Famous As: 7th Wonder of the world
Taj Mahal Was Built By: Mughal Emperor Shahjahan
Built In The Memory Of: Mumtaz Mahal
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Taj Mahal, a dream etched in milky white pristine marble is the peerless monument portraying the beauty of eternal love! A commemoration of the memory of Shahjahan's beloved wife, Mumtaz. Taj Mahal is indeed India's rich tribute to womanhood. Renowned for its aesthetic beauty, this extravagant building of timeless beauty is the outcome of a unique combination of passion and architectural exuberance.
Lovers die, but love shall not and death shall have no dominion…
In the year 1607 when a prince of the royal Mughal household strolled down the Meena Bazaar, accompanied by a string of fawning courtiers, he caught a glimpse of a girl hawking silk and glass beads. Five years and a wife later (in those days princes did not marry for love alone) the regal 20-yr-old went to wed his 19-yr-old bride. It was a fairytale union from the start, one that withstood court intrigues, battles for succession and finally, the grand coronation. And when she died on the 19th year of their marriage, he etched her story in stone. The Taj Mahal is the living symbol of the monumental passion of Shah Jahan and Arjumand Banu. Which other love story has so grand a memorial?The Chosen City
Agra was the chosen city of the Mughal emperors during the early years. It was here that the founder of the dynasty, Babur, laid out the first formal Persian garden on the banks of the River Yamuna. Here, Akbar, his grandson, raised the towering ramparts of the great Red Fort. Within its walls, Jehangir built rose-red palaces, courts and gardens. Shahjahan embellished it with marbled mosques, palaces and pavillions of gem-inlaid white marble. Agra is globally renown as the city of the Taj Mahal, a monument of love and imagination, that represents India to the world.
Build me a Taj
As Mumtaz Mahal lay dying, she asked four promises from the emperor: first, that he build the Taj; second, that he should marry again; third, that he be kind to their children; and fourth, that he visit the tomb on her death anniversary. He kept the first and second promises. Construction began in 1631 and was completed in 22 years. Twenty thousand people were deployed to work on it. The principal architect was the Iranian architect Istad Usa; it is possible that the pietra dura work was coordinated by an Italian artist.
HOW TO REACH AGRA
Air: Agra is one of the hottest tourist destinations in India and all facilities have been provided for the easy access to this place. It has its own airport which connects Agra with all the major places in India. The Agra airport or the Kheria airport has all the major domestic airlines having their services to this place of the Taj.
Rail: Agra is a major railway station with almost all the trains to south India, Mumbai and many trains to Calcutta stopping here. Agra city is visited by the "Palace on Wheels" .The Rajdhani and Shatabdi trains have also their stoppage in Agra. The city is well connected by trains to almost every corner of the nation.
Road: Agra has the National Highway Numbers 2, 3, 11 passing through it. So the premier tourist destination of India, Agra is also well linked by bus services to other places in the State as well as outside the state. The state transports have deluxe as well as ordinary bus services for the place. There are conducted tours which take tourist not only to Agra, but the near by tourist spots too.
GENERAL INFORMATION ABOUT AGRA
Population in Agra : About 1, 20, 000 people resides in this city.
Main Languages : Hindi, Rajasthani, Urdu and English.
SHOPPING IN AGRA
Agra is not only a famous tourist destination but is a shoppers paradise too. There are plenty of shopping areas and shopping malls where one can buy the specialities of the place. 
Agra is famous for the Taj Mahal made out of Marble, the markets are bound to have replica of the Taj in marble being sold as decorative, gift item or as souvenirs. But the all that looks is not marble. There is one stone called Talk. This stone is cheap and looks like marble only difference being that marble is opaque and talk is not. So, while purchasing any marble item make sure that you are buying the original thing.
