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Amazing Destination Taj Mahal

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The mausoleum in Agra is India’s most famous monument, and a sublime shrine to eternal love. Built from between 1632 and 1647 by the Mughal Emperor Shah Jahan, the Taj Mahal was dedicated to Jahan’s favorite wife, Mumtaz Mahal, who died during childbirth.
 The Taj Mahal  Crown of the Palace, is an ivory-white marble mausoleum  on the south bank of the Yamuna  river in the Indian city of Agra . It was commissioned in 1632 by the  Mughal empero shah Jahan  (reigned from 1628 to 1658) to house the tomb of his favourite wife, Mumtaz Mahal ; it also houses the tomb of Shah Jahan himself. The tomb is the centrepiece of a 17-hectare (42-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 1643, but work continued on other phases of the project for another 10 years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million   rupees , which in 2015 would be approximately 52.8 billion rupees . The construction project employed some 20,000 artisans under the guidance of a board of architects led by the court architect to the emperor, Ustad Ahamad Lahauri.
The Taj Mahal was designated as aUNESCO World Heritage Site   in 1983 for being “the jewel of Muslim art in India and one of the universally admired masterpieces of the world’s heritage”. It is regarded by many as the best example of Mugal architecture  and a symbol of India’s rich history. The Taj Mahal attracts 7–8 million visitors a year and in 2007, it was declared a winner of the New 7 wonders of the world  (2000–2007) initiative.
The Taj Mahal was commissioned by Shah Jahan in 1631, to be built in the memory of his wife Mumtaz Mahal , who died on 17 June that year, giving birth to their 14th child, Gauhara Begeum . Construction started in 1632, and the mausoleum was completed in 1643, while the surrounding buildings and garden were finished five years later. The imperial court documenting Shah Jahan’s grief after the death of Mumtaz Mahal illustrates the love story held as the inspiration for the Taj Mahal.
The Taj Mahal incorporates and expands on design traditions of Persia and earlier Mughal architecture .   Specific inspiration came from successful Timurid  and Mughal buildings including the Gur-e Amir  (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun’s Tomb which inspired the Charbagh  gardens and  hasht – behesht ( architecture )   plan of the site,Itmad Ud Daulah’s Tomb, and Shah Jahan’s own jama Masjid  in Delhi . While earlier Mughal buildings were primarily constructed of red sandstone , Shah Jahan promoted the use of white marble inlaid with semi precious stone . 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   topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.
The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres (180 ft) on each of the four long sides. 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 pishraqs 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. The dome is nearly 35 metres (115 ft) high which is close in measurement to the length of the base, and accentuated by the cylindrical “drum” it sits on which is approximately 7 metres (23 ft) high. Because of its shape, the dome is often called an  onion dome  or amrud (guava dome). The top is decorated with a lotus  design which also serves to accentuate its height. 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. Their columned bases open through the roof of the tomb and provide light to the interior. 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. The finial is topped by a  moon, a typical  Islamic motif  whose horns point heavenward.
The minarets, which are each more than 40 metres (130 ft) tall, display the designer’s penchant for symmetry. They were designed as working minarets— a traditional element of mosques, used by the muezzin 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.Exterior decorations
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 orms or vegetative motifs. Throughout the complex are pssages  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.” The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of “Amanat Khan” upon him as a reward for his “dazzling virtuosity.” Near the lines from the Qur’an at the base of the interior dome is the inscription, “Written by the insignificant being, Amanat Khan Shirazi.” Much of the calligraphy is composed of florid  thuluth  script made of Jasper  or black marble inlaid in white marble panels. 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  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.Detailed exterior design.
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