Taj Mahal
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Most Mughal charbaghs are rectangular in form, with a central tomb or pavilion in the centre of the garden. The Taj Mahal garden is unusual in siting the main element, the tomb, at the end rather than at the centre of the garden. But the existence of the newly discovered Mahtab Bagh or “Moonlight Garden” on the other side of the Yamuna provides a different interpretation -- that the Yamuna itself was incorporated into the garden's design, and was meant to be seen as one of the rivers of Paradise.
The layout of the garden, and its architectural features such as its fountains, brick and marble walkways, geometric brick-lined flowerbeds, and so on, are similar to Shalimar's, and suggest that the garden may have been designed by the same engineer, Ali Mardan.
Early accounts of the garden describe its profusion of vegetation, including roses, daffodils, and fruit trees in abundance. As the Mughal Empire declined, the tending of the garden declined as well. When the British took over management of the Taj Mahal, they changed the landscaping to resemble more the formal lawns of London.
Outlying buildings
The Taj Mahal complex is bounded by a crenellated red sandstone wall on three sides. The river-facing side is unwalled. Outside the wall are several additional mausoleums, including those of many of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant. These structures, composed primarily of red sandstone, are typical of smaller Mughal tombs of the era.
On the inner (garden) side, the wall is fronted by columned arcades, a feature typical of Hindu temples later incorporated into Mughal mosques. The wall is interspersed with domed kiosks (chattris), and small buildings which may have been viewing areas or watch towers (such as the so-called Music House, now used as a museum).
The main gateway (darwaza) is a monumental structure built primarily of red sandstone. The style is reminiscent of that of Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. It utilises bas-relief and pietra dura (inlaid) decorations with floral motifs. The vaulted ceilings and walls have elaborate geometric designs, like those found in the other sandstone buildings of the complex.
At the far end of the complex, two grand red sandstone buildings open to the sides of the tomb. Their backs parallel the western and eastern walls.
The two buildings are precise mirror images of each other. The western building is a mosque; its opposite is the jawab or “answer”, whose primary purpose was architectural balance (and which may have been used as a guesthouse during Mughal times). The distinctions are that the jawab lacks a mihrab, a niche in a mosque's wall facing Mecca, and the floors of the jawab have a geometric design, while the mosque floor was laid out the outlines of 569 prayer rugs in black marble.
The mosque's basic design is similar to others built by Shah Jahan, particularly to his Jama Masjid in Delhi: a long hall surmounted by three domes. Mughal mosques of this period divide the sanctuary hall into three areas: a main sanctuary with slightly smaller sanctuaries to either side. At the Taj Mahal, each sanctuary opens on to an enormous vaulting dome.
The tomb
Base
The focus of the Taj Mahal is the white marble tomb. Like most Mughal tombs, the basic elements are Persian in origin: a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome.
The tomb stands on a square plinth. The base structure is a large, multi-chambered structure. The main chamber houses the cenotaphs of Shah Jahan and Mumtaz (the actual graves are a level below).
The base is essentially a cube with chamfered edges, roughly 55 metres on each side (see floor plan, right). On the long sides, a massive pishtaq, or vaulted archway, frames the iwan, with a similar arch-shaped balcony above. These main arches extend above the roof of the building by use of an integrated facade.
To either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on the chamfered corner areas.
The design is completely uniform and consistent on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb.
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