What Were the Sources for the Design of the Taj Mahal Essay Example

architectural design of the Taj Mahal draws significant inspiration from revered Hindu symbols, particularly the lotus. The lotus holds considerable importance in Indian cultural traditions and is seen as sacred, often spotlighted in all Hindu scriptures. Gods such as Lord Brahma and Vishnu are typically depicted sitting on a lotus. This symbol can also be compared to the feet of deities. From an architectural perspective, the dome structures of the Taj Mahal represent a closed lotus resting on its petals, embellished with a golden finial that mirrors both Islamic and Hindu artistic expressions.

Often referred to as Purnakumbha, Purnaghata, or Mangalakalasa, the Purankalsa Purnakalasa icon holds a significant place in traditional Indian art. This emblem is symbolic of wealth and innovation and is regularly linked with the goddess Lakshmi. It comprises an abundant assortment of lotus flowers, buds, and leaves. The intricate patterns of Purankalsa are noticeably present in the architectural design of the Taj Mahal. Considered as the epitome of Mughal architecture and zenith of mausoleum structures starting from Humayun's tomb, these icons are prominently displayed within the Taj Mahal.

The Taj Mahal, renowned for its architectural magnificence and extraordinary aesthetic charm, represents India's emblem. Its principal design is rooted in Islamic architecture that flourished in India and often recognized as Indo-Islamic. The building's plan prominently features a Charbagh - a garden concept divided into four parts by water channels reflecting Persian influence. Adorned with pietra dura on a base of white marble, the Taj Mahal rises as a large complex made up of different areas, each exhibiting unique architectural characteristics and styles.

Percy Brown, a distinguished art historian, describes the

Taj as being more akin to the energetic stroke of a brush rather than the painstaking effort of a chisel. A variety of 35 different precious stones have been intricately used to ornament and represent the ninety-nine names of Allah on the eastern and western flanks of Mumtaz's tomb. The thirty-metre high Gateway is studded with dome like structures or chhatris, and the demarcation between the physical and spiritual is depicted with symbolic calligraphic embellishments rendering verses from the holy Quran.

The Taj Mahal's status as an exceptional architectural wonder worldwide was cemented even before diplomatic ties were established with European nations. Many are of the opinion that its aesthetic and geographical setting symbolize a tribute to various cultures and historical periods. The architecture of the Taj, characterized by Roman triumphal arches and rigid symmetry, struck a chord with Europeans. This popularity led many painters in the 19th century to appreciate its naturalistic surroundings and riverside location, thus sparking the romantic notions of individuals.

The Taj Mahal's influence extends beyond the various Indian sources and religions that shaped it. It has significantly influenced global architecture, particularly in Europe. Its impact is apparent in the design of the Royal Brighton Pavilion in 1815 and subsequent buildings like sections of Osbourne House for Queen Victoria, and Elveden Hall in Suffolk for Duleep Singh. These structures exhibit an oriental exoticism linked back to the Taj Mahal.

A variety of successful edifices from the Timurid and Mughal eras, including the Gur-e Amir, Humayun's Tomb, Itmad-Ud-Daulah's Tomb (also known as the Baby Taj), and Shah Jahan's Jama Masjid in Delhi, specifically inspired the architecture. During

Shah Jahan's reign, Mughal construction achieved heightened sophistication. While former Mughal architecture primarily utilized red sandstone, Shah Jahan encouraged the adoption of white marble adorned with semi-precious stones.

Hindu artisans, particularly carvers and stonemasons, provided significant contribution to the construction of the Taj Mahal. These craftsmen were highly esteemed by tomb builders for their exceptional abilities. While other contemporary stone-cut architectural styles did not heavily impact the building of the Taj Mahal, with engravings largely employed for decorative purposes, several Indian edifices such as Man Singh Palace in Gwalior significantly influenced various Mughal palace designs. These constructions had a vital role in shaping the chhatris seen on the Taj Mahal.

At the distant section of the complex, a pair of majestic structures made from red sandstone flank the tomb. Their rears align with the western and eastern barriers. Both buildings are exact reflections of each other. The western construction is a mosque, paralleled by the jawab, or "answer", which primarily serves to establish architectural symmetry. The key differences are the absence of a mihrab - a niche in a mosque's wall pointing towards Mecca - in the jawab, and the patterned floors of the jawab as opposed to the mosque floor which is marked with 569 prayer rug outlines in black marble.

The blueprint of the mosque reflects the design used by Shah Jahan in other mosques, particularly his Jama Masjid in Delhi, characterized by a lengthy hall crowned with three domes. During this period under Mughal rule, mosques were typically constructed with a main hall split into three sections - a central sanctuary flanked by two slightly smaller ones. In the

Taj Mahal, each of these sanctuaries opens up to an enormous domed chamber. The creative team consisted of thirty-seven members, including Bukhara sculptors, calligraphers from Syria and Persia, South Indian inlayers, Baluchistan stonecutters; along with one expert specializing in turret construction and another skilled at carving marble flowers. This group constituted the heart of the artistic development.

Initial plans involved adding twenty thousand workers from all over northern India to the fundamental workforce. While the Taj Mahal's designer remains unknown, it is confirmed that a diverse group of craftsmen and designers, including Shah Jahan himself were accountable for its creation. Ustad Ahmad Lahauri is believed to be the most likely choice as the primary architect. The original intent behind its conception was to establish the most exquisite structure in the world.

Throughout history, a small number of individuals have contended with it, with a plethora discovering a stronger association between its pietra dura ornamentation and gem-cutting rather than stonework. Regarding the essay's title, I've made an effort to highlight the key and significant design influences. Persian, Islamic, Mughal - all had a direct impact, while the design of Taj Mahal saw indirect influences from historical backgrounds, religious elements, and cultural convictions.