THE MUGHAL STYLE

DEVELOPMENT OF THE MUGHAL STYLE UNDER RULERS:

1. Babur
2. Shershah
3. Humayun
4. Akbar
5. Jahangir
6. Shahjahan
7. Aurangazeb
FEATURES:
1. Building art in northern India attained its most sumptuous form.
2. Monuments produced during this period may be regarded as representing an
Indian summer of Moslem art and architecture.
3. A form of the building art emerged expressive of this ruling dynasty.
4. Factors:
5. Wealth and power of the empire.
6. Relatively settled condition that prevailed in most parts of the country.
7. Pronounced aesthetic nature of the mughal rulers culture.
MUGHAL STYLE RESOLVES ITSELF INTO TWO MAIN FEATURES:
1 buildings of red sandstone (akbar)
2 buildings of white marble (shahjahan).
BABUR (1526-31)
Building activities chiefly in the form of ornamental gardens and mosques.
Mosques were fairly large structures but did not possess any distinctive architectural
character.
More inclined towards regularity and symmetry in his approach.
No building type
examples
1
mosques
mosque at kabuli bagh,Punjab
jami masjid,sambhal, delhi
2
tombs
3
gateways
4
others
SHERSHAH
sasaram (1530-40) and delhi (1540-45)
no
building type
example
1
mosques
2
tombs
tomb at hasan khan
tomb at chainpur
tomb at sher shah, sasaram

tomb at salim (sher shahs son)

3
gateways
4
others
PHASE II: BUILDINGS AT DELHI
no
building type
examples
1
mosques
qila-i-kuhna masjid
2
tombs
3
gateways
bara darwaza
4
others
purana qila or old fort
fort at rohtas
TOMBS:
1.TOMB OF HASAN KHAN, SASARAM(1535)
master builder- aliwal khan
mausouleum building contained within a walled enclosure.
building stands level with the ground with no plinth.
middle storey is merely a bare wall of little interst.
2.TOMB OF SHER SHAH SUR
250 wide 3 storeys thus producing an immense pyramidal pile in 5 distinct
stages upto 150
Whole structure stands in the middle of a great lake.
Access by means of a causeway on the northern side of the lake.
Two stories comprise the foundation of this island tomb.
Stepped basement rising out of the water and tall terrace above which is
square in plan with an octagonal tomb in three stages.
Surmounted by a tomb.
Lowest storey is in the form of a verandah, having triple archs in each of its
eight sides with a projecting eave above over which rises a high crenelated
parapet.
Second stage is a screened wall with a projecting window openings between.
Third stage is the drum of the dome.
Tomb chamber is entered through the encircling verandah by doorways.
Single vaulted hall.
3.TOMB OF SALIM ( SHER SHAHS SON)
Mausoleum located in a large artificial lake.
Causeway, although resembling a bridge has no arches.
Causeway consists of succession of piers with the intervening spaces
spanned by stoned beans having bracket supports.

 Each pier carrying a kiosk and projecting balconies.

Phase ii- buildings at delhi
MOSQUES:
1 QILA-I-KHUNA MASJID:(1542)
gem of architectural design.
Royal chapel of the sur rules.
Faade consists of an arrangement of five archways.
Centre arch sunk in an arched recess contained within a pronounced
rectangular frontage.
Large single lodi dome.
Interior is formed of one large hall divided into 5 bays by lateral arches.
Attached to its outer walls are oriel windows on projected balconies.
Two substantial stair turrets one at each rear angle.
Private entrances on the north and souths side.
Beauty of the exterior lies in the conception and treatment of the faade.
Sandstone and inlays in white marble and patterns in coloured inlay.
Interior wall consist of three super imposed rows of arches each row
diminishing in height as it ascends.
Ground floor : 8 arches
Upper floor : 16
Uppermost:
32
Angles in each stage are bridged by a lintel with its centre supported by a
projecting corbel.
Beam and bracket method:
Light is admitted through the doorways and through perforated screens in
the triforium arcade.
As a whole the interior is moderately plain except for inscriptions on the
qibla wall.
Monument of fine sandstone with glazed and painted decorations on its
exterior walls.
Bold geometrical designs and a white dome.
It was intented that the building should have its faces opposite the points of
the compass, but on completing the great stepped plinth it was discovered
that through some miscalculation the foundation walls was 8 in error
Hence the ground plan was sufficiently inclined to bring to bring its sides
exactly in the right direction quite out of line of basement plan.

