MODULE : 04

Example : AKBAR'S TOMB:

• Akbar’s mausoleum was built by his son, the Emperor Jahangir, 8 years after
Akbar’s death, completed in 1613.

• The scheme of the mausoleum is on a grand scale, its perimeter walls enclosing a
large square garden, while the tomb structure situated in the centre of the
enclosure is a square in plan of 320’ side and over 100’ high.

• In the middle of each side of the enclosure is a gatehouse, three of which are
false doorways added for symmetry and the southern being the main
entrance.
• Completed between 1612 and 1614 as per inscriptions on its south gate, the
construction of the mausoleum is said to have commenced during emperor
Akbar's (1556-1605) lifetime in 1604 but concluded during his son, Jehangir's
reign (1605-1627).
 Example : AKBAR'S TOMB:
• Jehangir's rule; they mention his discontent with the initial progress on the
mausoleum and outline his active involvement in its design, modification and
embellishment.
• The mausoleum complex is square in plan and aligned on the cardinal axis, with
the tomb at its center and four gates, one along each wall. Based on a charbagh,
or walled square garden composition much like his father Humayun's (1530-
1540, 1555-1556) tomb, the tomb of Akbar has a tall sandstone clad gate with
ornate marble inlay carvings and inscriptions.
• It consists of a colossal arched niche flanked on either side by double-stacked
balconies. Surmounting the gate pavilion are four towering white marble
minarets, one at each corner.
 AKBAR'S TOMB:
• The main gateway is a minor monument in itself, with pleasing proportions and
bold inlaid ornamentation along with 4 graceful white marble minarets, one
above each corner.

• The arrangement of the garden beyond the gateway shows the collaboration
between the garden designer and the builder to create a cohesive and unified
composition.

• The wide flagstone causeways are expanded at suitable locations into square
terraces containing a fountain and a sunk basin.

• The tomb building takes the form of a low truncated pyramid built up in three
storeys.
 AKBAR'S TOMB:
• The ground storey consists of a massive terrace, over 300’ side and 30’ high,
with a series of arches recessed within its sides.
• In the centre of each side is a tall rectangular structure containing an arched
alcove with a graceful marble kiosk above its parapet.
• A doorway within the southern alcove leads to a corridor going to the tomb
chamber which is a small cell confined within the womb of the building.

• Above the terrace is a series of sandstone pavilions, arcades and kiosks and is a
light and fanciful structure in complete contrast with the powerful substructure.

• It may be assumed that this part of the mausoleum was built under the
supervision of Jahangir who demolished what was built at this level and
reconstructed it in accordance with his architectural ideals.

• The contrast between the ground and upper storeys reflect the contrasting
characters of Akbar and Jahangir.
 AKBAR'S TOMB:
• A paved causeway leads from the gate to the mausoleum.
• It is a five-tiered structure much like a truncated pyramid enveloped by low
galleries. The domed and vaulted galleries are a hundred and five meters long
serving as a large square plinth for the four square stories located at their center,
each of which steps in as the structure rises.
• The gallery space is rhythmically arranged with massive pillars supporting
arches roughly 6.7 meters apart. The central bay of each side is marked by a high
pishtaq surmounted by a rectangular chattri, or roof kiosks.
• Outside, the second story has an arcaded verandah on each side, which is
composed of twenty three bays.
• The arcades are repeated on the subsequent floors forming peripheral walkways
at each level and chattris at the corners.
• The top floor has no superstructure but consists on an open terrace enclosed
with marble screen parapets.
 AKBAR'S TOMB:
• This five-tiered structure with its pillared terraces and numerous chattris also
bears a striking resemblance to the Panch Mahal at Fatehpur.
TAJ MAHAL
 TAJ MAHAL :
• The Taj Mahal more often from Persian and Arabic, "crown of palaces",
pronounced is a white marble mausoleum located on the southern bank of
the Yamuna River in the Indian city of Agra.

• It was commissioned in 1632 by the Mughal emperor Shah Jahan

(reigned 1628–1658) to house the tomb of his favorite wife of three,
Mumtaz Mahal.

• Construction of the mausoleum was essentially completed in 1643 but

work continued on other phases of the project for an additional ten
years.

• The construction project employed around 20,000 artisans under the

guidance of a board of architects led by Ustad Ahmad Lahauri. The domed
marble tomb is part of an integrated complex consisting of gardens and two
red-sandstone buildings surrounded by a crenellated wall on three sides.
TAJ MAHAL :
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• The Taj Mahal is regarded by many as the best example of Mughal architecture
and is widely recognized as "the jewel of Muslim art in India". It is one of the
world’s most celebrated structures and a symbol of India’s rich history.
Designated a UNESCO World Heritage Site in 1983.
INSPIRATION :
• In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest
prosperity, was grief-stricken when his favorite of three wives and beloved
companion, Mumtaz Mahal, a Persian princess, died during the birth of their
14th child, Gauhara Begum.[3] Construction of the Taj Mahal began in 1632.[4]

• The court chronicles of Shah Jahan's grief illustrate the love story traditionally
held as an inspiration for Taj Mahal.

• The principal mausoleum was completed in 1643 and the surrounding

buildings and garden were finished about five years later.
 Architecture and design :
• The Taj Mahal incorporates and expands on design traditions of Persian 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, Itmad-UdA-Daulah's
Tomb (sometimes called the Baby Taj), 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 stones. Buildings under his patronage reached new levels of
refinement.
TOMB :
• 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.

• 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.
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TOMB :
• 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 emphasized by four smaller domed chattris (kiosks)
placed at its corners, which replicate the onion shape of the main dome.
TAJ MAHAL :
TOMB :
• 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. The finial is topped by a moon, a typical
Islamic motif whose horns point heavenward.
TOMB :
• 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 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.
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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, abstract forms or vegetative motifs.
Throughout the complex are passages from the Qur'an that
comprise some of the decorative elements.
TAJ MAHAL :
Exterior decorations:
• 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 color which creates a complex array of geometric patterns.

• Floors and walkways use contrasting tiles or blocks in tessellation patterns.

 INTERIOR decorations:

• The inlay work is not pietra dura, but a lapidary of precious and
semiprecious gemstones.

• The inner chamber is an octagon with the design allowing for entry from each
face, although only the door facing the garden to the south isused.

• The interior walls are about 25 metres (82 ft) high and are topped by a "false"
interiordome decorated with a sunmotif.
TAJ MAHAL :
GARDEN:
• The complex is set around a large 300-metre (980 ft) square
charbagh or Mughal garden.
• The garden uses raised pathways that divide each of the four quarters of
the garden into 16sunken parterres or flowerbeds.

• Halfway between the tomb and gateway in the center 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.
TAJ MAHAL :
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GARDEN:
• Most Mughal charbaghs are rectangular with a tomb or pavilion in the center.
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.
OUTLYING BUILDINGS:

• 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 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.
TAJ MAHAL :
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SYMMETRY AND HIERARCHY:

• Symmetry and geometric planning played an important role in

ordering the complex and reflected a trend towards formal
systematisation .

• A complex set of implied grids based on the Mughul Gaz unit of

measurement provided a flexible means of bringing proportional
order to all the elements of the Taj Mahal.

• Hierarchical ordering of architecture is commonly used to

emphasise particular elements of a design and to create drama.
In the Taj Mahal, the hierarchical use of red sandstone and white
marble contributes manifold symbolic significance.
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TAJ MAHAL / Humayun Tomb:
TAJ MAHAL / Humayun Tomb: