 Influences
2 The garden
3 Outlying buildings
4 The tomb
4.1 Base
4.2 Dome
4.3 Finial
4.4 Minarets
5 Decoration
5.1 Exterior decoration
5.2 Calligraphy
5.3 Abstract geometric decoration
5.4 Vegetative motifs
5.5 Interior decoration
5.6 The inner chamber
5.7 The jali
5.8 The cenotaphs and tombs
5.9 Details of lapidary
6 Construction
6.1 Water infrastructure
6.2 Craftsmen
6.3 Materials
6.4 Costs
7 History
8 Visiting
9 Myths
10 See also
11 References
12 Further reading
13 External links
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[edit] Origin and inspiration


Agra
Location of the Taj Mahal within India
Shah 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[3]. Shah Jahan was reported to have been 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.[4] 'Abd al-Hamid Lahawri, for example, noted that before her death, the Shah Jahan had "but twenty white hairs in his beard," but thereafter had many more.[5]
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 were finished five years later. Visiting Agra in 1663, the French traveller François Bernier wrote the following:
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.[6]

[edit] Influences

The Tomb of Humayun constructed in 1560 shares substantially the same pattern as the Taj Mahal
The Taj Mahal incorporates and expands on many design traditions, particularly Hindu, Persian and earlier Mughal architecture[7]. 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),[8] 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.[9] Whilst previous Mughal building had primarily been constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones[10].
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 characterizes much of the construction of this period had little influence on the Taj Mahal (carvings are only one form of the decor), 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[11].

[edit] The garden
The complex is set in and around a large charbagh (a formal Mughal garden divided into four parts). Measuring 300 meters × 300 meters, the garden uses raised pathways which divide each quarter of the garden into 16 sunken parterres or flowerbeds. A raised marble watertank at the center 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[12].
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 is described as an 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 pool
Most Mughal charbaghs are rectangular in form, with a central tomb or pavilion in the center 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, etc., 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.

[edit] Outlying buildings

Gateway to the Taj Mahal
The 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 marble. 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 jawab
At 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 masjid
The 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.

[edit] The tomb

[edit] Base

Simplified diagram of the Taj Mahal floor plan.

Main iwan and side pishtaqs
The 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 Mahal (the actual graves are a level below).
The base is essentially a cube with chamfered edges, 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 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.

[edit] Dome

Base, dome, and minaret
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. Its height is accentuated because it sits on a cylindrical "drum" about 7 meters 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.

Finial
The 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.

[edit] Finial
The main dome is crowned by a gilded spire or finial. The finial was made of gold until the early 1800s, and it 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).

[edit] Minarets
At the corners of the plinth stand minarets: four large towers each more than 40 meters tall. The minarets again display the Taj Mahal's basic penchant for symmetricalsymmetry, 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.

[edit] Decoration

[edit] Exterior decoration

Calligraphy on large pishtaq
Nearly 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

[edit] Calligraphy

Herringbone
Throughout 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).

[edit] Abstract geometric decoration

Incised painting
Abstract 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.

[edit] Vegetative motifs

The lower walls of the tomb 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.

Spandrel detail

[edit] Interior decoration

Jali screen surrounding the cenotaphs

Detail of the Jali screen
The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. One may say without exaggeration that this chamber is a work of jewellery. Here the inlay work is not pietra dura, but lapidary. The inlay material is not marble or jade but precious and semiprecious gemstones. Every decorative element of the tomb's exterior has been redefined with jeweler's art.

[edit] The inner chamber
The inner chamber of the Taj Mahal contains the cenotaphs of Mumtaz and Shah Jahan. It is a masterpiece of artistic craftsmanship, virtually without precedent or equal.
The inner chamber is an octagon. While the design allows for entry from each face, only the south (garden facing) door is used.
The interior walls are about 25 meeters high, topped by a "false" interior dome decorated with a sun motif.
Eight pishtaq arches define the space at ground level. As is typical 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; 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 the chattris at the corners of the exterior dome.
Each of the chamber walls 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.

