The Aesthetics

Besides the miraculous architectural features and the elaborate ornamentation of the Taj Mahal, many additional features, which can often be overlooked, help complement and enhance this spectacular monument.

BACKGROUND:

Unlike other Mughal tombs, the garden of the Taj Mahal has been laid out entirely in front of the tomb and does not play any part in the 'background'. Instead, the background has been provided by the sky. This background is not constant; it changes its colour and texture more than often, and the Taj is always presented in a variety of tints and moods. Its shades are subtly reflected on the white marble surface of the Taj Mahal which changes its colour and complexion accordingly.

MARBLE:
The Makrana marble used is of such a nature that it takes on incredibly subtle variations of tint and tone, according to the changes in the light, thus picturing the passing colour of the moment. Forms and lines : The composition of the forms and lines of the Taj Mahal is perfectly symmetrical. Here we meet with a beautiful admixture of lines, horizontal with vertical, and straight with curved - all harmoniously set together in the total unity. They adopt each other with amazing uniformity. The combination is entirely rhythmic and melodic. Especially the semi-octagonal alcoves at the chamfered angles which are perceptible from every perspective view and give a 3-dimensional appearance from the outset. They emphasise the diagonal lines and suggest depth.

SOLIDS AND VOIDS:
The great depth has also been further suggested by the double arches, one over the other, on each side of the central portal. The solids and voids have very judiciously been distributed to provide a variety, yet an undiminished uniformity. These alcoves, the balconies in each minaret, the chhatris near the dome, and certain pronounced projections in each facade allow a beautiful play of light and shadow.

SOARING EFFECT:
The colossal height of the tomb, along with its pyramidal appearance (which is obtained by the receding plinths, the square tomb and the bulbous dome, along with the pilasters surmounted by pinnacles, the tapering minarets and the decreasing volume of the dome culminating in a kalasa) give it a soaring effect. It appears as if it is about to rise into the sky...an ethereal quality full of lightness and grace

CORRECTION OF ILLUSIONARY EFFECTS:
The indigenous builders of the Taj Mahal fully understood the deceptive nature of the human eye. They knew that the reality and its perception and interpretation thereof differed. The plinth of the main tomb is 2'10'' high on an average. But the height varies at different places, particularly the central point between two piers being in each case 0.5" to 0.7" higher than the sides. This convexity has deliberately been given to the plinth in the centre of each arch, or else the building would have appeared as if it were falling down! The facades are not exactly at a right angle with the plinth, but are slightly inclined. The finial is a stupendous crowning feature which measures nearly 10 meters!! The architect fully anticipated the apparent size which a finial would present from such a great height. It has therefore been very ingeniously been planned. These features of construction demonstrate the ability of the Indian architects to reconcile the illusionary effects created by distance and light.

FLUTED PILASTERS:
Sections in each facade have been demarcated by semi-octagonal pilasters that rise from the plinth of the main tomb. They have chevron patterns inlaid with black and yellow marble horizontally along their whole height. They appear to be fluted on each side though, as a matter of fact, there is no real fluting at all. They create a beautiful illusionary effect which the architect has very skilfully manipulated.

UNIFORM SIZE OF CALLIGRAPHIC CHARECTERS:
The letter of the inscription around archways at the Taj Mahal, are generally supposed to become larger and larger above. On closer scrutiny, however, they are found to be of uniform size. Instead, the letters have been inscribed densely at the bottom, with little plain surface in between; the inscription becomes more and more sparse as it rises with more plain surface in between the letters. The diminution of the plain surfaces has been accurately calculated. Thus, the optical perspective of the letters has been reconciled, and unmistakable uniformity is obtained.

The Magestic Taj

India's noble tribute to the grace of Indian womanhood

To people the world over, the Taj Mahal, mausoleum of the mughal Empress Mumtaz Mahal, is synonymous with India. Its curving, gently swelling dome and the square base upon which its rests so lightly is a familiar image from hundreds of brochures and travel books. The Taj is undoubtedly one of the most spectacular buildings of the world. Renowned for its architectural magnificence and aesthetic beauty, it counts among man's proudest creations and is invariably included in the list of the world's foremost wonders. As a tomb, it has no match upon earth, for mortal remains have never been housed in greater grandeur.

MUGAL AGRA

who were the Mughals? What other monuments did they build? It is generally overlooked that the mausoleum, huge itself, is not an isolated building but it is a part of a vast complex comprising of a main gateway, an elaborate garden, a mosque and a prayer house, outer enclosures and enclosing walls. The exterior of the Taj Mahal is a seemingly perfect balance of ornamented and unadorned surfaces.The technique of this decoration and the motifs used are characteristic not only of shah jehan's architectural projects,but also of the other arts that flourished during his reign.Intricate floraland geometry inlaysprofuse surface detailing by reliefs,and the exquisitely rendered calligraphic panels are all indicative of the great attentiomlavished on the building.

The Taj Mahal is entered through the large portal on its south side.Tha eight side of the octagonal central chamber are outlines with bands of inlaid calligraphy - passages from the Koran - and meticulously sculpted flowers framed by borders of delicate inlayappears on the dado.
Shah Jehan travelled from the fort to the tomb by boat. Court histories 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, also, the poor were provided with food and shelter, and on the anniversary day vast sums were distributed in charity from the funds with which the Taj was endowed.

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.