 Original intention of reaching the tomb by a state of barge.

Plan was abandoned and introduction of the causeway across the water and
bridge head guard room as entrance.
Exact shape of arch should be noted as there is a slight drop or flatness in the
curve towards the crown.
INTERIOR:
Elegant proportions of its five bays.
Effective arrangement of its arches and archades with bold mouldings.
Plastic enrichment of its qibla walls.
Vaulted roof.
Roofing system : 3 different methods
Centre : squinch
Nextbay: unusual variety of stalactite
End compartment: cross rib and semi vault
Mihrabs- 5 in total
One vaulted niche is contained within the other.
Decorative treatment of the imposts, foliation of the major arch, delicately
inscribed border forming the enclosing rectangle.
Notable features:
Others:
Purana qila (or) old fort:
A walled enclosure of considerable size and forming the citadel around
which sher shah formed his capital.
When complete it was an impressive concentration of military and palatial
architecture.
Now it is merely an empty shell.
Grey bastioned walls of rough but well bonded rubble masonry.
Bara darwaza: (gateways)
Entrance to this strong hold.
Red smooth sandstone + white marble + insets of blue glaze.
Fort at rohtas:
Outpost to overpower wild tribes in this portion of his dominlons.
Stone walls 30-40 inches thick.
Twelve gateways were exceptionally fine examples of the architecture of the
period.
Sohal gate:
Guards sw wall.
Architecturally gracefull..

70 inches height.
Central archway in a larger arched recess.
Projecting aerial window on either wall side.
Each line and plane has a sober and massive elegance.

HUMAYUN: (1531-56)
No
building type
1
mosques
2

tombs

examples
mosque at agra
mosque at fatehabad,hissar
humayuns tomb delhi
tomb of atgah khan

3
gateways
4
others
tombs:
HUMAYUNS TOMB DELHI(1564)
1. one of the most arresting example of building art in India.
2. Constructed 8 years after the emperors death, unusual as it was customary
for these monuments to be erected during the emperors life time.
3. Built by his wife haji bagum.
4. Architect- mirak mirza ghiyas.
5. Indian interpretation of a Persian conception.
6. In spirit and structure the tomb represents a synthesis of two of the great
building traditions of asia , the Persian and Indian.
7. Innovation of the scheme of the mausoleum with a spacious park like
enclosure.
8. Provision of seclusion and securing an appropriate setting.
9. In the middle of each of the four sides an imposing gateway was introduced
west being the main entrance.
10.Passing through the entrance gateway into the garden its larger area is seen
to be laid out in a formal arrangement of square and rectangular components
with flowered beds.
11.Garden is carefully designed and proportioned so as to form an integral part
of architectural composition.
12.This central building stands on a wide and lofty sandstone terrace 22 feet in
height with arcaded sides.
13.Each archway opens into a small room for the accommodation of visitors.
14.Occupying the middle of the upper surface is the tomb structure 156 feet in
side and square in plan.
15.In elevation the four sides are alike each face consisting a central rectangular
frontron containing an arched recess.

16.Overall is a great marble tomb rising to 140 feet with a cluster of pillared
kiosk having cupola roofs on each side.
17.Interior resolves into compartment.
18.The largest is for the emperor the smaller ones for his family.
19.Each room is octagonal in plan and they are connected by radiating or
diagonal passages.
20.Clerestory windows formed of perforated screens fitted within the arched
recess of the faade.
21.Red sandstone and white marble.
22.Double dome :
23.Composed of two seperste shells an outer and inner with appreciable space
between.
24.Outer shell supports the marble case of the exterior.
25.Inner shell forms the vaulted ceiling of the interiors main hall.
TOMB OF ATGAH KHAN (1562) :
Situated near humayuns tomb.
Character of the tomb reduced and refined to accord with its smaller side.
Detailed treatment of the faade with its inlaid coloured marble and low relief
carving.
Application of fine embellishment to the wall surfaces.
AKBAR THE GREAT (1556-1605) :
Background :
Building activity first started in agra.
Building activity was rare from 1545 (death of sher shah sur ) -1564 (akbars
fort at agra)
Mosque at delhi khairu -i- manzil:
Similar to the building in sher shah sur s period.
Provides a small but useful link between the architectural achievement of sur
dynasty and akbar.
FEATURES:
Chief buildings executed in red sandstone with insertions of white marble.
Style was trabeate order of construction; although the tudor arch was
commonly used.
Arch was used primarily for decoration.
Dome : lodi dome sometimes built hollow but never technically of the true
double order.
Pillar shafts were many sided and capitals were in the form of bracket
supports.

