THE TOMB

Ornamentation



The domed mausoleum can seem deceptively simple since on first sight its white marble form appears to be a matchless example of purity and simplicity. But as one moves closer, the Taj Mahal's elaborate design reveals itself. While individual elements such as the refined inlays and myriad surface details are testimony to the fine quality of this monument, it is the superb manner in which all the elements are harmonised that most clearly reveals the great complexity of its creation. An often repeated nineteenth century characterisation of the monument is that "it was built by Titans, finished by jewellers."

The major modes of ornamentation found on the monument are:


























The exterior of the Taj Mahal is a seemingly perfect balance of ornamented and unadorned surfaces. The techniques 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 floral and geometric inlays, profuse surface detailing by reliefs, and the exquisitely rendered calligraphic panels are all indicative of the great attention lavished on the building. Although geometric patterns appear, such as the ripple pattern inlaid in the terrace floor, floral designs are the dominant decorative motifs. As on the monumental gateway, inlays of floral arabesques embellish the spandrels of the arches, while elegant floral sprays sculpted in high relief appear on the dado of the exterior walls. Prominent calligraphic panels of black marble frame the iwans on each facade of the tomb. The doorways inside these iwans are also adorned with calligraphy.

The Taj Mahal is entered through the large portal on its south side. The eight sides of the octagonal central chamber are outlined with bands of inlaid calligraphy - passages from the Koran - and meticulously sculpted flowers framed by borders of delicate inlay appear on the dado. These flowers emerge from vases, where as most of those on the exterior walls of the mausoleum take the form of a single plant emerging from a small mound. Flowers, especially those in vases, are well-known Islamic symbols of the bounty promised to the faithful in paradise. Moreover, the reliefs inside the Taj Mahal are unusual, as the vases are placed on small mounds. This distinctive treatment may have been due to the desire to define its inner rooms in a special way.

In the centre of the main chamber stands an octagonal screen of marble more than six feet in height. When the tomb was being constructed, a gold screen was placed around the cenotaph of Mumtaz. In 1643, the court histories record that Shah Jehan ordered this be replaced by a marble screen in order to deter vandals. Inside the screen two cenotaphs stand above the remains of Mumtaz Mahal and Shah Jehan, who upon his death in 1666 was buried beside his long-dead wife in the crypt below. As is customary in Islamic practice, they are oriented longitudinally north to south with their faces towards Mecca. Her cenotaph is in the centre, while her emperor's is to her right on the west side of the enclosure.

Pietra dura inlay work covers the marble surface of the screen and the cenotaphs in the form of graceful flowers, delicate arabesques, and superb calligraphy. Although obviously made much later, the designs on Shah Jehan's cenotaph are quite similar to those on Mumtaz's except that the calligraphy on hers includes verses from the Koran.

In the subsidiary chambers on both levels, delicately carved screens, now fitted with panes of milky glass, emit diffused light, subtly altering the atmosphere of the interior. The filtered light imparts a mysterious, ethereal quality to the interior and, as it changes throughout the day, it becomes almost a palpable entity, a symbol of divine presence which could never be figured.


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