Taj Mahal Mahotasav
Come
February and it's springtime! The time of the year when nature dawns
all it's colorful splendour and Agra bursts into colorful
celebrations. For 10 days there is a sheer celebration of Uttar
Pradesh's rich heritage of arts, crafts, culture, cuisine, dance and
music. Yes, it is Taj Mahotsava time again. There are festivities all
around and Agra truly puts on the colors of joy and gets transformed
into one non stop carnival. Organised by Uttar Pradesh Tourism, and
held as an annual event at Shilpgram, literally next door to the Taj
Mahal, the Taj Mahotsav is indeed a fitting tribute to the legendary
skills of matercraftsmen and exponents of art, music and cuisine. Not
only this, it is also a gentle peep into the rich heritage and
extraordinary legacies of this wonderful land.
The festivities commence with a spectacular procession inspired by
Mughal splendour. Bedecked elephants and camels, drum beaters, folk
artists and mastercraftsmen.... all help to recreate a visual delight
reminiscent of the golden era of the Mughal Darbars.
Taj Mahotsav is where the legendary artisans and mastercraftsmen
breathe life into their exquisite works of art. Marble inlay apart,
the Festival brings forth an array of other fine crafts as well- wood
carvings from Saharanpur, brass and other metalwasre from Moradabad,
handmade carpets of Badohi, the blue pottery of Khurja, the Chikan
work of Lucknow, the silk of Banares... to name a few. Agra with its
legendry tradition of exquisite craftmenship is thus the ideal venue
for holding a crafts fair like the Taj Mahotsav.
At the Mahotsav, be sure to be a part of the Food Festival. Relish the
exotic cuisine's and delicacies prepared by some of the oldest
exponents and the typical preparations from the interiors of Uttar
Pradesh.
Throughout the Mahotsav, one can experience a profusion of folk music
and dances of Dundelkhand, 'Nautanki' (Drama), 'Sapera' dance of
Rajasthan, Lavani of Maharashtra.... performed just the way they used
to be centuries ago.
Agra is renowned for it's breathtaking, centuries old monuments. For
experiencing the pomp and glory of the eras gone by there are
classical performances held at these ageless sites, recreating the
splendor and ambience once associated with Mughal monarchs.
Taj Mahal
Facts
Taj Mahal was constructed between 1631 A.D and 1654 A.D. The
construction is said to have been done by a workforce of 22,000 that
contained among others laborers, Naqqashi laborers, painters,
stonecutters, garden-layers, gardeners, embroidery artists and masons.
The Mughal Emperor Shah Jahan commissioned its construction. It was
constructed as a mausoleum for Arjumand Begum, who was re-christened
Mumtaz after her marriage to Shah Jahan. It is said that Shah Jahan
was very much pained by the death of his favorite wife. He constructed
this mausoleum so that its pleasant site would give him solace.
The Taj Maha is the finest example of Mughal architecture, a style
that is a subtle blend of elements from Persian, Indian and Turkish
architecture. The Taj Mahal has achieved special note because of the
romance of its inspiration. It is wrongly perceived that only the
white domed marble mausoleum is Taj. The Taj Mahal is actually an
integrated complex of structures that contains gardens, gateways, inns
and a mosque.
|
Year
of Starting of Construction |
1631 A.D |
|
Year
of Completion |
1654 A.D |
|
Architects |
Ustad
Isa, Isa Mohammad Khan, Qazim Khan, Amanat Khan and
Mir Abdul Hakim among others. |
|
Commissioner |
Mogul
Emperor Shah Jahan Alamgir |
|
Workforce |
More
than 22,000 |
|
Architecture |
Indo-Islamic; a blend of Indian and Persian |
|
Estimated Cost |
2
Million Dollars (Inflation Unadjusted) |
|
Height of Dome |
35
Meters |
|
Height of Minarets |
40
Meters |
|
Circumference |
30
Meters |
|
Length of Pedestal |
55
Meters |
|
Breadth of Pedestal |
55
Meters |
|
Visit
Time |
Weeklong
Except during Friday prayers |
|
Tickets |
20 IRS
for Indians and 5 Dollars for Foreigners |
|
Quick Facts about Taj Mahal :
-
Legend has it
that Shah Jahan had planned to construct another Taj Mahal in
black marble on the other side of the river, but the war with
his sons interrupted his plans.
-
Some people
think that Geronimo Veroneo, an Italian, designed the Taj
Mahal.
-
Supposedly,
there are two staircases on the northern side of the red
sandstone plinth that lead into a basement containing 17
chambers, with a third crypt in the center.
