Discover and share Taj Mahal Love Quotes. Taj Mahal is a Symbol Of Love and example of Mughal Architecture which was built by Mughal Emperor Shah Jahan in memory of his third wife Mumtaz Mahal. Built between 1631 and 1653 on the banks of the Yamuna River in India, the Taj Mahal is a masterpiece of architecture and art.
We all "knew" Taj Mahal! Tv and movies took it to everybody's home.
We only missed the details, and now we saw them... Wow!
The finely carved Marble Screen in only one large piece, the marble inlaid with precious stones, the harmony of the whole, enhance everything that is already said and written by everybody.
You just have to see it for yourself, as we did!
Taj Mahal is definitely the world`s famous attraction, and it is worth going to Agra, even spending a night there. There is absolutely nothing to do around, apart from seeing Taj Mahal, so plan to come, spend couple of hours on the attraction, and you can leave.
Our itinerary had specified a sunset visit to the Taj Mahal but when we arrived in Agra our guide, Saurav, suggested going there straight away as the light would be nicer in the morning and the crowds a little less - especially since it was a Sunday and a popular day for Indians to visit. We took up his proposal so were there by about 9.00, but already it was very busy. But crowds or no crowds, it is still an amazing sight and one not to be missed. And besides, in the extensive gardens there are places you can escape the mass of people and enjoy the bird song while reflecting on this magical place.
There is possibly no more famous building in the world, so before you visit you will have seen very many photos and think you know what to expect. I was prepared to be disappointed, just in case it didn’t live up to those expectations (I almost wrote, “in case it didn’t live up to the hype” but that’s perhaps a bit harsh). I even half-expected not to be impressed, but of course I was. There’s a reason why the Taj Mahal is so acclaimed after all – it is truly beautiful. And there is a beautiful, if sad, story behind it.
The Mughal emperor Shah Jahan, grandson of Akbar who had built the great fort here in Agra, was a lover of great art and architecture, responsible for some of the Mughal Empire’s most lovely and enduring buildings. As was usual at that time, he had a number of wives, but his favourite among them was Mumtaz Mahal whom he had married more for love than political expedience. He was grief-stricken when she died in childbirth in 1631, giving birth to their 14th child (as our guide told the story, he also felt guilty that he had expected too much of her in that respect). After a period of mourning in which he shut himself away from the world, he emerged inspired to build a tomb for her that would be a paradise on earth. The Taj Mahal is the result.
But the emperor was not left to mourn his beloved here. Soon after its completion, in 1658, he fell ill. His son Dara Shikoh took on the role of regent but was challenged and overthrown by another son, Aurangzeb. The latter declared Shah Jahan unfit to rule (according to our guide, basing this on his extravagance in spending so much on wonderful new buildings and patronising the arts) and had him put under house arrest at nearby Agra Fort. There he was forced to live out his remaining years in a few small rooms, from which he could see, but never visit, the tomb of his beloved Mumtaz Mahal.
Next tip: practical information for a visit to the Taj Mahal.
The Taj Mahal is open from sunrise to sunset every day of the week apart from Fridays. On that day both tomb and grounds are closed, with the exception that the latter are open to Muslims going to pray at the mosque on the site.
As with so many tourist sights in India, there is a two tier system for ticketing, with foreign visitors paying considerably more than locals. In return for that higher fee however you get a number of extras, including a free ride on the electric vehicles that transport you from visitor centre and parking lot to the main entrance (no other vehicles are allowed within a 500 metre radius of the Taj in order to limit damage by pollution). You also get a bottle of water and once inside are able to bypass the long queue to enter the tomb. You also don’t have to pay for the paper slippers that can be worn over your shoes when you enter, rather than having to remove them (apparently these were introduced after some tourists’ shoes “disappeared” while they were inside).
There is a long list of prohibited items which is displayed at the visitor centre and in the electric buses. These include all food and drink apart from water (but including sweets), cigarettes and tobacco, knives, phone chargers, tripods and more (see photo five). Your bag will be searched on entry so don’t try to smuggle in anything prohibited. While separate video cameras are on the banned list, a digital camera or phone that can film video is OK. I noted that flags are also banned, but the VT flag buried in my bag was either not spotted or not considered a threat!
