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Taj Mahal stands in the city of Agra, in the northern Indian state of Uttar Pradesh, on the banks of the Yamuna river. It was built in the memory of the beautiful Arjumand Bano Begum, who won the heart of a Mughal prince. She was married at 21 to Emperor Jahangir's third son Prince Khurram and stayed loyally by his side through good times and bad: in the luxurious royal palaces of Agra as well as the transient tents of war camps.
In 1631, Shahjahan went on an expedition to the South and, as always, Mumtaz Mahal accompanied him. But she died in childbirth at Burhanpur. She had borne Shahjahan fourteen children, of whom four sons and three daughters survived. When Mumtaz Mahal died, she was just 39 years old. Shahjahan was inconsolable and contemporary chronicles tell of the royal court mourning for two years. There was no music, no feasting, and no celebration of any kind.
Shahjahan's two biggest passions were architecture and jewellery and both are reflected in the Taj Mahal. He visualised a building in marble and then had it decorated with semi-precious stones inlaid with the delicacy of handcrafted jewellery. Marble in purest white was brought from Makrana in Rajasthan, yellow marble and rockspar from the banks of the Narmada river, lack marble from Charkoh and red sandstone from Sikri. For the intricate pietra dura the finest gems were collected - crystal and jade from China, lapis lazuli and sapphires from Sri Lanka, jasper from Punja, carnelian from Baghdad and turquoise from Tibet.
Yemen sent agates, the corals came from Arabia, the garnets from Bundelkhand, onyx and amethyst from Persia. Mumtaz Mahal's final resting-place was ornamented like a queen's jewel-box.
You enter the Taj complex through an arcaded forecourt where some of Shahjahan's other queens lie buried. The forecourt also has the Jilau Kana, a bazaar with cloisters leading to the main entrance of the tomb. The imposing gateway is made of red sandstone highlighted with marble and has octagonal kiosks on top. The gateway is an imposing 30 metres high and a fitting entrance to the Taj Mahal. The soaring arch is inscribed with a beautiful design of inlaid flowers and calligraphy.
As you enter the dark octagonal chamber under the gateway, the light streaming in from the opposite doorway draws you towards it. Here, framed by the arch of the doorway, the Taj Mahal reveals itself to the viewer with dramatic power. It stands at the end of a long walkway, framed by landscaped gardens and an ever-changing sky, its snowy marble glittering in the sunlight.
Taj Mahal stands at one side of a garden laid in the tradition charbagh style, with its square lawns bisected by pathways, water channels and rows of fountains. Halfway down the path there is a square pool, its limpid waters reflecting the marble tomb. Unlike other tombs, Taj Mahal stands at one end of the garden instead the centre. This was done deliberately, to leave its vista uncluttered by any other building.
The tomb stands on a marble plinth six-metres high. The four minarets at each corner beautifully frame the tomb. The plinth stands on a high standstone platform and at the far ends of this base are two identical sandstone structures, a mosque to the west and its jawab, or echo, to the east. This was the mehman khana or guesthouse. Thus, the main building is not just of great size but beautifully proportioned and balanced in design.
An ornate marble screen, carved so fine that it almost has the texture of lace surrounds the cenotaphs in the central hall. However, as was the tradition during Mughal times, the actual graves lie in an underground crypt directly below the cenotaphs.
What is most amazing about the Taj Mahal is the fine detailing. The coloured inlay is never allowed to overwhelm the design, as carvings done in relief sensitively balance it. The ornate pietra dura and relief carvings are of floral, calligraphic and geometric designs. However, flowers remain the main decorative element as the tomb depicts a paradise garden. The skill of the inlay worker is so fine that it is impossible to find the joints, even when as many as 40 tiny pieces of semi-precious stones have been used in the petals of a single flower. Some of the best calligraphy of Koranic verses can be seen around the entrance arches and on the two headstones.











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