Agra is also famous for the leather items. Agra is the hub of hand made leather items. Particularly the Agra jail inmates are make these items which are sold to give them a decent earning. The local artisans are also good at making leather chappals (sandals), purses, bags, decorative items and many more such leather product which instantaneously attracts your attention. In the handicraft craft emporiums and shops there are sandal and rose wood items even though there are no rose or sandal wood forest nearby. The shops also have brass decorative pieces and stone carved images. Agra is also famous for the Zari and embroidery work, Stone inlay work and durries.
The main shopping areas in Agra include Taj Mahal complex, Kinari Bazaar, Raja Mandi, Sadar Bazaar. the Gangotri at Taj Mahal Complex and the Up Handlooms, UPICA at the Sanjay place are two UP Government emporiums.
PLACES TO STAY IN AGRA
Agra is one of the major tourist destination, where international tourist inflow is also quite good. So the options of luxurious accommodations are plenty. If you are a budget travellers, there are numerous tourist lodges as well mid-range hotels in Agra.
TOURIST INFORMATION CENTRES
The government Of India Tourist Office - 191, the Mall, Agra, Uttar Pradesh, India.
UP State Tourism Development Corporation - Tourist Bungalow, Raja-ki- Mandi, Agra, Uttar Pradesh, India.
Tourist Information Center - UP tourist office, 64 Taj Road, Agra, Uttar Pradesh, India
Tourist Information Counter - Agra Cantonment Railway Station, Agra, Uttar Pradesh, India
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MUMTAZ MAHAL
The year 1607 was a momentous year for Prince Khurram, the eldest son of Emperor Jahangir and his father's favourite. He was a young handsome prince accustomed to luxury and refinement. As he made his way to the Meena bazaar, the private market attached to the harem, he was surrounded by a string of fawning companions, all eager to catch his eye. Even at 15, young Khurram cut a dashing figure with his father's aristocratic nose, high forehead and large languid eyes. Every maid at the bazaar carried a torch for him.
The Flame is Lit
Arjumand Banu sat with her silks and glass beads at her shop. She was the daughter of Asaf Khan, the brother of the emperor Jahangir's consort, Noorjahan. Exquisitely pretty, Khurram was drawn to her. He saw a piece of glass at her stall and asked its worth. When she saucily replied that it was diamond and not glass he gave her ten thousand rupees (a sum she boldly said he could not afford), picked up the piece of glass and left carryimg with him her image in his mind.
Flaming Passions
The next day Khurram boldly presented his case before the Emperor seeking Arjumand's hand in marriage. The Emperor raised his hand in assent, perhaps recalling his own love for Noorjahan. However, five years were to pass before Khurram was to marry his beloved. Meanwhile, he was married to Quandari Begum, a Persian princess, for political reasons.
A Royal Marriage
The astrologers chose 1612 as auspicious for Khurranb's union with Arjumand. By now he was 20, and she, 19. It was a grand wedding, as befits an Emperor's son. Jahangir and Khurram went in procession, surrounded by nobles, musicians and dancers, acrobats, rare animals in cages, slaves and priests. Jahangir himself adorned Khurram with the wedding wreath of pearls. On the bride, he bestowed great honours.
A Perfect match
Deeply influenced by her aunt, Noorjahan, Arjumand Banu was, unlike her aunt, compassionate, generous and demure. Court poets woud celebrate her beauty saying the moon hid in shame before her. She was inseparable from Khurram and often accompanied him with an entourage when he went to fight wars. In her 19 years of marriage, she bore him 14 children, 7 of whom died in infancy.
Mumtaz Mahal
After Jahangir's death, Khurram became Shah Jahan and Arjumand Banu, Mumtaz Mahal. He built sumptuous palaces for her, for instance, the Khas Mahal in Agra fort. She daily rose in his confidence eventually giving her the royal seal, Muhr Uzah. She continually interceded on behalf of petitioners and gave allowances to widows and orphans. Like many royal ladies, she also had nerves of steel. She is said to have enjoyed the spectacle of men in combat with animals. Shah Jahan is believed to have persecuted the Portuguese at Hooghly at her behest.