 Ornamentation:
Carved or boldly inlaid patterns.
Painted designs were introduced on the interior walls and ceiling.
Important buildings:
1. fortresess:
no
example
1
fortress palace, agra
delhi gate
jahangir mahall
2
fortress at allahabad
zenana palace
3
fotress at Lahore
elephant gate
2. new capital city of fatepur sikri:
no
buiding type
example
1
gateways
agra gate
naubat khana or drum house
2
secular buildings
palace at jodh bai
house of Miriam
house of the sultana
birbals house
3
religious buidings
jami masjid
buland darwaza or triumphal gateway
tomb of salim chisti
tomb of islam khan
4
administrative
diwan-i-khas or hall of public audience
building
panch mahal or palace of five stories
khwabgah or house of drums
astrologers seat
department of records
1. fortress palace agra:
one of the several large fortified residences which the emperor caused to be raised
at various strategic points in his dominion.
Plan form:
Irregular semi circle lying parallel to the right bank of the river jamuna.
PALACE OF JODH BAI
Complete in its design and arrangements
High and plain outside wall
Principal buildings are attached to the inner side all facing the courtyard

 Entrance only through a guarded gatehouse having staggered doorways

Strict seclusion
Within this enclosure, every portion is self contained with a private chapel for
devotions and roof terraces screened by the parapet for promenades
Each part is readily accessible for the convenience of its occupants and for the
purpose of service
Palace is nearly square 320x215
Walls -32 high
East wall-gatehouse
North wall- hanging pavilion or hawa mahall
South wall- service and bathing apartment
Interiors consists of an almost symmetrical range of buildings surrounding a
square quadrangle (2 storied)
Carved decoration similar to the temple architecture
Blue glazed tiles.
HOUSE OF MIRIAM
simple and unpretentious structure
Display of much elegant workmanship
Arrangment of rooms in two stories but with no external courtyard or
extraneous amenities
Mural paintings

BIRBAL HOUSE
Similar to Miriam house
Arrangment is a little more complex and elaborate
2 storied building with four rooms and two porches forming the ground floor
upper storey has two rooms and the the remainder consists of open terraces
enclosed by screen
there are cupolas over the upper rooms and pyramidal roofs over the porches
double dome construction of aninner andouter shell wth a void in the centre
hence interior was kept cool
treatment of the eave brackets
JAHANGIR
-TOMB OF AKBAR
Completed between 1612 and 1614
the construction of the mausoleum is said to have commenced during emperor Akbar's
(1556-1605) lifetime in 1604 but concluded during his son, Jehangir's reign (16051627).

The mausoleum complex is square in plan

and aligned on the cardinal axis, with the tomb at its center and four gates, one along
each wall.
Based on a charbagh, or walled square garden composition much like his father
Humayun's (1530-1540, 1555-1556) tomb,
the tomb of Akbar has a tall sandstone clad gate with ornate marble inlay carvings and
inscriptions.
It consists of a colossal arched niche flanked on either side by double-stacked
balconies. Surmounting the gate pavilion are four towering white marble minarets,
one at each corner

Beyond the lofty gate lies the charbagh divided into quadrants by watercourses
designed to evoke the rivers of paradise.
Hence, the mausoleum itself is physically and metaphorically located at the center of
a heavenly garden, Behistan.
A paved causeway leads from the gate to the mausoleum. It is a five-tiered structure
much like a truncated pyramid enveloped by low galleries.
The domed and vaulted galleries are a hundred and five meters long serving as a large
square plinth for the four square stories located at their center, each of which steps in
as the structure rises.
The gallery space is rhythmically arranged with massive pillars supporting arches
roughly 6.7 meters apart.
The central bay of each side is marked by a high pishtaq surmounted by a rectangular
chattri, or roof kiosks.
Only the southern pishtaq gives access to the burial chamber, a small square room at
the end of long corridor at the heart of the building domed at eighteen meters. Of the
vaulted bays behind the four pishtaqs, the southern one is the most elaborate in
ornamentation.
The burial chamber also houses the tombs of the emperor's daughters, Shakrul Nisha
Begam and Aram Bano.

