Information AboutTaj Mahal |
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The Taj Mahal (, Persian & ) is a Monument located in Agra in India , constructed between 1631 and 1654 by a Workforce of more than twenty thousand. The Mughal Emperor Shah Jahan commissioned its construction as a Mausoleum for his favorite wife, Arjumand Bano Begum , who is better known as Mumtaz Mahal . ''The Taj'' (as it is often called) is generally considered the finest example of Mughal Architecture , a style that combines elements of Indian and Persian Architecture s. The Taj has achieved special note because of the Romance of its inspiration. While the white Dome d Marble Mausoleum is the most familiar part of the monument, the Taj is actually a complex of elements. ORIGIN AND INSPIRATION Shah Jahan , who commissioned the monument, was a prolific Patron with effectively limitless resources. After the death of Mumtaz, Shah Jahan was reportedly inconsolable, and soon after he began construction of the Taj. His lavish aesthetic and romantic nature is apparent in every aspect of the Taj. Shah Jahan was the most prolific builder of all the Mughal Emperor s. Shah Jahan's wife, Mumtaz, was his constant companion. She bore him fourteen children and died during childbirth. He had created the Garden s and Palace s of Shalimar in honor of Mumtaz. Influences on Taj Mahal design The Taj incorporates and expands on many design traditions, particularly Persian , Hindu and earlier Mughal architecture. The overall design derived inspiration from a number of successful ; Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Hindu craftsmen, particularly sculptors and stonecutters, plied trade throughout Asia during this period, and their work was particularly prized by tomb builders. Whilst the Rock-cut Architecture which characterises much of this construction had little or no influence on the Taj Mahal, 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. Design elements Consistent repeated design elements are employed throughout the complex. These unify the complex with a single aesthetic vocabulary. Major design features of the tomb are echoed throughout the complex -- both the tomb and the outlying buildings.
Most of the elements can be found on the gateway, mosque and jawab as well as the mausoleum. Which is the best place to visit on earth. THE GARDEN The complex is set in and around a large '' Charbagh '' (a formal Mughal Garden divided into four parts). Measuring 300 m × 300 m, the garden has sunken Parterre s or Flowerbed s, raised pathways, avenues of Trees , Fountain s, water courses, and Pool s that reflect the Taj. Each of the four quarters of the garden is divided into 16 flowerbeds by raised pathways. A raised marble water tank at the center of the garden, halfway between the tomb and the gateway, reflects the Taj. The charbagh garden was introduced to India by the first Mughal emperor s source at a central spring or mountain, and separate the garden into north, west, south and east. Most Mughal charbaghs are Rectangular in form, with a central tomb or Pavillion in the center of the garden. The Taj garden is unusual in siting the main element, the tomb, at the end rather than at the center 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, and so on, 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 Rose s, Daffodil s, 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, they changed the landscaping to resemble more the formal Lawn s of England . OUTLYING BUILDINGS The Taj 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 favorite 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 Arcade s, a feature typical of Hindu temples later incorporated into Mughal mosques. The wall is interspersed with domed Kiosk s (''chattris''), and small buildings which may have been viewing areas or Watch Tower s (such as the so-called ''Music House'', now used as a museum). The main gateway (''darwaza'') is a monumental structure built primarily of red sandstone. 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 utilizes 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. 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. The two buildings are precise Mirror Image s 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 Hall into three areas: a main sanctuary with slightly smaller sanctuaries to either side. At the Taj, each sanctuary opens on to an enormous vaulting dome. THE TOMB Base The focus of the Taj is the white marble tomb. Like most Mughal tombs, the basic elements are Persian in origin: a building with arched entrances, topped by a large dome. In India, and most especially at the Taj, this simple idea reached its zenith. The tomb stands on a square plinth. The base structure is a large, multi-chambered structure. The main chamber houses the Cenotaph s of Shah Jahan and Mumtaz (the actual graves are a level below). The base is essentially a cube with Chamfer ed edges, roughly 55 meters on each side (see floor plan, right). On the long sides, a massive ''pishtaq'', or vaulted archway frames an arch-shaped doorway, with a similar arch-shaped balcony above. These main arches extend above the roof 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 Minaret s, one at each corner of the plinth, facing the chamfered corners, frame the tomb. Dome The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base building, about 35 m. Its height is accentuated because it sits on a cylindrical "drum" about 7 m high. Because of its shape, the dome is often called an Onion Dome (also called an ''amrud'' or apple 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 Islamic and Hindu decorative elements. The dome shape is emphasized 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. Finial The main dome is crowned by a gilded spire or Finial . The finial provides a clear example of the integration of traditional Islamic and Hindu decorative elements. The finial is topped by a crescent 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''). Minarets At the corners of the plinth stand Minaret s: four large towers each more than 40 m tall. The minarets again display the Taj's basic penchant for symmetrical, 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. DECORATION Exterior decoration Nearly every surface of the entire complex has been decorated. The exterior decorations of the Taj 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:
Islamic strictures forbade the use of anthropomorphic forms. The decorative elements were created in three ways:
Calligraphy Throughout the complex passages from the Qu'ran 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. 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 also 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). Abstract geometric decoration 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 Tile s or blocks in Tessellation patterns. Vegetative motifs
Interior decoration The interior chamber of the Taj steps far beyond traditional decorative elements. One may say without exaggeration that this chamber is a work of '' Jewelry ''. Here the inlay work is not pietra dura, but Lapidary . The inlay material is not marble or jade, but precious and semiprecious Gemstone s. Every decorative element of the tomb's exterior has been redefined with jeweler's art. 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 m 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. 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. The cenotaphs Muslim tradition forbids elaborate decoration of graves, so the bodies of Mumtaz and Shah Jahan are laid in a relatively plain chamber beneath the inner chamber of the Taj. They are buried on a north-south axis, with faces turned right (west) toward Mecca. The Taj has been raised over their cenotaphs (from Greek ''keno taphas'', empty tomb). The cenotaphs mirror precisely the placement of the two graves, and are exact duplicates of the grave stones in the basement below. Mumtaz's cenotaph is placed at the precise center of the inner chamber. On a rectangular marble base about 1.5 by 2.5 m 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. Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only asymmetric element in the entire complex. 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 funeary icons decorating men's and women's caskets respectively.) Details of lapidary ''(craftsmanship is best seen in enlarged version -- click image to see enlargement)'' |
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