Monday 7 January 2013

The Rajastahn circuit - Day 11 - Taj Mahal - the 25th of November 2012



We finally approached one of the world's most  famous buildings, the Taj Mahal which is widely known as having been built by the Mughal emperor Shah Jahan in memory of his favourite wife, Mumtaz Mahal, who died in 1631.

I may be wrong but I feel that most women (at least the romantic ones) would love to have someone in their lives who might in some sort of way acknowledge the love they felt (or might feel) for them, and though this is a posthumous recognition it still bears the symbolic expression of love.


We had to queue for a while as security was understandably strict, but once we walked through that gateway the whole garden-tomb imposed itself, as what it is widely believed to be - the earthly representation of one of the houses of paradise.   



















The Charbagh (quadifid garden) said to be irrigated with water from the Yamuna river with its lotus pool reflected the tomb and gave the whole ensemble  a touch of sublime vision-like wonder, that could hardly be described.

The huge number of people didn't interfere with the inner silence as we walked along it, nor did the fact that according to figures the whole ensemble cost nearly 41 million rupees, 500 kilos of gold and the ongoing work of 20.000 workers for 12 years ... because the whole atmosphere was like a vision ... a poem ... a garden of paradise.





 
































The Pistaq or recessed arches were designed to provide  depth and the inlaid panels reflecting the changing licht supposed to give the tomb a mystical aura.

Intricate carved floral designs inlaid with precious stones embellish the white marble face, which might otherwise look too austere.

 The Mughals were said to be great naturalists who believed  that flowers were the "symbols of the divine realm", so the Taj pietra dura florentine technique (said to have been imported by the Emperor jahangir and developed in Agra as "pachicari) has been extensively used to transform the naturalistic forms into  various decorative patterns to complement the majesty of its architecture.

Inlaid calligrapy in black marble was used as a form of decoration on undecorated surfaces, with the Koranic passages that line the recessed arches like banners, having been designed by the Persian calligrapher , Amanat Khan.














The Masjid (Mosque) on the left and the Mehamankhana (guesthouse) on the right.





 











As we looked back at the garden and the gateway, the number of incoming people seemed almost unstoppable.  We were expected to have to wait for a good half an hour so as to be able to walk into the tomb, where we were told no photos would be allowed.















As we got closer we noticed that the four Minarets were crowned by an open octagonal pavilion expected to further highlight the symmetry of the complex.






















(To be continued)












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