-
Some important
studies feel that the Taj Mahal is sinking.
-
The name Taj
Mahal when translated means "Crown Palace" or "Crown of the
Palace."
-
Some think that
the changing colors of the tomb depict the different moods of
a woman.
Inside Taj Mahal
Inside of
Taj Mahal
The interior hall is octagonal in shape and measures 58' in
diameter and 80' in height from the pavement to the soffit
(first ceiling) and has an arrangement of four rooms on the
sides and is rectangular and four octagonal rooms at the corners
and all are interconnected through passages. There is a double
storeyed arrangement of the roofs and passages- the upper set
exactly corresponds to the lower one i.e. four rectangular rooms
on the sides and four octagonal small rooms at the corners, all
interconnected by passages.
The radiating corridors on the ground floor connect the main
hall with the corner rooms. Barring the southern side all the
other sides have been closed with screens divided into small
compartments filled with glass pieces. This glass work is seen
on all the external sides of the tomb as well as on the upper
storey. The glass pieces show amazing uniformity and have been
very skillfully manufactured. They appear slightly milky in
color to give a translucent look rather than transparent. The
mortuary hall is an example of wonderful architecture and a
great finish. The panels on its dados have beautiful floral
designs in high relief or carvo-relievo with the borders in
inlaid conventionalized motifs. An exquisitely developed marble
jali screen (called Jhajjhari) encloses the monument. The inlay
work on its borders and the graceful jalies are one the highs of
medieval architecture.
Layout of Taj Mahal
The design of the
Taj Mahal presents the culmination of a process which started
much before its inception. The uniqueness and design of the Taj
Mahal is not the result of a single brain, instead various
superb features of its construction can be traced back
systematically to the earlier examples during the whole
evolutionary process. The river bank, at a respectable distance
from the hullabaloo of the capital was chosen to give it a
beautiful, natural and romantic setting.
The bank of river Yamuna was chosen so that the colossal
structure could tower magnificently and imposingly over its
surroundings. The river takes a sharp turn at this place, almost
at right angle so that a water-shed is made where the thrust of
the water is minimum. It was the safest point on the river bank.
The square garden has been divided into four large quarters,
separated by broad water channels with fountains and double
causeways on either side. This garden setting provides an
important aesthetics to the Taj. The main gate of the Taj Mahal
is on the south side. It was designed to play the part of a
monumental entrance to the grand structure. White marble has
been used on this gateway to give emphasis and also to diminish
the too sober and too classical an appearance of red sandstone.
Chhatris with marble cupolas flanked by pinnacles is perhaps the
most important feature of the gateway.
The genius of the builder and his innovations are also reflected
in yet another feature of its planning. In the Taj Mahal the
builder has substituted the false gateways with beautiful
water-pavilions on the east and the west sides, each rising at
the end of the broad water canal. Though each is an independent
structure, it forms an indivisible part of the whole charbagh
plan. It appears as if the water channel was chiefly planned to
give a suitable background for the water pavilion.
Garden of Taj Mahal
It is beyond doubt that the garden and the water devices have
been manipulated most successfully to create the best and the
most wonderful architectural effect at the Taj. The artists at
the here attempted to give a heavenly look to the monument by
the way of gardens and water devices. Most arrangements of the
Taj are based on number four or its multiples as this number is
considered holiest in Islam. The layout of the gardens also
followed the same formula. Two marble canals with fountains
cross in the centre of the garden dividing it into four equal
squares.
The charbagh plan, as it is called, has been beautifully adopted
at the Taj. In fact, here it has been put to a better use than
in any earlier examples. The mausoleum stands on the north side
of this garden. There is another subdivision of each of its four
quarters into 16 smaller quarters. There is an elevated marble
lotus pond with a cusped and trefoil border in the centre of the
garden. The water of this pond gives the perfect reflection of
the great monument. The mausoleum can be viewed clearly from any
location.
Another genius of the architect is reflected in the lay out of
the fountains and somber rows of cypress trees, which are
present only on the north-south water canal, lest the attention
of the onlooker would be diverted to the sides!! The mastery of
the architect is also visible in the management of the water
system. A series of purs (manual system of drawing water from a
water body using a rope and bucket pulled by bullocks) were used
in drawing water from the river. It was again raised by a series
of thirteen purs which were worked by bullocks.
Most of the features of the water-system have survived. The only
exception being the ramp. An overhead water channel carried
water into another storage tank of still greater magnitude.