Outside, the second story has an arcaded verandah on each side, which is composed of
twenty three bays.
The arcades are repeated on the subsequent floors forming peripheral walkways at
each level and chattris at the corners.
The top floor has no superstructure but consists on an open terrace enclosed with
marble screen parapets.
This five-tiered structure with its pillared terraces and numerous chattris also bears a
striking resemblance to the Panch Mahal at Fatehpur Sikri.

TOMB OF I'TIMAD AL-DAULA

I'timad al-Daula (Emperor's Pillar) was the title bestowed upon Mirza Ghiyas
Beg by Emperor Jehangir.
Of Persian descent, Mirza Ghiyas Beg became the first treasurer and then the
prime minister (wazir) under Emperor Jehangir.
His daughter, Nur Jahan, later married the Emperor and commissioned the
mausoleum to honor the memory of her father upon his death in 1622.
1. The mausoleum is like a jewel box, built entirely of pure marble, it marks
the transitional phase from the grand and massive red sandstone
architecture of Akbar to the softer and sensual architectural style that
marked the reign of Shah Jahan.
2. Many of the design elements foreshadow the Taj Mahal, the construction
of which began in 1630. The I'timad al-Daula was the first Mughal
structure to be completely encased in marble and extensively use pietra
dura, the marble inlay work that is associated with the Taj Mahal.
3. The tomb is of a modest scale, built on a low platform 4' (1.22m) high.
4. It has a square plan measuring 68'-10" (21m), subdivided into nine
chambers, with four corner octagonal towers in the form of minarets.
5. The minarets frame the central roof pavilion that marks the tomb
chamber below.
6. The kiosks of the minarets consist of small hemispherical copulas resting
on small arches supported by eight pilasters.

7. The roof pavilion imparts a distinct Hindu feel in its use of Bengali roof,
completed by a wide overhangs or eaves (chhajja).
8. The mausoleum is set within a garden surrounded by walls forming a
perimeter of 541'-4" (165m) on each side.
9. The approach is from the east through a red sandstone gateway that is
decorated with rich marble mosaics. Sandstone pathways lead up to the
main tomb.
10.Each of the faade has a central arched entrance, flanked by two recessed
arches that are closed by beautiful marble screens (jali).
11. Fine corbels support the cornice, which has a marble tracery (jali)
balustrade running along the length of it.
12.The platform and tomb is embellished with mosaics and pietra dura inlay
work of semiprecious stones. The art of inlay marble had been practiced
for many years, but this was the first attempt to imitate Persian pottery
decoration and tile work.
13.The interior is a series of rooms and corridors arranged around a
verandah that surrounds the central chamber containing the cenotaph.
14.The square roof pavilion above the central chamber allows the light to
filter down through its perforated marble screens (jalis) to gently wash
over the two porphyry yellow cenotaphs of I'timad al-Daula and his wife.
1. The interior boasts stucco and paintings in a variety of patterns with
motifs inspired from Iranian origin (Perso-Safavid period).
2. Intricate stalactites have been done one the soffits of the corner chambers
and the main hall.
3. The surfaces above the dados have regular distributed niches, alcoves
and decorative panels that allow for variations in decoration to take
placeAdministrative Buildings:
7) DIWAN I KHAS or HALL OF PRIVATE AUDIENCE

Rectangular in plan.
Two storeys having a flat terraced roof with a pillared kiosk rising above each corner.
Unique interior arrangements.

The audience hall has a large and substantial pillar occupying a central position with
its massive expanding capital supporting a circular stone platform.
From this central platform stone bridges radiate along each diagonal of the hall to
connect with hanging galleries which surround its upper portion.
The emperor would sit enthroned on the central platform listening to representatives,
the whole arrangement signifying his dominion over the four quarters.
Central column has its variously patterned shaft branching out into a series of 36
closely set voluted and pendulous brackets carrying the throne platform.

8) PANCH MAHAL, KHWABAGH, ASTROLOGERS SEAT DEPARTMENT OF RECORDS:

Pavillion of 5 stories
The rectangular ground floor being built over 84 columns each different in design
The 5 stories above diminish gradually from the northern and western sides while the eatern and the
southern sides rise vertically upto culminate in a domed canopy supported over the four pillars
Inspiration-Buddhist viharas
Palace was designed for akbars more than 300 wives, to enjoy their leisure hours during the hot
summers

Exterior treatment is remarkable for its wide caves and deep shadows of pillars & brackets.
Horizontal lines of the parapet.
Pleasing proportions of the interior pillars with pendant brackets, balconies, alcoves,
murals.