Death of a Dream
Mumtaz Mahal died in childbirth in 1630 ib the Deccan where she had gone accompanying Shah Jahan as he went to war with Khan Jahanb Lodi. As she lay on her deathbed, it is said that she whispered to him to build for her a monument that would symbolize the beauty of their love. For a week Shah Jahan remained behind closed doors. When he emerged his hair had turned white, his back was bent, his face worn with despair. The entire kingdom was ordered into mourning for two years.Tribute to Beauty
As a tribute to a beautiful woman and as a monument to enduring love, the Taj reveals its subtleties at leisure. The rectangular base of Taj is in itself symbolic of the different sides from which to view a beautiful woman. The main gate is like a veil to a woman's face which should be lifted delicately, gently and without haste on the wedding night. Shah Jahan surely had his chaste and exquisite bride in mind when he planned the Taj Mahal.
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Taj Mahal Tomb
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.
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.
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The Main Gateway
Shah Jahan 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 every death anniversary of Mumtaz, vast sums were distributed in charity.
Gate to Paradise (The Taj Mahal)
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 is a series of 11 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 8 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 white 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 effect is used with equal success on the main doorway of the Taj itself.
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Taj Mahal Garden
The Taj Gardens and the Ingenious Water Devices
A green carpet of garden, a Persian garden, runs from the main gateway to the foot of the Taj Mahal. Such gardens were introduced to India by Babur, the first Mughal emperor, who also brought with him the Persian infatuation with flowers and fruit, birds and leaves, symmetry and delicacy. Unlike other Oriental gardens - especially those of the Japanese, who learned to accentuate existing resources rather than formalise them - the Persian garden was artificially contrived, unbashedly man-made, based on geometric arrangements of nature without any attempt at a "natural" look.
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 Mahal 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 has been sub-divided into 16 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 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 Water Devices
The architect e conduits, designed a clever system to procure water for the Taj through underground pipes. Water was drawn from the river by a series of purs (manual system of drawing water from a water body using a rope and bucket pulled by bullocks) and was brought through a broad water channel into an oblong storage tank of great dimensions. It was again raised by a series of thirteen purs worked by bullocks.
Except for the ramps, the other features of the whole water system have survived. An over-head water-channel supported on massive arches carried water into another storage tank of still greater dimensions. Water was finally raised by means of fourteen purs and passed into a channel which filled three supply tanks, the last of which had pipe mouths in its eastern wall. The pipes descended below and after travelling underground crossed into the Taj enclosure. One pipe line runs directly towards the mosque to supply the fountains in the tanks on the red sandstone plinth below the marble structure. Copper pipes were used for separate series of fountains in the north-south canal, lotus pond and the canal around it.
An ingenious method was devised to ensure uniform and undiminished water pressure in the fountains, irrespective of the distance and the outflow of water. A copper pot was provided under each fountain pipe - which was thus connected to with the water supply only through the pot. Water first fills the pot and then only rises simultaneously in the fountains. The fountains are thus controlled by pressure in the pots and not pressure in the main pipe. As the pressure in the pots is uniformly distributed all the time, it ensures equal supply of water at the same rate in all the fountains.
The main supply of the water was however obtained through earthenware pipes. One such main was discovered under the bed of the western canal. The pipe is 9" in diameter and has been embedded in masonry at a depth of 5 feet below the level of the paved walk. Evidently, the Mughal water expert was a master of his art and successfully worked out the levels in relation to the volume of water to ensure its unobstructed supply for centuries. He anticipated no repair work and therefore made no provision for it; hence the extraordinary depth at which the pipe was sunk.
The Taj garden is irrigated by the overflowing of canals. The north-south canal has inlets of water through fountains. The east-west received its water through an interconnection with the north-south canal. Thus the quarters near the canals received an adequate supply of water and could be used for growing flower-plants which would not obscure the general view, while the distant quarters got a smaller supply of water and were suitable only for tall trees.