Water was thus, finally raised to this stage with fourteen purs
and passed into a channel which filled three supply tanks. The
last tank had pipe mouths in its eastern side. The pipes
descended below and after traveling underground through the
intervening passage crossed into Taj enclosure near the western
water pavilion. Underground pipes fed the fountains. There is
one pipe line which runs directly towards the mosque to supply
the fountains in the tanks on the red sandstone plinth below the
marble structure. Pipes of copper were used for separate series
of fountains.
The whole ethereal effect at the Taj has been obtained by
fountains which have been laid methodically in the main
south-north canal. Five more marble fountains have been placed
superbly in the raised central lotus pond. Twenty four more
fountains adorn this pond on all the four sides. The planner of
the Taj preferred to add to the gorgeous view of the monument
from the front by providing these splendid bud-shaped fountains
in the centre. The water channels at the Taj are broad glossy
sheets of crystal clear water showcasing the taj and allowing
the reflection of the white tomb to dance in its soft ripples
that the air now and then weaves.
Taj Mahal Ornamentation
The architect of the Taj put a great deal of thought into the
decorative methods of e.g. Carving or color like glazed-tiling,
stucco and painting, mosaic and inlay work. The Mughals were
known for their love of colors and they made use of almost all
decorative schemes and patterns which had been introduced into
India following its conquest by the Muslims. They used glazed
and enamel tiling, mosaic etc. for decorating their buildings.
Glazed tiles were used mainly for exterior decoration whereas
glass mosaic and paintings embellished the interiors. Stucco art
was used in decorating mainly the interiors but exterior
surfaces have also been ornamented with success.
Dado-panels of white marbles were used for the first time in the
second storey hall of the main gate, eastern and western false
gateways at the tomb of Akbar at Sikandara. Each white marble
dado is outlined with black marble lining to improve its
artistic effect. Black marble and abri stones of a
chocolate-grey-yellowish colour have been used for inlay work.
The inlaid borders at the Taj mark the ideal stage of its
development. The inlaid borders on the dados in the interior
hall have been thoughtfully distributed.
Epigraphic elements of Koranic suras form an important element
of exterior decoration. Racemes, bouquets of flowers, zigzag
motifs and series of small arches are some of the most commonly
used decorative elements. Slender twigs, twisting leaves and
bold flowers combine to give the Dado a beautiful look. The
engraved patterns combine regally with the inlaid border
composed of a highly stylized pattern of set curves and twists.
Suitable stones have been used to give different tints to the
pattern. A delicate framing is given to the Kalasa-plant by the
border. The most pleasing part is the co-relation between the
art of chiseling and inlaying. Jali around the cenotaph Inlay
has also been used profusely on the marble curtain around the
cenotaphs. These are extremely stylized floral designs.
Here, the inlay has been very well combined with the jali-work.
The inlay work on the spandrels of the arches in the interior
and exterior adds magnificence to the overall aesthetic effect.
Contemporary texts specify the stones used in decoration and
inlay work they are- Lapis lazuli, various types of jasper,
agate, carnelian, jade, amethyst, turquoise, onyx, coral etc.
The Makrana marble with its pearly clarity has contributed most
to the beauty of the Taj Mahal. It acquires never-ending shades
of colour and soft, unearthly shadows.
It appears masked at down, dazzles at midday, rosy at sunset and
wonderfully cold in moonlight when the dome, hangs poised among
the stars like a great gem. Another interesting facet of the
decoration of the Taj is the incised painting of the mosque and
Mehmankhana. The contemporary folk art developed on extremely
simple lines and did not have the splendor of the court art with
so many stones and colors playing an important part. It was
mostly incised and made use of two simple colors-white and red.
The most developed stage of this technique is found at the Taj
Mahal, in the Mosque and the Mehmankhana, Here again only two
colors have been used, a hirmichi red on a white backdrop which
is allowed to show superbly through the scrapped off leaves,
flowers and the outlines. The small curves of white thus bloom
energetically on a red ground-portions of the background and
have thus artistically been brought to the forefront. It is
highly unconceivable that such a great aesthetic effect could be
obtained on such a large scale, by the use of these two simple
colors. This harmony was made possible by the skilful artists
and their techniques.
Water Work Inside Taj Mahal
There was a great challenge to ensure uniform and undiminished
water pressure in the fountains which was met by adopting an
inventive method. The fountain pipes were not connected directly
with the copper pipes feeding them as it would have resulted in
a steady decrease in the volume and pressure of the water. As an
alternative a copper pot was provided under each fountain
pipe-which was thus connected with the water supply only through
the pot water first fills the pot and then only rises at the
same time in the fountains. The fountains are thus controlled by
the pressure in the pots and not by pressure in the main pipe.
