Taj Mahal
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Calligraphy
Throughout the complex passages from the Qur'an are used as decorative elements. The calligraphy is a florid and practically illegible thuluth script, created by the Mughal court's Persian calligrapher, Amanat Khan, who was resident at the Mughal court. He has signed several of the panels. As one enters through the Taj Mahal Gate the calligraphy reads “O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you.”
The calligraphy is made by jasper inlaid in white marble panels. Some of the work is extremely detailed and delicate (especially that found on the marble cenotaphs in the tomb). Higher panels are written slightly larger to reduce the skewing effect when viewed from below.
Recent scholarship suggests that Amanat Khan chose the passages as well. The texts refer to themes of judgment: of doom for nonbelievers, and the promise of Paradise for the faithful. The passages include: Surah 91 (The Sun), Surah 112 (The Purity of Faith), Surah 89 (Daybreak), Surah 93 (Morning Light), Surah 95 (The Fig), Surah 94 (The Solace), Surah 36 (Ya Sin), Surah 81 (The Folding Up), Surah 82 (The Cleaving Asunder), Surah 84 (The Rending Asunder), Surah 98 (The Evidence), Surah 67 (Dominion), Surah 48 (Victory), Surah 77 (Those Sent Forth) and Surah 39 (The Crowds).
Abstract geometric decoration
Abstract forms are used especially in the plinth, minarets, gateway, mosque, and jawab, and to a lesser extent on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. (The incised painting technique is to scratch a channel in the stone, and to then lay a thick paint or stucco plaster across the surface. The paint is then scraped off the surface of the stone, leaving paint in the incision.)
On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in the sandstone buildings, dark or black inlays on the white marble of the tomb and minarets. Mortared areas of the marble buildings have been stained or painted dark, creating geometric patterns of considerable complexity.
Floors and walkways throughout use contrasting tiles or blocks in tessellation patterns.
Vegetative motifs
The lower walls of the tomb are white marble dados that have been sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of these carvings.
The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are yellow marble, jasper and jade, levelled and polished to the surface of the walls.
Interior decoration
The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. One may say without exaggeration that this chamber is a work of jewellery.
Here the inlay work is not pietra dura, but lapidary. The inlay material is not marble or jade but precious and semiprecious gemstones. Every decorative element of the tomb's exterior has been redefined with jeweler's art.
The inner chamber
The inner chamber of the Taj Mahal contains the cenotaphs of Mumtaz and Shah Jahan. It is a masterpiece of artistic craftsmanship, virtually without precedent or equal.
The inner chamber is an octagon. While the design allows for entry from each face, only the south (garden facing) door is used.
The interior walls are about 25 m high, topped by a “false” interior dome decorated with a sun motif.
Eight pishtaq arches define the space at ground level. As is typical with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas; each balcony's exterior window has an intricate screen or jali cut from marble.
In addition to the light from the balcony screens, light enters through roof openings covered by the chattris at the corners of the exterior dome.
Each of the chamber walls has been highly decorated with dado bas relief, intricate lapidary inlay and refined calligraphy panels, reflecting in miniature detail the design elements seen throughout the exterior of the complex.
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