Next tip: the great gate of the Taj Mahal.
Arriving at the Taj Mahal you pass first through an outer forecourt, the Jilaukhana. On its northern side is the great gateway to the main tomb complex, while on the other three sides are the gates leading to the outside world. We entered through the eastern one of these. From here, and from the western gate, paths lined with colonnades that once held small shops, the bazaar, lead you to the centre of the courtyard. This area was a sort of buffer zone between the everyday world outside and the paradise Shah Jahan sought to create within. Here visitors would dismount from their horses or elephants and refresh themselves before entering the tomb. And if it seems incongruous to have a bazaar in paradise, the emperor was only thinking to satisfy every possible need of his beloved wife entombed there.
Also in this courtyard are the small tombs of two of Shah Jahan’s other wives, and the sleeping quarters of the tomb attendants. From here you pass through the great gate or Darwaza-i rauza, from where you will get your first glimpse of the mausoleum itself. Our guide likened the gate to a woman’s veil, beautiful in its own right but hiding a much greater beauty within until the point when she chooses to lift it. Certainly if the gate were the only building here it would be considered worthy of our attention. It is built on a grand scale, from red sandstone and white marble, and ornamented with some of the pietra dura or parchinkari work which characterises Moghul architecture under Shah Jahan in general, and the Taj Mahal in particular. Inscriptions from the Koran run around the arches on both sides. These get slightly larger the higher on the gate they are placed, to reduce the appearance of skewing when viewed from below. One of the quotations reads:
"O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you.”
But for most visitors this gate is just a small interruption on their quest to see the tomb itself, and everyone funnels through the narrow space before pausing in wonder and, in this modern age, raising countless cameras and smart phones to capture the iconic view (as in the first photo in my previous visitor information tip). It reminded me a little of the experience of visiting Petra and getting your first sight of the Treasury as you emerge from the Siq – you know it is there, and you know what it looks like from countless photos, but still it takes your breath away.
Immediately inside the gate on either side of you are galleried arcades raised on a few steps (this is where photo four in my tip on visitor information was taken). These arcades were used during the rainy season to distribute alms to the poor, but nowadays offer shade to weary tourists and a gathering spot for guides waiting for their charges to finish their tour.
Next tip: the Charbagh gardens.
While the setting and surroundings of the Taj Mahal are lovely, you can’t get away from the fact that everyone is here to see one thing – the exquisite tomb itself. This is set at some distance from the great gate, separated from it by gardens in the Persian charbagh style – that is, divided into four parts, and each of these again into four. The outer four squares on each side are planted with trees, while the inner four are lawns. The north-south axis is a long water tank that provides the classic reflection of the tomb building, while the other divisions are pathways. Most people follow the path along the water towards the tomb, being the most obvious and direct route, but our guide advised that we walk along the path that parallels this on the left, and return by the right-hand equivalent. This has several advantages – you are away from the large proportion of the crowd, you have the shade of the trees (the sun was already very hot at about 9.30 AM), you get some interesting and different perspectives for your photos, and you arrive at the tomb at the point where you need to be to ascend the platform for entry.
The charbagh style of garden is design is intended to symbolise the four flowing Rivers of Paradise, which fits with Shah Jahan’s concept of building a paradise on earth in which his beloved would lie. Islamic texts describe paradise as a garden filled with trees, flowers and plants, and with four rivers springing from a single central source. Very often (as in the case of Humayun’s Tomb in Delhi) the tomb would be placed at this central point. But here it is at one side, on the river’s bank, and furthermore, there is no east-west water tank. It is possible that Shah Jahan was signalling a move towards a more compromised secular version of the classic charbagh in which the imperative of design overtook that of adherence to religious belief and tradition. But it is also possible that he conceived of the river as that east-west axis, given that his design encompassed part of the north bank where he built a “Midnight Garden”. If the latter is seen as being part of the Taj Mahal’s charbagh garden, then the classic principles can be seen to be in place.
Next tip: the tomb itself.
And so we arrive at the tomb … This is what we have all come to see, and it doesn’t disappoint, although for me the most magical view of all was the distant one when it appeared to float and shimmer lace-like in the heat of the sun.