As the pressure in the pots is consistently distributed all the
time, it ensures an equal supply of water at the same rate in
all the fountains. This was really a work of great foresight.
As for main supply of water, it was obtained through earthenware
pipes. One such main line of supply was discovered under the bed
of the western canal. The original intent of the builders of the
Taj was probably to present a synthetic composition. The
irrigation work at the garden is a great example of this. The
garden is irrigated by the overflowing of canals; exception
being the outlets at the two extreme ends. The fountains provide
inlets to the north-south canal. The west-east canal received
its water through an interconnection with the north-south canal.
The quarters near the canals received an adequate supply of
water while the distant quarters got a smaller supply as the
quarters near the canals could be used for growing flower and
other plants which would not obstruct the general view. The
distant quarters on the other hand ware suitable only for tall
trees. The Taj Mahal is perhaps the only monument of the world
with such great aesthetic considerations so detailed and yet so
influential.
Layouts and Designs of Taj Mahal
Overlooking the River Yamuna, and visible
from the fort in the west, the Taj Mahal stands at the northern
end of vast gardens enclosed by walls. Though its layout follows
a distinctly Islamic theme, representing Paradise, it is above
all a monument to romantic love. Shah Jahan built the Taj to
enshrine the body of his favourite wife, Arjumand Banu Begum,
better known as Mumtaz Mahal ("Elect of the Palace"), who died
shortly after giving birth to her fourteenth child, in 1631.
Proud Architects of Taj Mahal
The names of the chief architect who worked on the Taj have been
noted. Ismail Afandi, who designed the hemispheres and built the
domes was from Turkey. Qazim Khan came from Lahore to cast the
gold finial that would top the dome. Chiranji Lal was called
from Delhi to pattern the mosaic. From Shiraz in Persia came
master calligrapher, Amanat Khan. Stone cutter Amir Ali was from
Baluchistan. Ustad Isa of Tukey is however credited to have been
the main architect. It is believed that his design embodied much
of what the Emperor wanted to express.
Agra, the Chosen City
Approach to the Taj: The walled complex is
approached from the south through a red sandstone forecourt,
Chowk-i Jilo Khana, whose wide paths, flanked by arched kiosks,
run to high gates in the east and west. The original entrance, a
massive arched gateway topped with delicate domes and adorned
with Koranic verses, stands at the northern edge of Chowk-i Jilo
Khana, directly aligned with the Taj, but shielding it from the
view of those who wait outside. Today's entrance, complete with
security checks, is through a narrow archway in the southern
wall to the right of the gate.
Garden Mausoleum
The mighty marble tomb stands at the end of superb gardens
designed in the charbagh style so fashionable among Moghul,
Arabic and Persian architect. Dissected into four quadrants by
waterways, they evoke the Islamic image of the Gardens of
Paradise, where rivers flow with water, milk, wine and honey.
The "rivers" converge at a marble tank in the centre that
corresponds to al-Kawthar, the celestial pool of abundance
mentioned in the Koran. Today only the watercourse running from
north to south is full, and its precise, glassy reflection of
the Taj is a favourite photographic image.
The Structure
Essentially square in shape, with peaked arches cut into its
sides, the Taj Mahal surmounts a square marble platform marked
at each corner by a high minaret. Topped with a huge central
dome, it rises for over 55m, its height accentuated by a
crowning brass spire, itself almost 17m high. On approach, the
tomb looms ever larger and grander, but not until you are close
do you appreciate both its awesome magnitude and the
extraordinarily fine detail of relief carving, highlighted by
floral patterns of precious stones. Carved vases of flowers
including roses, tulips and narcissi, rise subtly out of the
marble base, a pa ttern repeated more colourfully and inlaid
with precious stones around the four great arched recesses (pishtaqs)
on each side.
The Tomb
The south face of the tomb is the main entrance to the interior:
a high, echoing octagonal chamber flushed with pallid light
reflected by yellowing marble surfaces. A marble screen, cut so
finely that it seems almost translucent, and decorated with
precious stones, scatters dappled light over the cenotaph of
Mumtaz Mahal in the centre of the tomb, and that of Shah Jahan
next to it. Inlaid stones on the marble tombs are the finest in
Agra; attendants gladly illuminate the decorations with torches.
The 99 names of Allah adorn the top of Mumtaz's tomb, and set
into Shah Jahan's is a pen box, the hallmark of a male ruler.
