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The tomb is the centrepiece of a hectare acre complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.

Construction of the mausoleum was essentially completed in , but work continued on other phases of the project for another 10 years.

The construction project employed some 20, artisans under the guidance of a board of architects led by the court architect to the emperor, Ustad Ahmad Lahauri.

It is regarded by many as the best example of Mughal architecture and a symbol of India's rich history. The Taj Mahal was commissioned by Shah Jahan in , to be built in the memory of his wife Mumtaz Mahal, who died on 17 June that year, while giving birth to their 14th child, Gauhara Begum.

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture.

While earlier Mughal buildings were primarily constructed of red sandstone , Shah Jahan promoted the use of white marble inlaid with semi-precious stones.

Buildings under his patronage reached new levels of refinement. The tomb is the central focus of the entire complex of the Taj Mahal.

It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan an arch-shaped doorway topped by a large dome and finial.

Like most Mughal tombs, the basic elements are Persian in origin. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side.

This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building.

Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

Main marble dome, smaller domes, and decorative spires that extend from the edges of the base walls. The most spectacular feature is the marble dome that surmounts the tomb.

Because of its shape, the dome is often called an onion dome or amrud guava dome. The shape of the dome is emphasised by four smaller domed chattris kiosks placed at its corners, which replicate the onion shape of the main dome.

The dome is slightly asymmetrical. Tall decorative spires guldastas extend from edges of base walls, and provide visual emphasis to the height of the dome.

The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements.

They were designed as working minarets— a traditional element of mosques, used by the 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 chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally.

The decorative elements were created by applying paint, stucco , stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy , abstract forms or vegetative motifs.

Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that Amanat Khan chose the passages.

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you.

Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below.

The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate. Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, 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.

Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles.

Mortared areas of the marble buildings have been stained or painted in a contrasting colour which creates a complex array of geometric patterns.

Floors and walkways use contrasting tiles or blocks in tessellation patterns. On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines.

The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits.

The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls. Finial, tamga of the Mughal Empire.

Calligraphy of Persian poems. Calligraphy of Arabic Ayaat. The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements.

The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall.

In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners.

The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work.

The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers.

Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in little detail, the design elements seen throughout the exterior of the complex.

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca.

Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.

Both the 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 and is the only visible asymmetric element in the entire complex.

His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him.

On the lid of the casket is a traditional sculpture of a small pen box. The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively.

The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab , in the year Hijri.

The garden uses raised pathways that divide each of the four-quarters of the garden into 16 sunken parterres or flowerbeds.

Halfway between the tomb and gateway in the centre of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum.

The elevated marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad. Elsewhere, the garden is laid out with avenues of trees labeled according to common and scientific names [29] and fountains.

The charbagh garden , a design inspired by Persian gardens , was introduced to India by Babur , the first Mughal emperor.

It symbolises the four flowing rivers of Jannah Paradise and reflects the Paradise garden derived from the Persian paridaeza , meaning 'walled garden.

Most Mughal charbaghs are rectangular with a tomb or pavilion in the centre. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden.

With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise.

By the end of the 19th century, the British Empire controlled more than three-fifths of India, [33] and assumed management of the Taj Mahal.

They changed the landscaping to their liking which more closely resembled the formal lawns of London. The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open.

Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives , and a larger tomb for Mumtaz's favourite servant.

The main gateway darwaza is a monumental structure built primarily of marble, and reminiscent of the 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.

The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb.

The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab answer , thought to have been constructed for architectural balance although it may have been used as a guesthouse.

Distinctions between the two buildings include the jawab's lack of a mihrab a niche in a mosque's wall facing Mecca , and its floors of geometric design whereas the floor of the mosque is laid with outlines of prayer rugs in black marble.

The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side.

At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in Long Island, New York 8, contributions 24, helpful votes.

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See pictures. Never again. Didn't dare touch the floor and as for bathrooms??? Unfortunately we've reached the point where we will have to close the Taj.

The central issue in the strike is restoration of health insurance and pension benefits that previous owners got a bankruptcy court judge to approve in Oct.

Icahn offered to restore health insurance to Taj Mahal workers, but at a level less than what workers at the city's other seven casinos receive.

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