RELIGIOUS BUILDINGS
9) JAMI MASJID OR GREAT MOSQUE(DELHI)

Perfectly symmetrical conception covering a rectangular area with an interior courtyard.

Mosque was entered by three portals, one in the middle of each of the north, south and east
sides.
Large mosque in architectural treatment, it is a most finished and typical example.
Design: Conventional mosque order consisting of a wide open courtyard with pillared
cloisters on three of its sides and the sanctuary on the western edn.
Faade consists of a large rectangular front containing a spacious alcove, with a pillared
arcade extending on each side to form the wings.
Behind this rises a large dome and there are smaller domes over each wing.
Interior consists of a nave and aisles on each side.
The nave which is entered through an arched portico is a square hall with the mihrab on the
western wall and covered by the main dome.
Pillars in the wings are exceptionally well grouped and added to this is the admirable
combination of beams and arches.
Mural decoration is noteworthy.

2) BULAND DARWAZA or GATE OF MAGNIFICENCE

Southern entrance to the Jami Masjid.

Imposing structure 134 high approached by a flight of steps 42 high.

Presents itself as a masonry of immense proportions dwarfing every other building.

There is little doubt that of all the architectural productions of the Mughals, their gateways
were the most successful achievements; whether they were
o Bold entrances to fortresses.
o Humble doorways to sarais.
o Elegant portals to tombs
o Porticos to palaces
o Civic archways of the city etc.
Buland Darwaza was a work of great force, especially when viewed from the ground below.
The entire structure may be resolved into two aspects:
o The frontal and highest aspect, forming the faade with its portal.
o Back with its faade embowed by means of three planes comprising a large central
face and a lesser one on each side receding at an angle.
Central plane is 86 across, rectangular in shape; the grate part is occupied by an arched and
domed recess.
The narrower faces on the wings are in three stories which varied openings in each stage.
Crowning the whole of this faade is a parapet behind which rises a range of kiasks with
cupolas.
Most important feature is the decorative treatment of the outer faade with the rectangular
formation & wide border.

SHAHJAHAN
With the region of the Mugul empire under Shah Jahan the golden era of
Mughul domination was obtained, a period which found expression in style of
architecture of exceptional splendour, and carned to the highest degree of
perfection.
In the sphere of the building art it was an age of marble.
This material in its most refined form taking the place of sandstone hitherto
largely employed. So that architecture received a new impressiveness during
this regime.
The preference of Shah Jahan for buildings of this kind is graphically shown by
the fact that he caused to be dismantled many of his predecessors sandstone
edifices with the sole object of substituting others of a more polished type.
General Character of this style:
1. The forms of this style are essentially marble forms, while the decoration is
only occasionally plastic this was done by means of inlaid patterns in coloured
stones.
2. The curves of the arch which were now often foliated. Usually in each instance
by means of cusps called cusp arch.

3. The dome assumed another form as the Persian type. Bulbous in outline and
constructed at its neck.
4. The adoption of which brought with it the system of true double dome.
5. Introduction of pillars with tapering or baluster shafts, voluted bracket capitals
and foliated buses.
6. Structural ornamental elements of curvilinear order, the fluidity of line from
and senouness generally reflecting those exalted conditions that not
uncommonly prevail when a ruling power has attained its greatest elevation.
Important examples:
1.
2.
3.
4.
5.

Diwan-i-Am at Agra
Rang Mahal
Jami Masjid at Delhi
City of Shahjahanabad
Taj Mahal at Agra.

City of Shahjahanabad
1. The Fort of Delhi in plan approximates an ablong 3100 by 1650 in
width and is aligned from north to south, an orientation no doubt so
deviced as to prevent the symmetry of the whole being distributed by the
fixed orientation of the mosques.
2. This is enclosed within a high and strongly fortified wall in which there
are two main gateways.
3. One in the middle of the long side on the west and other on the south
side. The former being the public entrance and the later being for the
more private use.
4. From these gateways two thorough fares pass into the Fort interior
intersecting one another at right angles towards the centre of the
composition.
5. The two thorough fares communicates directly with a large rectangular
area occupying nearly two thirds of the composition itself contained
within surrounding walls. The inner area measuring 1600 by 1150 its
further side aligned along the eastern rampart thus overlooking the wide
expansion of the river bed accommodates the whole of the private use
apartments: outside this and within the rectangle remaining are the