These cenotaphs, in accordance with Moghul tradition, are only
representations of the real coffins, which lie in the same
positions in an unadorned and humid crypt below that's heavy
with the scent of heady incense and rose petals.
Taj
Mahal
Ornamentation
Inside of
Taj Mahal
The interior hall is octagonal in shape and measures 58' in
diameter and 80' in height from the pavement to the soffit
(first ceiling) and has an arrangement of four rooms on the
sides and is rectangular and four octagonal rooms at the corners
and all are interconnected through passages. There is a double
storeyed arrangement of the roofs and passages- the upper set
exactly corresponds to the lower one i.e. four rectangular rooms
on the sides and four octagonal small rooms at the corners, all
interconnected by passages.
The radiating corridors on the ground floor connect the main
hall with the corner rooms. Barring the southern side all the
other sides have been closed with screens divided into small
compartments filled with glass pieces. This glass work is seen
on all the external sides of the tomb as well as on the upper
storey. The glass pieces show amazing uniformity and have been
very skillfully manufactured. They appear slightly milky in
color to give a translucent look rather than transparent. The
mortuary hall is an example of wonderful architecture and a
great finish. The panels on its dados have beautiful floral
designs in high relief or carvo-relievo with the borders in
inlaid conventionalized motifs. An exquisitely developed marble
jali screen (called Jhajjhari) encloses the monument. The inlay
work on its borders and the graceful jalies are one the highs of
medieval architecture.
Layout of Taj Mahal
The design of the
Taj Mahal presents the culmination of a process which started
much before its inception. The uniqueness and design of the Taj
Mahal is not the result of a single brain, instead various
superb features of its construction can be traced back
systematically to the earlier examples during the whole
evolutionary process. The river bank, at a respectable distance
from the hullabaloo of the capital was chosen to give it a
beautiful, natural and romantic setting.
The bank of river Yamuna was chosen so that the colossal
structure could tower magnificently and imposingly over its
surroundings. The river takes a sharp turn at this place, almost
at right angle so that a water-shed is made where the thrust of
the water is minimum. It was the safest point on the river bank.
The square garden has been divided into four large quarters,
separated by broad water channels with fountains and double
causeways on either side. This garden setting provides an
important aesthetics to the Taj. The main gate of the Taj Mahal
is on the south side. It was designed to play the part of a
monumental entrance to the grand structure. White marble has
been used on this gateway to give emphasis and also to diminish
the too sober and too classical an appearance of red sandstone.
Chhatris with marble cupolas flanked by pinnacles is perhaps the
most important feature of the gateway.
The genius of the builder and his innovations are also reflected
in yet another feature of its planning. In the Taj Mahal the
builder has substituted the false gateways with beautiful
water-pavilions on the east and the west sides, each rising at
the end of the broad water canal. Though each is an independent
structure, it forms an indivisible part of the whole charbagh
plan. It appears as if the water channel was chiefly planned to
give a suitable background for the water pavilion.
Garden of Taj Mahal
It is beyond doubt that the garden and the water devices have
been manipulated most successfully to create the best and the
most wonderful architectural effect at the Taj. The artists at
the here attempted to give a heavenly look to the monument by
the way of gardens and water devices. Most arrangements of the
Taj are based on number four or its multiples as this number is
considered holiest in Islam. The layout of the gardens also
followed the same formula. Two marble canals with fountains
cross in the centre of the garden dividing it into four equal
squares.
The charbagh plan, as it is called, has been beautifully adopted
at the Taj. In fact, here it has been put to a better use than
in any earlier examples. The mausoleum stands on the north side
of this garden. There is another subdivision of each of its four
quarters into 16 smaller quarters. There is an elevated marble
lotus pond with a cusped and trefoil border in the centre of the
garden. The water of this pond gives the perfect reflection of
the great monument. The mausoleum can be viewed clearly from any
location.
Another genius of the architect is reflected in the lay out of
the fountains and somber rows of cypress trees, which are
present only on the north-south water canal, lest the attention
of the onlooker would be diverted to the sides!! The mastery of
the architect is also visible in the management of the water
system. A series of purs (manual system of drawing water from a
water body using a rope and bucket pulled by bullocks) were used
in drawing water from the river. It was again raised by a series
of thirteen purs which were worked by bullocks.
Most of the features of the water-system have survived. The only
exception being the ramp. An overhead water channel carried
water into another storage tank of still greater magnitude.
