Taj Mahal india

The Taj Mahal stands serene and perfect in the garden of cypresses and reflecting pools on the banks of river Yamunna. Its pure white marble shimmers silver in the moonlight, glows softly pink at dawn, and at close of day reflects the fairy tints of the setting sun. The Taj in all its timeless beauty is still the inspiration of poets and painters, writers and photographers.

Lovers still meet here in the moonlight in the shadow of the world's most famous monument of love.It took 22 years to complete--a symbol of eternal love where Shahjehan too lies buried, re-united at last with his beloved Mumtaz.

History of Tajmahal
Mumtaz Mahal a Muslim Persian princess was married to Shah Jehan (Prince Khurram), the fifth Mughal emperor in 1612 AD.

Mumtaz was the emperor's second wife and was his comrade and counselor. She was an inseparable companion on all his journeys and military expeditions and she inspired the emperor to do acts of charity and benevolence towards the weak and the needy.

Mumtaz bore 14 children, and when she died during a childbirth in 1631, Shah Jahan was so heartbroken that all his hair and beard were said to have turned snow-white in a few months! Overcome by grief, Shah Jahan decided to immortalize the memory of his beloved wife by building a monument for his eternal love.

The construction documents show that its master architect was Ustad Ahmed Lahori, a renowned Islamic architect of his time. The much-celebrated saga of royal love was brought to life by dexterous and skilled artisans from places as far away as Delhi, Kannauj, Lahore, Multan, Baghdad, Shiraz and Bukhara.

Construction began in 1631, and over 20,000 workmen and master craftsmen worked laboriously for 22 years to give shape to the emperor's passionate dream! The material was brought in from all over India and central Asia and it took a fleet of 1,000 elephants to transport it to the site. The complex was finally completed in 1653 at a cost of 32 Million Rupees on the banks of river Yamuna, in Agra - the capital of the Mughal monarchs.

But the beauty of Taj Mahal is also tainted by the gory fact that the hands of some of the master craftsmen were amputated, to ensure that the perfection of the Taj could never be repeated ever again!

Architecture of Tajmahal
The Main Gateway
Shah Jehan travelled from the Fort to the tomb by boat. The court history describe his arrival on the river side of the monument and his ascent to its terrace by way of the embankment. This approach, however, was reserved for the emperor and members of his party. Others passed through a large courtyard, a jilokhana to enter the main gateway on the south. This courtyard was a place where travellers halted. Here, the poor were provided with food and shelter, and on the anniversary day vast sums were distributed in charity from the funds.
Purpose
In this courtyard stand the main gateway to the Taj and its gardens, a massive portal that opens to the south. Detached gateways were long a traditional feature of Muslim architecture and could be found fronting tombs and mosques throughout the East. Symbolically to the Muslim, such an entrance way was the gate to paradise. Metaphysically, it represented the transition point between the outer world of the senses and the inner world of the spirit.
Structure
Made of red sandstone, this 150 ft. wide and nearly 100 ft. high, gateway consists of a lofty central arch with double storeyed wings on either side. Octagonal towers are attached to its corners which are surmounted by broad impressive open domed kiosks. The most important feature of the gateway however is the introduction of a series of eleven attached chhatris (umbrellas) with marble cupolas, flanked by pinnacles, above the central portal on the north and south sides. A heavy door at the base is made from eight different metals and studded with knobs. Inside are countless rooms with hallways that wind and divide in such apparent abandon that they seem intentionally built to confuse; perhaps they were, for they have remained unused for three centuries and their purpose has long confounded the experts. Within the archway of this majestic entrance, there is a large chamber with a vaulted roof.
Decoration
The gateway is richly embellished. Of particular note are the floral arabesques fashioned from gemstones and inlaid in while marble which decorate the spandrels of the arches. Also impressive are the inlaid black marble inscriptions that frame the central vaulted portal or iwan. These passages are excerpts from the Koran, which is considered by Muslims to be the word of God as revealed to Mohammed. It is here that Shah Jehan's calligraphers have performed an amazing optical trick: the size of the lettering that runs up and over the arch appears to be consistent from top to bottom. This illusion was created by gradually heightening the size of the letters as their distance from the eye increased; from the ground the dimensions seem the same at every point. This ingenious trompe l'oeil effect is used with equal success on the main doorway of the Taj itself.
It is said that upon first beholding the Taj through this gateway it will look small and far away, as if built in three-quarter scale. This is another optical trick. As one approaches, the illusion turns into another illusion: the building begins to grow, and continues to grow until, when the base is reached, it looms colossal. The dome especially seems to expand as one comes near, almost as if it were being slowly inflated.