[edit] The jali
The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate piercework. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.

[edit] The cenotaphs and tombs

Cenotaphs, interior of the Taj Mahal

The actual tombs of Shah Jahan and Mumtaz Mahal, in the crypt of the Taj Mahal
Mumtaz Mahal's cenotaph is placed at the precise center of the inner chamber. On a rectangular marble base about 1.5 meters by 2.5 meters is a smaller marble casket. Both 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.
Muslim tradition forbids elaborate decoration of graves, so the bodies of Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber of the Taj Mahal. They are buried on a north-south axis, with faces turned right (west toward Mecca).
Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only visible asymmetric element in the entire complex (see below). 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 which identifies Shah Jahan. On the lid of this casket is a 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.)
"O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... " These are six of the Ninety Nine Names of God, which are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt. The tomb of Shah Jahan bears a calligraphic inscription, not taken from the Qur'an, but referring to the resting place of this Mughal Emperor. Part of the inscription 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."

[edit] Details of lapidary
(craftsmanship is best seen in enlarged version -- click image to see enlargement)

Arch of jali, entry to cenotaphs

Delicate piercework

Inlay detail

Inlay detail

[edit] Construction

Ground layout of the Taj Mahal
The Taj Mahal was built on a parcel of land to the south of the walled city of Agra which had belonged to Maharajah Jai Singh: Shah Jahan presented him with a large palace in the centre of Agra in exchange.[13] Construction began with setting the foundations for the tomb. An area of roughly three acres was excavated and filled with dirt to reduce seepage from the river. The entire site was levelled to a fixed height about 50 meters above the riverbank. The Taj Mahal is 180 feet tall. The dome itself measures 60 feet in diameter and 80 feet high.

View from the Agra Fort.
In the tomb area, wells were then dug to the point that water was encountered. These wells were later filled with stone and rubble, forming the basis for the footings of the tomb. An additional well was built to same depth nearby to provide a visual method to track water level]changes over time.
Instead of lashed bamboo, the typical scaffolding method, workmen constructed a colossal brick scaffold that mirrored the inner and outer surfaces of the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle. According to legend, Shah Jahan decreed that anyone could keep bricks taken from the scaffold, and it was dismantled by peasants overnight.
A fifteen-kilometer tamped-earth ramp was built to transport marble and materials to the construction site. According to contemporary accounts teams of twenty or thirty oxen strained to pull the blocks on specially constructed wagons.
To raise the blocks into position required an elaborate post-and-beam pulley system. Teams of mules and oxen provided the lifting power.
The order of construction was
The plinth
The tomb
The four minarets
The mosque and jawab
The gateway
The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years. (Since the complex was built in stages, contemporary historical accounts list different "completion dates"; discrepancies between so-called completion dates are probably the result of differing opinions about the definition of "completion". For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex.)

[edit] Water infrastructure
Water for the Taj Mahal was provided through a complex infrastructure. Water was drawn from the river by a series of purs -- an animal-powered rope and bucket mechanism. The water flowed into a large storage tank, where, by thirteen additional purs, it was raised to large distribution tank above the Taj Mahal ground level.
From this distribution tank, water passed into three subsidiary tanks, from which it was piped to the complex. A 0.25 meter earthenware pipe lies about 1.5 meters below the surface, in line with the main walkway; this filled the main pools of the complex. Additional copper pipes supplied the fountains in the north-south canal. Subsidiary channels were dug to irrigate the entire garden.
The fountain pipes were not connected directly to the feed pipes. Instead, a copper pot was provided under each fountain pipe: water filled the pots allowing equal pressure in each fountain.
The purs no longer remain, but the other parts of the infrastructure have survived.

