Building of Taj Mahal 
Besides
the miraculous architectural features and the elaborate ornamentation of the Taj
Mahal, many additional features, which can often be overlooked, help complement
and enhance this spectacular monument.
Background Unlike
other Mughal tombs, the garden of the Taj Mahal has been laid out entirely in
front of the tomb and does not play any part in the 'background'. Instead, the
background has been provided by the sky. This background is not constant; it changes
its colour and texture more than often, and the Taj is always presented in a variety
of tints and moods. Its shades are subtly reflected on the white marble surface
of the Taj Mahal which changes its colour and complexion accordingly.
Marble The Makrana marble used is of such a nature that it takes on
incredibly subtle variations of tint and tone, according to the changes in the
light, thus picturing the passing colour of the moment.
Soaring Effect
The colossal height of the tomb, along with its pyramidal appearance (which is
obtained by the receding plinths, the square tomb and the bulbous dome, along
with the pilasters surmounted by pinnacles, the tapering minarets and the decreasing
volume of the dome culminating in a kalasa) give it a soaring effect. It appears
as if it is about to rise into the sky...an ethereal quality full of lightness
and grace.
Correction of Illusionary Effects The indigenous
builders of the Taj Mahal fully understood the deceptive nature of the human eye.
They knew that the reality and its perception and interpretation thereof differed.
The plinth of the main tomb is 2'10'' high on an average. But the height varies
at different places, particularly the central point between two piers being in
each case 0.5" to 0.7" higher than the sides. This convexity has deliberately
been given to the plinth in the centre of each arch, or else the building would
have appeared as if it were falling down! The facades are not exactly at a right
angle with the plinth, but are slightly inclined.
The finial is a stupendous
crowning feature which measures nearly 10 meters!! The architect fully anticipated
the apparent size which a finial would present from such a great height. It has
therefore been very ingeniously been planned. These features of construction demonstrate
the ability of the Indian architects to reconcile the illusionary effects created
by distance and light.
Fluted Pilasters Sections in each facade have been demarcated by semi-octagonal
pilasters that rise from the plinth of the main tomb. They have chevron patterns
inlaid with black and yellow marble horizontally along their whole height. They
appear to be fluted on each side though, as a matter of fact, there is no real
fluting at all. They create a beautiful illusionary effect which the architect
has very skilfully manipulated.
Uniform Size of Calligraphic Characters
The letter of the inscription around archways at the Taj Mahal, are generally
supposed to become larger and larger above. On closer scrutiny, however, they
are found to be of uniform size. Instead, the letters have been inscribed densely
at the bottom, with little plain surface in between; the inscription becomes more
and more sparse as it rises with more plain surface in between the letters. The
diminution of the plain surfaces has been accurately calculated. Thus, the optical
perspective of the letters has been reconciled, and unmistakable uniformity is
obtained.
Forms and Lines The composition of the forms and
lines of the Taj Mahal is perfectly symmetrical. Here we meet with a beautiful
admixture of lines, horizontal with vertical, and straight with curved - all harmoniously
set together in the total unity. They adopt each other with amazing uniformity.
The combination is entirely rhythmic and melodic. Especially the semi-octagonal
alcoves at the chamfered angles which are perceptible from every perspective view
and give a 3-dimensional appearance from the outset. They emphasise the diagonal
lines and suggest depth.
Solids and Voids The great depth
has also been further suggested by the double arches, one over the other, on each
side of the central portal. The solids and voids have very judiciously been distributed
to provide a variety, yet an undiminished uniformity. These alcoves, the balconies
in each minaret, the chhatris near the dome, and certain pronounced projections
in each facade allow a beautiful play of light and shadow.
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