Water was thus, finally raised to this stage with fourteen purs
and passed into a channel which filled three supply tanks. The
last tank had pipe mouths in its eastern side. The pipes
descended below and after traveling underground through the
intervening passage crossed into Taj enclosure near the western
water pavilion. Underground pipes fed the fountains. There is
one pipe line which runs directly towards the mosque to supply
the fountains in the tanks on the red sandstone plinth below the
marble structure. Pipes of copper were used for separate series
of fountains.
The whole ethereal effect at the Taj has been obtained by
fountains which have been laid methodically in the main
south-north canal. Five more marble fountains have been placed
superbly in the raised central lotus pond. Twenty four more
fountains adorn this pond on all the four sides. The planner of
the Taj preferred to add to the gorgeous view of the monument
from the front by providing these splendid bud-shaped fountains
in the centre. The water channels at the Taj are broad glossy
sheets of crystal clear water showcasing the taj and allowing
the reflection of the white tomb to dance in its soft ripples
that the air now and then weaves.
Taj Mahal Ornamentation
The architect of the Taj put a great deal of thought into the
decorative methods of e.g. Carving or color like glazed-tiling,
stucco and painting, mosaic and inlay work. The Mughals were
known for their love of colors and they made use of almost all
decorative schemes and patterns which had been introduced into
India following its conquest by the Muslims. They used glazed
and enamel tiling, mosaic etc. for decorating their buildings.
Glazed tiles were used mainly for exterior decoration whereas
glass mosaic and paintings embellished the interiors. Stucco art
was used in decorating mainly the interiors but exterior
surfaces have also been ornamented with success.
Dado-panels of white marbles were used for the first time in the
second storey hall of the main gate, eastern and western false
gateways at the tomb of Akbar at Sikandara. Each white marble
dado is outlined with black marble lining to improve its
artistic effect. Black marble and abri stones of a
chocolate-grey-yellowish colour have been used for inlay work.
The inlaid borders at the Taj mark the ideal stage of its
development. The inlaid borders on the dados in the interior
hall have been thoughtfully distributed.
Epigraphic elements of Koranic suras form an important element
of exterior decoration. Racemes, bouquets of flowers, zigzag
motifs and series of small arches are some of the most commonly
used decorative elements. Slender twigs, twisting leaves and
bold flowers combine to give the Dado a beautiful look. The
engraved patterns combine regally with the inlaid border
composed of a highly stylized pattern of set curves and twists.
Suitable stones have been used to give different tints to the
pattern. A delicate framing is given to the Kalasa-plant by the
border. The most pleasing part is the co-relation between the
art of chiseling and inlaying. Jali around the cenotaph Inlay
has also been used profusely on the marble curtain around the
cenotaphs. These are extremely stylized floral designs.
Here, the inlay has been very well combined with the jali-work.
The inlay work on the spandrels of the arches in the interior
and exterior adds magnificence to the overall aesthetic effect.
Contemporary texts specify the stones used in decoration and
inlay work they are- Lapis lazuli, various types of jasper,
agate, carnelian, jade, amethyst, turquoise, onyx, coral etc.
The Makrana marble with its pearly clarity has contributed most
to the beauty of the Taj Mahal. It acquires never-ending shades
of colour and soft, unearthly shadows.
It appears masked at down, dazzles at midday, rosy at sunset and
wonderfully cold in moonlight when the dome, hangs poised among
the stars like a great gem. Another interesting facet of the
decoration of the Taj is the incised painting of the mosque and
Mehmankhana. The contemporary folk art developed on extremely
simple lines and did not have the splendor of the court art with
so many stones and colors playing an important part. It was
mostly incised and made use of two simple colors-white and red.
The most developed stage of this technique is found at the Taj
Mahal, in the Mosque and the Mehmankhana, Here again only two
colors have been used, a hirmichi red on a white backdrop which
is allowed to show superbly through the scrapped off leaves,
flowers and the outlines. The small curves of white thus bloom
energetically on a red ground-portions of the background and
have thus artistically been brought to the forefront. It is
highly unconceivable that such a great aesthetic effect could be
obtained on such a large scale, by the use of these two simple
colors. This harmony was made possible by the skilful artists
and their techniques.
Water Work Inside Taj Mahal
There was a great challenge to ensure uniform and undiminished
water pressure in the fountains which was met by adopting an
inventive method. The fountain pipes were not connected directly
with the copper pipes feeding them as it would have resulted in
a steady decrease in the volume and pressure of the water. As an
alternative a copper pot was provided under each fountain
pipe-which was thus connected with the water supply only through
the pot water first fills the pot and then only rises at the
same time in the fountains. The fountains are thus controlled by
the pressure in the pots and not by pressure in the main pipe.
