The Taj Mahal of Agrais one of the Seven Wonders of the World, for reasons more than just lookingmagnificent. It's the history of Taj Mahal that adds a soul to itsmagnificence: a soul that is filled with love, loss, remorse, and love again.Because if it was not for love, the world would have been robbed of a fineexample upon which people base their relationships. An example of how deeply aman loved his wife, that even after she remained but a memory, he made sure thatthis memory would never fade away. This man was the Mughal Emperor Shah Jahan,who was head-over-heels in love with Mumtaz Mahal, his dear wife. She was aMuslim Persian princess (her name Arjumand Banu Begum before marriage) and hewas the son of the Mughal Emperor Jehangir and grandson of Akbar the Great. Itwas at the age of 14 that he met Mumtaz and fell in love with her. Five yearslater in the year 1612, they got married.
Mumtaz Mahal, an inseparable companion of Shah Jahan, died in 1631, while givingbirth to their 14th child. It was in the memory of his beloved wife that ShahJahan built a magnificent monument as a tribute to her, which we today know asthe "Taj Mahal". The construction of Taj Mahal started in the year1631. Masons, stonecutters, inlayers, carvers, painters, calligraphers,dome-builders and other artisans were requisitioned from the whole of theempire and also from Central Asia and Iran, and it took approximately 22 yearsto build what we see today. An epitome of love, it made use of the services of22,000 laborers and 1,000 elephants. The monument was built entirely out ofwhite marble, which was brought in from all over India and central Asia. Afteran expenditure of approximately 32 million rupees, Taj Mahal was finally completedin the year 1653.
It was soon after the completion of Taj Mahal that Shah Jahan was deposed byhis own son Aurangzeb and was put under house arrest at nearby Agra Fort. ShahJahan, himself also, lies entombed in this mausoleum along with his wife. Movingfurther down the history, it was at the end of the 19th century that BritishViceroy Lord Curzon ordered a sweeping restoration project, which was completedin 1908, as a measure to restore what was lost during the Indian rebellion of1857: Taj being blemished by British soldiers and government officials who alsodeprived the monument of its immaculate beauty by chiseling out precious stonesand lapis lazuli from its walls. Also, the British style lawns that we seetoday adding on to the beauty of Taj were remodeled around the same time.Despite prevailing controversies, past and present threats from Indo-Pak warand environmental pollution, this epitome of love continuous to shine andattract people from all over the world.
Shah Jahan was the fifth ruler of the Mughal dynasty. During his third regnal year, his favorite wife, known as Mumtaz Mahal, died due to complications arising from the birth of their fourteenth child. Deeply saddened, the emperor started planning the construction of a suitable, permanent resting place for his beloved wife almost immediately. The result of his efforts and resources was the creation of what was called the Luminous Tomb in contemporary Mughal texts and is what the world knows today as the Taj Mahal.
In general terms, Sunni Muslims favor a simple burial, under an open sky. But notable domed mausolea for Mughals (as well as for other Central Asian rulers) were built prior to Shah Jahan’s rule, so in this regard, the Taj is not unique. The Taj is, however, exceptional for its monumental scale, stunning gardens, lavish ornamentation, and its overt use of white marble.
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Shah Jahan built the Taj Mahal in Agra, where he took the throne in 1628.
First conquered by Muslim invaders in the eleventh century, the city had been transformed into a flourishing area of trade during Shah Jahan’s rule. Situated on the banks of the Yamuna River allowed for easy access to water, and Agra soon earned the reputation as a “riverfront garden city,” on account of its meticulously planned gardens, lush with flowering bushes and fruit-bearing trees in the sixteenth century.
Paradise On Earth
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Entry to the Taj Mahal complex via the forecourt, which in the sixteenth century housed shops, and through a monumental gate of inlaid and highly decorated red sandstone made for a first impression of grand splendor and symmetry: aligned along a long water channel through this gate is the Taj—set majestically on a raised platform on the north end. The rectangular complex runs roughly 1860 feet on the north-south axis, and 1000 feet on the east-west axis.
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The white-marble mausoleum is flanked on either side by identical buildings in red sandstone. One of these serves as a mosque, and the other, whose exact function is unknown, provides architectural balance.
The marble structure is topped by a bulbous dome and surrounded by four minarets of equal height. While minarets in Islamic architecture are usually associated with mosques—for use by the muezzin who leads the call to prayer—here, they are not functional, but ornamental, once again underscoring the Mughal focus on structural balance and harmony.
The interior floor plan of the Taj exhibits the hasht bishisht (eight levels) principle, alluding to the eight levels of paradise. Consisting of eight halls and side rooms connected to the main space in a cross-axial plan—the favored design for Islamic architecture from the mid-fifteenth century—the center of the main chamber holds Mumtaz Mahal’s intricately decorated marble cenotaph on a raised platform. The emperor’s cenotaph was laid down beside hers after he died three decades later—both are encased in an octagon of exquisitely carved white-marble screens. The coffins bearing their remains lie in the spaces directly beneath the cenotaphs.
Qur’anic verses inscribed into the walls of the building and designs inlaid with semi-precious stones—coral, onyx, carnelian, amethyst, and lapis lazuli—add to the splendor of the Taj’s white exterior. The dominant theme of the carved imagery is floral, showing some recognizable, and other fanciful species of flowers—another link to the theme of paradise
Some of the Taj Mahal’s architecture fuses aspects from other Islamic traditions, but other aspects reflect with indigenous style elements. In particular, this is evident in the umbrella-shaped ornamental chhatris (dome shaped pavillions) atop the pavilions and minarets.
And whereas most Mughal-era buildings tended to use red stone for exteriors and functional architecture (such as military buildings and forts)—reserving white marble for special inner spaces or for the tombs of holy men, the Taj’s entire main structure is constructed of white marble and the auxiliary buildings are composed of red sandstone.
This white-and-red color scheme of the built complex may correspond with principles laid down in ancient Hindu texts—in which white stood for purity and the priestly class, and red represented the color of the warrior class.
Stretching in front of the Taj Mahal is a monumental char bagh garden. Typically, a char bagh was divided into four main quadrants, with a building (such as a pavilion or tomb) along its central axis. When viewed from the main gateway today, the Taj Mahal appears to deviate from this norm, as it is not centrally placed within the garden, but rather located at the end of a complex that is backed by the river, such as was found in other Mughal-era pleasure gardens.
When viewed from the Mahtab Bagh, moonlight gardens, across the river, however, the monument appears to be centrally located in a grander complex than originally thought. This view, only possible when one incorporates the Yamuna River into the complex, speaks to the brilliance of the architect. Moreover, by raising the Taj onto an elevated foundation, the builders ensured that Shah Jahan’s funerary complex as well as the tombs of other Mughal nobles along with their attached gardens could be viewed from many angles along the river.
The garden incorporated waterways and fountains. This was a new type of gardening that was introduced to India by Babur, Shah Jahan’s great great grandfather in the sixteenth century. Given the passage of time and the intervention of many individuals in the garden since its construction, it is hard to determine the original planting and layout scheme of the garden beds at the Taj.
From the outset, the Taj was conceived of as a building that would be remembered for its magnificence for ages to come, and to that end, the best material and skills were employed. The finest marble came from quarries 250 miles away in Makrarna, Rajasthan. Mir Abd Al-Karim was designated as the lead architect. Abdul Haqq was chosen as the calligrapher, and Ustad Ahmad Lahauri was made the supervisor. Shah Jahan made sure that the principles of Mughal architecture were incorporated into the design throughout the building process.
What the Taj Mahal Represents?