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Impressions of Taj Mahal
From studied awe to sheer ecstacy, people have literally competed to say the most beautiful things about the Taj Mahal. Some have admired its beauty; others have revealed the various activities that took place here. We take a look…
Shah Jahan's own composition in praise of the Tajis found in Badshah Nama: "…The sight of this mansion creates sorrowing sighs/And makes sun and moon shed tears from their eyes/In this world this edifice has been made/ to display thereby the Creator's glory."
From the Travels in the Moghul Empire, 1670 by the French traveller Bernier: "The Koran is continually read with apparent devotion by certain Mullahs kept in the Mausoleum for that purpose…It is opened with much ceremony once a year..and no Christian is admitted within , lest its sanctity be profaned."
In 1783 the British painter Hodges says of the tomb: "it appears like a perfect pearl on an azure ground. The effect is such I have never experienced from any work of art."
By the time of the British conquest of India, the attitude to the Taj had changed. The beautiful memorial had turned into a pleasure resort; in its gardens, Englishman met their lovers. On its terrace they danced while the mosque and the jawab were rented out to honeymooners!
Writes a then well-known British officer, Colonel Sleeman's wife: "I cannot tell what I think. I do not know how to criticize such a building but I can tell what I feel. I would die tomorrow to have such another over me."
The American novelist, Bayard Taylor, wrote about the Taj: "Did you ever build a castle in the Air? Here is one, brought downto earth and fixed for the wonder of ages"
Lord Curzon, the British Governor-General who is credited to have somewhat saved the Taj from neglect, said in a speech from the terrace of the monument: "If I had never done anything else in India, I have written my name here, and the letters are a living joy."
The poet Rabindranath Tagore has perhaps said it best of all: "You know Shah Jahan, life and youth, wealth and glory, they all drift away in the current of time. You strove therefore, to perpetuate only the sorrow of your heart…Let the splendour of diamond, pearl and ruby vanish…Only let this one teardrop, this Taj Mahal, glisten spotlessly bright on the cheek of time, forever and ever."
A DAY AT THE TAJ
Timings
The Archaeological Survey of India has decided that Taj Mahal will remain closed on Fridays for the public except for those who go for afternoon prayers in the mosque next to the 17th century monument. The monument, which attracts thousands of visitors every day, previously remained closed on Mondays.The Taj will remain open from 6 am-7 pm everyday except Fridays. Entry costs Rs 970 for Foreigners and for indians during the sunrise and sunset entry costs Rs 110 and during the daytime Rs 20/-. On Fridays, people will be allowed to go for the customary prayers between 1200 hrs 1400 hrs at the mosque in the Taj Mahal complex.
Described by the Indian classical poet Tagore as a "tear on the face of eternity", the Taj Mahal is undoubtedly the zenith of Moghul architecture and quite simply one of the world's most marvellous buildings. Volumes have been written on it s perfection, and its image adorns countless glossy brochures and guide books; nonetheless, the reality never fails to overwhelm all who see it, and few words can do it justice.
Play of Light
The glory of the monument is strangely undiminished by the crowds of tourists who visit each day, as small and insignificant as ants in the face of this immense and captivating monument. That said, the Taj is at its most alluring in the relative quiet of early morning, shrouded in mists and bathed with a soft red glow. As its vast marble surfaces fall into shadow or reflect the sun, its colour changes, from soft grey and yellow to pearly cream and dazzling white; it's well worth visiting at different times. This play of light is an important decorative device, symbolically implying the presence of Allah, who is never represented in anthropomorphic form.
Times of Day
The Taj Mahal shows a different aspect of beauty at different times of the day. The sight of the Taj awash with the subtle pinks of dawn is an unforgettable sight. Sunsets stain the Taj an exotic shade of orange. But nothing beats the poignant beauty of
the Taj seen when the cool white marble is bathed in the soft silver light of the moon. Even in the bright light of the day, this wonder of the world shines with an awe-inspiring loveliness.There's no time limit on visits to the Taj, and some people spend most of the day here, sitting, reading, dozing or picnicking in the beautifully kept gardens. Hawkers and salesmen are not allowed in, and official guides are not available on site, but can usually be provided by hotels, and always accompany organized tours. The ticket office, just outside the western gate, is rarely blocked by long queues, except between 4 and 5 pm before the admission fee increases; bring the right amount of money as the ticket booth attendants rarely have change and tend to pocket the difference.