As the pressure in the pots is consistently distributed all the
time, it ensures an equal supply of water at the same rate in
all the fountains. This was really a work of great foresight.
As for main supply of water, it was obtained through earthenware
pipes. One such main line of supply was discovered under the bed
of the western canal. The original intent of the builders of the
Taj was probably to present a synthetic composition. The
irrigation work at the garden is a great example of this. The
garden is irrigated by the overflowing of canals; exception
being the outlets at the two extreme ends. The fountains provide
inlets to the north-south canal. The west-east canal received
its water through an interconnection with the north-south canal.
The quarters near the canals received an adequate supply of
water while the distant quarters got a smaller supply as the
quarters near the canals could be used for growing flower and
other plants which would not obstruct the general view. The
distant quarters on the other hand ware suitable only for tall
trees. The Taj Mahal is perhaps the only monument of the world
with such great aesthetic considerations so detailed and yet so
influential.
Architecture
of Taj Mahal
The Taj Mahal is the most brilliant and the most triumphant
achievement among the funeral monuments all around the world. It
marks the culmination in the evolution of the tomb. The Indian
builders achieved the most beautiful expression through this
creation under the Mughals. The Taj Mahal in its entirety is the
result of the grand total of all the efforts put meticulously by
the expert artists of the age. They harmonized all the fine
features in their minutest details and brilliantly put together
to produce the most pleasant impression. The minarets and the
grand elevation play an important part in the aesthetics of the
Taj Mahal. The beautifully laid garden presents the white marble
structure more imposingly.
The main idea behind laying the garden was to give the monument
a more beautiful setting. The sky provides a wonderful backdrop
to the Taj. The Taj overhangs the river grandly and is always
seen in harmony with a blue sky in the background. The Taj Mahal
is always seen as ever-changing and against an ever new backdrop
because of the background changing its color every now and then.
Besides the above mentioned ones there are other substantial
factors which add to the looks and beauty of the Taj.
Various parts combine together in symmetry and pleasing
proportion to make the monument look more astonishing. And all
these structural masses have been beautifully harmonized. The
overall unity which has thus been obtained is simply elegant. If
we intend to appreciate a work of art our approach should be
synthetic; we can't appreciate it in parts, we can do so only as
a whole. The parts therefore should be so assimilated together
that each looses its identity in the total unity. The lover of
architecture must be aware of the synthetic nature of art as any
work of art can not be appreciated in isolation of its parts. It
is the unity of different parts which make the work look great.
A wonderful artistic and visual effect of the Taj is obtained by
its elevation, superstructure, balanced and symmetrical
combination of its parts. Different structural masses have been
balanced most harmoniously. The monument reflects beautiful
admixture of lines, horizontal with vertical on the one hand and
straight with curved on the other. A combination of solids and
voids imparts a three dimensional effect and allows a beautiful
play of light and gives a color independence to the monument.
Not only white marble was selected by the architects for
exterior decoration but they also manipulated the material to
produce the best possible effects of light. This is best
reflected in the colored inlay of the portal-dados, the
spandrels of the arches and the pilasters. The receding plinths,
give the Taj a towering effect and it appears as if it is about
to rise high into the sky. The Taj marks the ultimate moment in
the development of Mughal architecture. It formed the stage of
the art from where it could only decline. The Taj is the perfect
expression of beauty and the illusionary effect of the monument
adds to its aesthetics. This illusion was created by the
architect with the help of such gross materials as lime, brick
and white marble. The architect of the Taj was a great master of
aesthetics and he successfully incorporated it in his
masterpiece. All this go together to prove the fact that the Taj
is more a work of art than of architecture. It is more a work of
beauty than a mere Mughal mausoleum.
Architecture of Taj Mahal Dome
A bulging white
double - dome with a broad padma-kosa (lotus - petals) and
beautiful Kalasa-finial is mounted on the tomb. The bulbous dome
of the Taj Mahal rests on an amazingly high drum and has a total
height of 145' 8" from the base of the drum to the summit of the
finial. Chhatris flank the dome on all the four angles which
appear to be attached to the dome when viewed from all sides.
This feature became possible apparently after the experience
gained by the builders in mishandling Humayun's tomb, where the
kiosks seem to be excessively detached from the dome. At the Taj
the builder calculated the distance between the two features for
the precise relationship they were intended to present together.
The dome doesn't give an impression of isolation but is seen
always in terms of the Chhatris amid a group of pinnacles on all
sides. This plan, which is also known as panch-ratna gives the
Taj Mahal such a remarkable, impressive and unparalleled grace.