It stands on a raised marble platform close to the river. At the four corners of the platform are identical minarets (symmetry is everything here). These are over 40 metres tall and are designed as working minarets, with a balcony at the top from which a muezzin can call the faithful to prayer. These are each topped by a canopy or chhatri which echoes those on the main structure. Interestingly the minarets are built to incline fractionally away from the platform on which they stand so that should they collapse they would fall away from the tomb.
And so to the tomb. To access it you must ascend to the platform on the left side as you look at it. The long queue will probably be of Indian tourists but your much more expensive ticket allows you to bypass this so join the shorter one. Before doing so you must put on the shoe covers that will be issued to you near the foot of the steps – I believe these are more to protect the marble than for any other reason.
Once on the terrace you get your first close-up look at the structure. One thing that may strike you, as it did me, is the intricacy of the work. From a distance, as you emerge through the great gate, the building appears delicate, like the jewel box to which it is sometimes compared. Once you stand at its foot you get a true sense of its size, which, while not massive, is certainly greater than it appeared from afar (although the figures of other visitors in those distant views do give a clue as to the scale). It is 561 feet (171 metres high) and four storeys in total, although one of these is the basement, hidden within the terrace, where the actual graves of Mumtaz Mahal and Shah Jahan lie. Its layout is of a square, 180 feet (55 metres) wide, with the corners cut off to form an eight-sided structure. The figure eight is very significant and found a lot in Mughal architecture. Each side has at its centre a large pishtaq (vaulted archway) with two similarly-shaped balconies stacked one above the other on either side, and again on the chamfered corners. This design is repeated on all four sides of the building – that symmetry again. The marble dome that tops the structure is 115 feet (35 metres) high and about the same in width. The four chhatris, one in each corner, echo its shape as well as that of the ones that top the four minarets.
While the lines and style of this structure are heavily influenced by Persian Muslim tradition, the decoration owes much to Hindu culture, although in line with Islamic beliefs no animal or human figures are portrayed, and the calligraphy is all quotations from the Koran. The decorative elements fall into three main types – carved marble, the aforementioned calligraphy and inlay work known as pietra dura (from its origins in Italy) or parchinkari, sometimes written as two words, parch kari, the Indian term. The designs of the latter are figurative vines with flowers and leaves and the stones used for these inlays include semi-precious ones such as jade (imported from China) and turquoise (from Tibet). Altogether 28 different types of semi-precious and precious stones were used here or in the interior. The carvings on the panels near the base are also mostly floral and are highly polished, while more geometric designs are used elsewhere, e.g. in framing the pishak. The calligraphy is created with inlays of black marble or jasper and is very stylised. Like that on the great gate, the upper panels have a slightly larger script to reduce the effect of distance.
The interior is divided into a network of chambers – a central one holding the memorial cenotaphs (the actual ones are as mentioned in a parallel chamber immediately below) and eight surrounding ones, linked by passages. The reason for this arrangement of actual burial chamber below a symbolic one is two-fold. It allows for the bodies to lie in a relatively plain space, as dictated by Muslim tradition, while their status is reflected above in a gloriously decorated one, and by placing the upper cenotaphs immediately above the lower ones, it also ensures that no one can walk directly above the bodies – also forbidden in Muslim tradition. This is the only place in the Taj Mahal where you will see the symmetry broken. Mumtaz Mahal’s cenotaph occupies the very centre of the chamber while her husband, Shah Jahan, lies to the west of her.
The decorative elements of the Taj reach their pinnacle here. The inlay work is done with precious stones and is lit, albeit dimly, by the sunlight filtering through intricately carved window screens. For a small tip (our guide suggested 50 IR) unofficial attendants here will shine a torch on the stones, demonstrating the depth of their glowing colours. Officially no photography is allowed, but I saw that just about everyone was taking pictures and not being challenged so I followed suit with a quick shot – without flash, of course (although some were even using this, it seemed to me both disrespectful and a destroyer of atmosphere).
Pause for a moment here to remember the reason for all of this – the expression of one man’s love for his queen and his grief at her passing. Then, when you have seen your fill of all the richness, you emerge, blinking, into the hot sun on the river side of the platform base. But that is for my next tip: River terrace and other buildings.