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TAJ ARCHITECTURE DESIGN LAYOUT
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.
Architects at Work
The names of the chief architects 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.
Approach to the Taj Mahal
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 architects. 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.
Structure of The Taj Mahal
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 Taj Mahal 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.
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TAJ MAHAL MYTHS
The architect of the Taj Mahal aimed at giving maximum strength and stability to the tomb and worked out the minutest details with utmost precision : the weight of the entire structure is uniformly distributed, extraordinarily massive piers and vaults were constructed to support this heavy load, the very best quality of bonding material helped combat the disrupted tensile stress etc.
However, in spite of all these precautions and care, dangerous cracks and leakages developed in the substructure just four years after its completion. Aurangzeb in his letter to Shah Jehan in 1652 mentions these cracks. Some defects were discovered about the same time in the dome. Though thorough repairs were undertaken, the nature of the cracks was not discovered. The cracks were again noticed to have developed to dangerous proportions in 1810. As a result an Advisory Committee on the restoration and conservation of the monument was set up and a survey with reference to the damage was undertaken.
Some very important facts resulted from this survey. It was discovered that the plinth of the mausoleum on the northern side (or the riverside) is lower than on the south by 3.5cms. Cracks were not noticed on the exterior wall, but they were definitely present on the second storey vaults of the marble structure and, on a much larger scale, in the underground vaults below the northern side.
The long series of cracks in the underground vaults may be due to the crushing of lime on account of the excessive weight, or as seems more probable, this may be due to the sinking of the whole structure towards the riverside!! Such a sinking would shift the load out of balance slowly and gradually and the unequal settlement would crack the weak points, particularly the summit s of the vaults and arches, which is actually happening in the underground chambers.
A structure which stands on the edge of water has a natural tendency to move towards the more open side, the higher edge always acting as a strong buttress, thrusting it in the opposite direction. It is the whole mass, and not a part of it, that is gradually sinking. This is what can justifiably be concluded from the available data.
HISTORY OF TAJ MAHAL
Lovers die, but love shall not and death shall have no dominion…
For centuries, the Taj Mahal has inspired poets, painters and musicians to try and capture its elusive magic in word, colour and song. It is one of the most flawless architectural creations of the world. Since the 17th century, travellers have crossed continents to come and see this ultimate memorial to love, and few have been unmoved by its incomparable beauty.Taj Mahal stands in the city of Agra, in the northern Indian state of Uttar Pradesh, on the banks of the Yamuna River. It was built in the memory of the beautiful Arjumand Bano Begum, who won the heart of a Mughal prince. She was married at 21 to Emperor Jahangir’s third son Prince Khurram and stayed loyally by his side through good times and bad: in the luxurious royal palaces of Agra as well as the transient tents of war camps.
In AD 1628, Khurram became king after a bloody battle of succession: he took the name Shahjahan or “King of the World” and showered his beloved begum with the highest titles. She became Mumtaz Mahal, the exalted of the palace and Mumtaz-ul-Zamani, the exalted of the Age. But Mumtaz Mahal was not destined to be queen for long.
In 1631, Shahjahan went on an expedition to the south and, as always, Mumtaz Mahal accompanied him. But she died in childbirth at Burhanpur. She had borne Shahjahan fourteen children, of whom four sons and three daughters survived. When Mumtaz Mahal died, she was just 39 years old. Shahjahan was inconsolable and contemporary chronicles tell of the royal court mourning for two years. there was no music, no feasting, and no celebration of any kind.