Architecture of Taj Mahal Mausoleum
It is on the centre of a rectangular red sandstone platform that
the tomb structure stands along the river Yamuna. Chameli-farsh
as the platform is generally called, measures 970'-7"
(East-West) by 364' 10" (North-South) and is 4' high from the
garden level. There is a beautiful mosque on its west and a
matching structure on the east. These structures are in red
sandstone with a liberal use of white marble for emphasis and
contrast. The tapering minarets are three storeyed and measure
132' in height, each separated by a balcony supported on a
series of brackets which has a rhythmic play of light and shadow
and provide this black and white marble minaret with grace which
matches the arms of a beautiful lady.
The detached minarets at each corner of the plinth of the Taj
trace their evolution probably from the Lodhi Tomb at Agra
itself. The tomb of Sher Shah is another example of detached
kiosks on all the four angles of the main plinth, with the tomb
structure occupying its centre. It is for the first time that
four full fledged minarets appear on its main gateway. Each
minaret is circular and tapers as it rises. These minarets rise
gracefully high into sky seemingly carrying the whole body of
the gateway with them. Fully developed Minarets mark an
important stage in Mughal architecture. The most remarkable
feature of these minarets is their harmony with the tomb.
Though the white marble main tomb is basically a square of 187'
side, it assumes an octagonal form due to the chamfer at the
angles. Some architects believe that the inspiration for this
plan could have originally been derived from that of the Hemkuta
temple. Each fascia of the tomb is composed of a grand iwan
(portal) in its centre, occupying almost the whole height up to
the ramparts which rises well over it to give distinction to the
iwan. It is flanked on both sides by double alcoves one above
the other. Each section of the façade is well demarcated on both
sides of the iwan by very small turrets which rise above the
ramparts and are crowned by beautiful pinnacles with lotus-buds
and finials.
Building Materials Used
In the construction of the Taj Mahal three types of stones have
been used : (1) Semi-precious stones like Aqiq (agate), Yemeni,
Firoza (turquoise), Lajwad (Lapis- lazuli); moonga (coral),
Sulaimani (onyx), Lahsunia (cat's eye), Yasheb (jade) and
Pitunia (blood stone). These were mainly used for inlaying work.
(2) Rare and scarce stones such as Tilai (goldstone),
Zahar-mohra, Ajuba, Abri, Khathu, Nakhod and Maknatis (magnet
stone) were used for bold inlay and mosaic work chiefly on
floors, exterior dados and turrets and (3) Common stones: sang-i-Gwaliari
(grey and yellow sandstone) sang-i-Surkh (red sandstone), sang-i-moosa
(black slate) and sang-i-Rukhan (sang-i-marmar; white marble)
were used in foundations, masonry and for giving finishing touch
to the external surfaces. Red stone was brought from the
neighboring towns like Fatehpur Sikri, Karauli-Hindaun, Tantpur
and Paharpur whereas white marble was brought from Makrana mines
(Rajasthan). Semi precious and rare stones were occasionally
brought from as distant places such as Upper Tibet, Kumaon,
Jaisalmer, Cambay and Ceylon.
Other materials which were used for the construction of Taj
Mahal included different kind of bricks, Gaj-i-Shirin (sweet
limestone), Khaprel or tiles, Qulba or Spouts to lead off water,
San, Gum, Sirish-i-Kahli or reed glue, Gul-i-Surkh or red clay,
Simgil (silver clay) and glass. The center and skeleton of the
main building is made up of extra strong brick masonary in which
massive white marble slabs, have been used on the headers and
stretchers system to give it a white marble outlook. Country
ingredients such as molasses; batashe (sugar-bubbles), belgiri-water,
urd-pulse, curd, jute and Kankar (pieces of fossilized soil)
were mixed with lime mortar to make it an ideal cementing
material.
The Mughals believed that the precious and semiprecious stones
have different effects on the fortunes of different persons and
places; they may be auspicious or inauspicious. This has exactly
been calculated and strictly adhered to in the adornment of the
Taj Mahal. It is primarily because of these reasons that we see
predominance of one or the other stone on a particular feature
of its architecture. A number of marks are engraved on red stone
slabs, on the pathways, stairs, plinths and pavements of the Taj
Mahal. Some of them are- Symbolic motifs Swastika, Cakra, âako¸a
(Hexagon), Paµcako¸a (Pentagon), áa´kh (conch-shell), Animate
motifs - fish, bi rd, Geometrical motifs - triangle, Square,
rectangle, Floral motifs- leaves and petals of the flowers
chiefly lotus.
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