[edit] Craftsmen

Taj Mahal
The Taj Mahal was not designed by a single person. The project demanded talent from many people.
The names of many of the builders who participated in the construction of the Taj Mahal in different capacities have come down through various sources.
The Persian architect, Ustad Isa and Isa Muhammad Effendi, trained by the Ottoman architect Koca Mimar Sinan Agha are frequently credited with a key role in the architectural design of the complex,[14][15] but in fact there is little evidence to support this tradition, and the connection with Sinan is clearly a fairy-tale.
'Puru' from Benarus, Persia (Iran), has been mentioned supervising architect in Persian language texts (e.g. see ISBN 964-7483-39-2).
The main dome was designed by Ismail Khan from the Ottoman Empire,[16] considered to be the premier designer of hemispheres and builder of domes of that age.
Qazim Khan, a native of Lahore, cast the solid gold finial that crowned the Turkish master's dome.
Chiranjilal, a lapidary from Delhi, was chosen as the chief sculptor and mosaicist.
Amanat Khan from Persian Shiraz, Iran was the chief calligrapher (this fact is attested on the Taj Mahal gateway itself, where his name has been inscribed at the end of the inscription).
Muhammad Hanif was the supervisor of masons.
Mir Abdul Karim and Mukkarimat Khan of Shiraz, Iran handled finances and the management of daily production.
The creative team included sculptors from Bukhara, calligraphers from Syria and Persia, inlayers from southern India, stonecutters from Baluchistan, a specialist in building turrets, another who carved only marble flowers — thirty-seven men in all formed the creative nucleus. To this core was added a labour force of twenty thousand workers recruited from across northern India.

Shah Jahan, who commissioned the Taj Mahal
European commentators, particularly during the early period of the British Raj, suggested that some or all of the Taj Mahal was the work of European artisans. Most of these suggestions were purely speculative, but one dates back to 1640, when a Spanish Friar who visited Agra wrote that Geronimo Veroneo, an Italian adventurer in Shah Jahan's court, was primarily responsible for the design. There is no reliable scholarly evidence to back up this assertion, nor is Veroneo's name mentioned in any surviving documents relating to the construction. E.B. Havell, the principal British scholar of Indian art in the later Raj, dismissed this theory as unsupported by any evidence, and as inconsistent with the known methods employed by the designers. His conclusions were further supported by the research of Muhammad Abdullah Chaghtai, who examined carefully the origin of the tradition that the Taj was designed by a European, and concluded that it was a spurious 19th century invention, based on the misapprehension that "Ustad Isa", so often credited with the Taj's design, must have been a Christian because he bore the name "Isa" (Jesus). In fact this is a common Muslim name as well - and furthermore there is no source earlier than the 19th century which mentions an "Ustad Isa" in connection with the Taj Mahal (even if he existed he cannot, in any case, have been trained by Sinan, because the latter died in 1588). Chaghtai thought it more likely that the chief architect was Ustad Ahmad, the designer of Shahjahanabad, but admitted that this could not be conclusively proved from existing sources.[17]

[edit] Materials
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 and the 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, 28 types of precious and semi-precious stones were inlaid into the white marble.

[edit] Costs
A rough indication of the cost of the construction of the Taj Mahal can be gained by comparing the price of gold at the time of building and the price of gold now: The total cost of the Taj Mahal's construction was about 32 million rupees.[citation needed] At that time, 1 gram of gold was sold for about 1.4 rupees.[citation needed] Based on the October 2005 gold price that would translate to more than 300 million US$. Interpretation of such a comparison of the value of gold must take into account the multifarious differences in the two different economic eras

[edit] History
Soon after the Taj Mahal's completion, Shah Jahan was deposed and put under house arrest at nearby Agra Fort by his son Aurangzeb. Legend has it that he spent the remainder of his days gazing through the window at the Taj Mahal. Upon Shah Jahan's death, Aurangzeb buried him in the Taj Mahal next to his wife, the only disruption of the otherwise perfect symmetry in the architecture.
By the late 19th century parts of the Taj Mahal had fallen badly into disrepair. During the time of the Indian rebellion of 1857 the Taj Mahal faced defacement by British soldiers and government officials who chiseled out precious stones and lapis lazuli from its walls.