Epitome Of Love -Taj Mahal
Shahjahan, who was a passionate builder, now decided to erect a memorial to his queen in pristine marble that the world would never forget. The site selected for the tomb was
a garden by the Yamuna river, unshadowed by any other structure. The garden had been laid by Raja Man Singh of Amber and now belonged to his grndson, Raja Jai Singh. By a royal firman, Shahjahan gave Jai Singh four havelis in exchange for the garden. The site was also chosen because it was located on a bend in the river, and so could be seen from Shahjahan’s personal palace in Agra Fort, further upstream.Construction Of The Mausoleum - Taj Mahal
Work on the mausoleum began in 1633 and 20,000 workers laboured for 17 years to build it. The most skilled architects, inlay craftsmen, calligraphers, stone-carvers and masons came from all across Indian and lands as distant as Persia and Turkey. The master mason was from Baghdab, an expert in building the double dome from Persia, and an inlay specialist from Delhi. Yemen sent agates, the corals came from Arabia, the garnets from Bundelkhand, onyx and amethyst from Persia. Mumtaz Mahal’s final resting-place was ornamented like a queen’s jewel-box.
Wonder of the World
To people the world over, the Taj Mahal, mausoleum of Mughal Emperor shah Jana's chief wife, 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.
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Italian Architect
The Taj Mahal was designed by an Italian Architect
Some European scholars held the view that the Taj Mahal was designed by an Italian - Geronimo Veroneo. This was first suggested by Father Manrique, an Augustinian Friar, who came to Agra in 1640 A.D. to secure the release of Father Antony who had been imprisoned by the Mughals. It was in Lahore that he met Father Joseph de Castro, the executor of Veroneo who died at Lahore in 1640 A.D., and it was Castro who told him about "the Venetian by the name Geronimo Veroneo who came in the Portuguese ships and died in the city of Lahore before he reached it..."During the reign of Jehangir, a goldsmith named Veroneo did in fact come to India and, as mentioned by Father Manrique, did die on his way to Lahore. He lived for a time in Agra, and prospered there. He knew many influential Europeans throughout the North Indian provinces, and when he died, he was buried in the Christian cemetery of Padres Santos in Agra.
The theory that Veroneo designed the Taj Mahal is intriguing and still finds occasional champions, especially in Italy. But the scales of evidence weigh heavily against it. True there is the testimony of Father Manrique, but he was no more than a casual tourist who heard that the Taj had been built by an Italian.
However, nowhere else is mention made of Veroneo's participation in planning the Taj Mahal. As a matter of fact, there is no record that Veroneo had any skill other than that of working gold. Other Europeans who saw the Taj under construction never mentioned his name, and furthermore, it is difficult to suppose that an artist trained in seventeenth century Italy, the Italy of Bernini, could build a mausoleum that would typify Indo-Persian architecture. The Taj Mahal is not an isolated phenomenon, the creation of a single mastermind but the glorious consummation of a great epoch of art.
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IMITATING THE TAJMAHAL
Thomas and William Danielle
The Taj Mahal, Agra, Taken in the Garden
Aquatint with hand coloring
The British Library, London
Albert Goodwin
Taj Sunset
Oil on board
Chris Beetles Ltd., London
Erastus Salisbury Field
The Tajmahal and Its Gardens
Oil on canvas
Museum of Fine Arts,Mass.
Charles Bartlett
TajMahal from the Desert
Color woodblock print
Honolulu Academy of Arts
Hiroshi Yoshida
Approach to Agra
Color woodblock print
Anonymous
William Congdon
Taj Mahal
Oil and metallic paint on masonite
William Congdon, Milan
TajMahal
Ink and color on paper
Jan Vlug, Brussels
Sita Ram
The TajMahal by Moonlight
Opaque watercolor on paper
Arthur M. Sackler Museum, Mass.
View of the Taj Mahal
Opaque watercolor on paper
Los Angeles Museum of Art
Sita Ram
Taj Mahal in Morning Light
Opaque watercolor on paper
Paul F. Walter
Edward Lear
Agra, The Taj
Watercolor on paper
The Houghton Library, Mass.
Hercules Brabazon Brabazon
The Taj Mahal, Agra
Watercolor and opaque watercolor on paper
Chris Beetles Ltd., London
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