Taj Gardens and the Ingenious Water Devices

The gardens
A green carpet of garden runs from the main gateway to the foot of the Taj. Like Persian gardeners, landscape artists at the Taj attempted to translate the perfection of heaven into terrestrial terms by following certain formulas. In Islam, four is the holiest of all numbers - most arrangements of the Taj are based on that number or its multiples - and the gardens were thus laid out in the quadrate plan. Two marble canals studded with fountains and lined with cypress trees (symbolising death) cross in the centre of the garden dividing it into four equal squares. The mausoleum, instead of occupying the central point (like most mughal mausoleums), stands majestically at the north end just above the river.
Each of the four quarters of the garden have again been sub-divided into sixteen flower beds by stone-paved raised pathways. At the centre of the garden, halfway between the tomb and the gateway, stands a raised marble lotus-tank with a cusped and trefoiled border. The tank has been arranged to perfectly reflect the Taj in its waters.
A clear, unobstructed view of the mausoleum is available from any spot in the garden. Fountains and solemn rows of cypress trees only adorn the north-south water canal, lest the attention of the viewer would be diverted to the sides!! This shows how carefully the aesthetic effect of the water devices and the garden were calculated. The deep green cypress trees with their slender rising shapes and curving topmost crests are mirrored in the water while between their dark reflections shines the beauty of the immortal Taj.
The Mosque
On either side of the Taj Mahal are buildings of red sandstone. The one to the west is a Mosque. It faces towards Mecca and is used for prayer. This greenery shaded structure, measuring 19 ft. by 6.5 ft. marks the site where the remains of Mumtaz Mahal were deposited when first brought to Agra. From this temporary grave they were removed to their present place of internment in the mausoleum.
On the outside the Mosque has pietra dura work twining across its spandrels. The platform in front of the Mosque is of red sandstone. A highly polished small marble piece is so fitted that it serves as a mirror and one can see the mausoleum reflected in it. The floor is of material which is exceedingly fine and sparkling and appears velvet red in shade. On that 539 prayer carpets have been neatly marked out with black marble. All over there is exquisite calligraphy and the name Allah and quotations from scriptures inscribed. The ceiling is painted in a strange, hypnotic design. The roof supports four octagonal towers and three elegant domes. On either side of the Mosque, to the north and south, and set along and upon the enclosure wall, there are two towers.
The Mahal
The Taj Mahal is situated more than 900 ft. (275 m) away from the entrance at the opposite end of the garden. Towering almost 200 ft. (76m.) in height, the tomb stands on its own marble plinth, which rests on a red sandstone platform that serves to level the land as it slopes to the river. Four tall minarets rise up from the corners of the white marble plinth. They taper to a majestic height of 138 ft. and are crowned with eight windowed cupolas. elegantly accent the central structure, framing the space like the mounting of a jewel.
The marble mausoleum is square in plan with chamfered corners. Each facade of the tomb is composed of a grand iwan framed by bands of calligraphy. The doorways inside these iwans are also adorned with calligraphy. The iwan is flanked on both sides by small double arches one over the other. They are rectangular while the arched alcoves of equal size at the angles of the tomb are semi-octagonal. Each section in the facade is well demarked on both sides by attached pilasters which rising from the plinth level of the tomb rise above the frieze and are crowned by beautiful pinnacles with lotus buds and finials. The pinnacles ornament the superstructure and help along with the other features to break the skyline gracefully.
The Tomb
Inside the Taj Mahal, the tomb of Mumtaz Mahal stands at the center of an octagonal hall, while the slightly larger tomb of Shah Jahan, who died in 1666, is off to one side. Both are elaborately carved and inlaid with semiprecious stones, illuminated by sunlight filtering through an elaborately carved marble screen that is also studded with jewels.