Protective wartime scaffolding
At the end of the 19th century British viceroy Lord Curzon ordered a massive restoration project, completed in 1908. He also commissioned the large lamp in the interior chamber (modelled on one hanging in a Cairo mosque when local craftsmen failed to provide adequate designs). It was during this time the garden was remodelled with the more British looking lawns visible today.
By the 20th century the Taj Mahal was being better taken care of. In 1942 the government erected a scaffolding over it in anticipation of an air attack by the German Luftwaffe and later by the Japanese Air Force (see photo). During the India-Pakistan wars of 1965 and 1971 scaffoldings were erected by the government to mislead would-be bomber pilots.
Its most recent threats came from environmental pollution on the banks of the Yamuna River including acid rain occurring due to the Mathura oil refinery (something opposed by Supreme Court of India directives).
As of 1983 the Taj Mahal was designated a UNESCO World Heritage Site. Today it is a major tourist destination.
Recently the Taj Mahal was claimed to be Sunni Wakf property, on the grounds that it is the grave of a woman whose husband Emperor Shah Jahan was a Sunni. The Indian government has dismissed claims by the Muslim trust to administer the property, saying their claims are baseless and the Taj Mahal is Indian national property.
The poet Tagore, a Nobel laureate, called Taj Mahal "a drop of tear on the cheek of history".

[edit] Visiting
The Taj Mahal is often described as one of the seven wonders of the modern world. Millions of tourists have visited the site - more than three million in 2004, according to the BBC - making it one of the most popular international attractions in India.

[edit] Myths
Myths about the Taj Mahal are now so old or compelling that they are often repeated as fact although they have no factual basis. Sometimes misinformation about the Taj has been used for political or self-serving advantage.[18]

Engraving of Jean-Baptiste Tavernier, one of the first European visitors to the Taj Mahal and source of the Black Taj myth
A longstanding myth holds that Shah Jahan planned a duplicate mausoleum to be built in black marble across the Jumna river.[19] The 'black taj' idea originates in the fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. The story suggests that Shah Jahan was overthrown by his son Aurangzeb before the black version could be built. Ruins of blackened marble across the river, in the so-called 'moonlight garden' seemed to support this legend. However, excavations carried out in the 1990s and found only white marble features discoloured completely to black. Others speculate that the 'black taj' may refer to the reflection of the Taj in the large pool of the moonlight garden. [20]
Contemporary accounts do not name the architect responsible for overall design of the Taj Mahal. This void has fueled much speculation, particularly during the 19th century, when the British believed that a building so beautiful could not be credited to an Indian architect. Local informants had supplied the British with ficticious lists of workmen and materials from all over Asia.[21][22] Ustad Isa, from Ottoman Turkey, is often suggested as the main designer, but reliable sources suggest the story is fictitious. A related notion, documented by the Spanish friar Sebastian Manrique in 1641, suggests the monument was designed by the Venetian goldsmith Geronimo Veroneo.[21][20]
Numerous stories describe -- often in horrific detail -- the deaths, dismemberments and mutilations which Shah Jahan inflicted on various architects and craftsmen associated with the tomb. No evidence for these claims exist.[23]
Lord William Bentinck, governor of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. There is no contemporary evidence for this story, which may have emerged in the late nineteenth century when Bentinck was being criticised for his penny-pinching Utilitarianism, and when Lord Curzon was emphasising earlier neglect of the monument. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.[24]
The speculations of P.N. Oak have received lots of attention. He claims that the Taj Mahal was originally a Shiva temple and that all structures in India, currently ascribed to the Mughals, actually have an earlier Hindu origin.[25] In 2000 India's Supreme Court dismissed Oak's petition to declare that a Hindu king built the Taj Mahal and reprimanded him for bringing the action.[26][23]
A more poetic story relates that once a year, during the rainy season, a single drop of water falls on the cenotaph. The story recalls Rabindranath Tagore's description of the tomb as "one solitary tear hanging on the cheek of time". Another myth suggests that beating the silhouette of the finial (set into the paving of the riverside forecourt) will cause water to come forth. To this day officials find broken bangles surrounding the silhouette.[27]