THE Taj Mahal not only forms one of the most iconic representations of India but is also considered the greatest architectural achievement in the world of Indo-Islamic architecture. The monument, which was declared a World Heritage Site by UNESCO in 1983, was built by the Mughal emperor Shah Jahan in the memory of his favourite wife, Arjumand Banu Begum, better known as Mumtaz Mahal. On her death, she was buried in the garden of Zainabad at Burhanpur and then shifted, in December 1631, to Akbarabad (now Agra). She was finally enshrined in a crypt in the mausoleum that Shah Jahan built in her honour-the Taj Mahal.
The tomb (rauza) was built on the right bank of the Yamuna at a point where the river takes a sharp turn and flows eastwards. The land for the mausoleum was acquired from Raja Jai Singh (grandson of Raja Man Singh), who donated his grandfather’s haveli for the purpose. He was given four havelis in Akbarabad in exchange. The foundation of the Taj Mahal was laid in January 1632. While the tomb complex and its garden were completed around 1647-48, the Darwaza-i-Rauza (the Great Gate or the main entrance) was completed around 1653-54.
The monument is, among other things, known for its--beauty and grace; symmetry and uniformity of shapes; surface brilliance; selective use of naturalism; hierarchical grading of materials, forms and colours; symbolism; and attention to detail. Most accounts of the Taj emphasize its symmetry. It is true that the monument was built on the principle of strict bilateral symmetry with emphasis on the features of the central axis—the tomb and its four minarets flanked by a mosque to the west and an assembly hall (Mihman Khana) to the east. Radial symmetry is also observed in the nine-fold plan of the tomb and the gate.
There are also several non-common frames for looking at the Taj Mahal, all of which enhance our understanding of this unique architectural marvel. For instance, few know that the monument was originally conceived as, in the words of Shah Jahan’s historian Qazwini, “a masterpiece for ages to come”. As the scholar Ebba Koch says, it was built with posterity in mind and viewers were a part of its concept. Such was the consciousness; such was the confidence. What also remains unnoticed is that the monument not only formed a heavenly tribute to Mumtaz Mahal, it reflected the power and glory of the Mughals, in particular Shah Jahan. Likewise, there are other frames as well. This multi-part article looks at several related ways of looking at the monument such as the evolution of tomb construction in India; interactions between red sandstone and white marble; the notion of a garden paradise; surface ornamentation, pietra dura and stone inlay; and finally, myths surrounding the monument. The first article in the series look at Taj as the highpoint of tomb architecture in medieval India.
Tomb Construction in India
The systematic beginnings tomb construction began during the Delhi Sultanate days and the tomb of Iltutmish in the Qutb complex in Delhi formed one of the first royal tombs. It followed a very simple plan--simple square plan with a domed roof. Taj Mahal marked an improvisation over several features of tomb architecture developed over a period of time, including the octagonal structure (seen in the tomb of Khan-i-Jahan Tilangani near Nizamuddin Auliya’s tomb in Delhi and later in the imperial tombs of the Sayyids and the Lodis-- as seen in the Lodi Gardens and Humayun’s tomb complex); the double dome (seen in Sikandar Lodi’s tomb in New Delhi, though the true double dome appears first in Humayun’s tomb); drum /raised platform to raise tomb elevation (see Adham Khan’s octagonal tomb in front of Mehrauli Bus Stand near the Qutb complex); positioning of the tomb at the centre of a char bagh, or four-fold garden (introduced by Babur and seen in imperial Mughal tombs, we saw this in Humayun’s tomb as well); use of minarets (see Akbar’s tomb at Sikandra, Jahangir’s tomb in Lahore and Itmad-ud-Daulah’s tomb in Agra); hasht bihisht symbolizing the eight doors of Paradise (we discussed this during our Heritage Walk at the Humayun’s tomb complex); construction of a complete marble tomb and pietra dura (first seen in Itmad-ud-Daulah’s tomb at Agra); and the idea of a forecourt, Jilau Khana square with streets, bazaars and residential buildings (first seen in Jahangir’s tomb in Lahore). These architectural components are seen in their most classical and developed form at the Taj.
- Dr. Shashank Shekhar Sinha
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