As you emerge from your visit inside the chamber of the tomb you find yourself on the far side, where the platform overlooks the river Yamuna. Here we found welcome shade immediately beneath the tomb, as did many other visitors, and sat for a while on the cool marble. We also enjoyed the views of the river and on the far side some very down to earth scenes of daily life that contrasted a little oddly with the richness around us (later that day we were to find ourselves on that side of the river, observing the Taj Mahal from that perspective).
From here you walk around the exterior and back to the front. On either side of the main tomb you see apparently identical mosques in red sandstone and marble, but appearances in this case are deceiving. Only the one to the left of the tomb, as you face it, was built as a mosque (a purpose it still serves today), while the one on the right, known as Jawab (meaning “answer”) was built purely to preserve the symmetry of the complex. It differs from the mosque only in two respects, neither visible from outside – it lacks a mihrab, the niche in a mosque's wall facing towards Mecca, and its floors have a geometric design rather than the mosque’s outlines of prayer rugs. It was formerly used as a guest house for important visitors to the Taj Mahal.
To descend from the terrace you go back to your starting point at the front but head down the stairs leading to the left of the marble platform, where you can remove and throw away your shoe covers. From this point we followed the shady path on this side of the garden back towards the arcades by the great gate where Saurav was waiting for us, although we had enough time to relax for a while on a bench here and to take our final looks at this iconic building.
Did it live up to my expectations? Yes indeed. And was it among the finest sights we saw on this trip? Again, yes. But interestingly, when we returned to our starting point in Delhi at the end of this trip and were asked by Rajesh what we had most enjoyed or been impressed by, it was not the Taj Mahal I first thought of but instead of the less perfect buildings in Fatehpur Sikri, Bundi and Chittaurgarh. Maybe that says more about me though than about the Taj!
Next tip: Agra Fort.
More views of the Taj Mahal with difficulty. Getting views of the Taj without including masses of people is quite a feat, unless you're a professionnal that can afford to pay for a viewing early in the morning. Using the bushes and trees does allow you to "hide" some of the people.
Taj Mahal needs no introduction.
The rich Mughal dynasty had pleasure to make the monuments of love & faith during their reign in India. Taj is the live symbol of that tradition. The architectural style is a blend of Hindu and Muslim and it is not known who the architect was/is. Agra is 204 km away from the capital of India,Delhi.
The Taj's Disputed Story:
If you have ever visited the Taj Mahal then your guide probably told you that it was designed by Ustad Isa of Iran, and built by the Moghul Emperor, Shah Jahan, in memory of his wife Mumtaz Mahal. Indian children are taught that it was built in 22 years (1631 to 1653) by 20,000 artisans brought to India from all over the world.
This story has been challenged by Professor P.N. Oak, author of Taj Mahal: The True Story, who believes that the whole world has been duped. He claims that the Taj Mahal is not Queen Mumtaz Mahal's tomb, but an ancient Hindu temple palace of Lord Shiva (then known as Tejo Mahalaya), worshipped by the Rajputs of Agra city.
Monday 6:00 am – 6:00 pm
Tuesday 6:00 am – 6:00 pm
Wednesday 6:00 am – 6:00 pm
Thursday 6:00 am – 6:00 pm
Saturday 6:00 am – 6:00 pm
Sunday 6:00 am – 6:00 pm
If you don't want the huge crowds to distract you from your view, try arriving just as it opens or is about to close.
Some more Taj Mahals around the world: http://www.huffingtonpost.com/2014/11/22/replicas-of-taj-mahal_n_6139454.html?ir=India&adsSiteOverride=in
This Mughal mausoleum, accessed through the west, south and east gates which all lead to an outer courtyard, was built by Emperor Shah Jahan as a memorial for his second wife, Mumtaz Mahal, who died giving birth to their fourteenth child in 1631. In spite of the construction have began in the same year only was completed in 1653.
The Taj itsef, standing on a raised marble platform at the northern end of the ornamental gardens, is made of semi-translucent white marble, carved with flowers and inlaid with thousands of semiprecious stones in beautiful patterns. The whole structure is topped off by four small domes surrounding the famous bulbous central dome.