service quarters such as barracks, servants houses and other edifices of

miscellaneous order, in its former enclosure therefore that palaces and
pavilions are located and here the finest architecture is to tbe found. This
portion having been planned according to the most palatial ideas.
6. This palace enclosure which is nearly symmetrical in its arrangements
resolved itself into four parts.
7. A central large quadrangle containing the Diwani-Am or Hall of public
audience: on each side of this are
8. Consisting of two square open spaces designed in the form of ornamental
gardens and courtyards, while.
9. Is the range of marble palaces. One side facing the garden and the other
commanding an open view of the river.
10.Every feature of this plan is regular and forma most of it being laid out in
squares, there is hardly and oblique line or curve in the entire schema.
Taj Mahal, Agra
Taj Mahal, a monument which marks the perfect moment in the evolution of
architecture during Mughal period. It is the mausoleum of emperor Shah Jahans
consort Arjuand Banu Vegum whose titles Mumtaz Mahall meaning chosen of the
palace and Taj Mahal meaning Crown of the palace. Taj Mahal has derived some of its
inspiration from two works namely Humayun tomb and Khan Khanan tomb, a
nobleman of mughal kingdom who died in 1627. On the traditions of humanyun tomb
on one hand and with the experience gained from that of the Khan Khanan on the
other hand, Shah Jahans architect evolved this masterpiece of the builders art TAJ.
Concept and Planning:
1. The main structure actually occupies only a relatively small portion of the
architectural scheme as a whole. The plan of the whole conception takes the
form of a rectangle aligned north and south and measuring 1900 by 1000 with
the central area divided off into a square garden of 1000 side.
2. This leaves at each end of the rectangle on ablong space and on the south side
being laid out a system of road and service dwellings. While that on the north
consists of a raised terrace containing the White Marble tomb building with
certain supplementary structures.

3. The entire garden was enclosed within a high boundary wall having broad
octagonal pavilions at each corner and a monumental entrance gateway in the
centre of the southern side.
4. Beyond the courtyard are stables outhouses and other edifices and a bazaar for
supplies. Whichever way one came the first view of the building was most
impressive, either reflected by water or framed by the fine archways of the
vaulted entrance hall.
5. The ornamental garden were so planned as to prepare the spectator for the
appearance and lovely dignity of the central structure.
6. Each of its formal element being designed with the express object of
harmonizing with its architecture or bringing it into pleasing perspective.
7. For every hour of the day and for every atmospheric condition the Taj has its
own colour values from soft to dreaminess at down and the dazzling whiteness
at midday to its cold splendour in the moonlight when the dome thin of
substance as the air hangs among the stars like a great pearl.
8. Taj building complex has its most significance on the terrace occupying the
northern end of the enclosure consisting of the tomb building in the centre and
two detached subsidiary edifices one on each side. Of the two later that on the
west is a mosque. While that on the east is a replica of the mosque but without
its religious purport being introduced into the composition for the sake of
symmetry. Yet this Jawab or answer as the replica is called had its uses as its
formed a kind of reception hall known as the Mihman Khanah or guest house.
The Tomb
1. The mausoleum itself is elevated on a plinth 220 high. It is square in plan and
186 side with its angles chamfered.
2. This shape is carried up so as to form a building 108 in height and having a
marble cupola above each corner while over the centre towering to a complete
height of totally 187 is the great bulbous dome.
3. To extend and distribute the architectural effect a minaret in three stages and
crowned by kiosk rises from each corner of the Plinth to a height of 137. Its
proportions are all very simple.
4. The crowning glory of its elevation lies in the shape and volume of the dome,
which supported by a lofty drum.
5. The large dome being derived from a Persian source and the smaller domes at
the foot of the bigger unconstricted at their base are indigenous.

Interiors
The arrangement of the compartments in the interior of Taj was manifestly
copied from that in Humayns tomb at Delhi as there is the same octagonal
central hall with subsidiary chambers in the angles and are connected by
radiating passage.
Reproducing the two stoned treatment of the exterior.
The main hall is also in two stories of arcades over which is a semicircular vault
forming the inner shell of the double dome as her is also a large void store
above this ceiling equal in area to the hall itself.
The disposal of the other rooms within the building although appearing at first
sight rather intricate is in reality comparatively simple and consistent as each
apartment is contrived in an angle with a similar upper story room immediately
above it.
Except for some carving on the dados and the exquisite treatment of the
perforated screen enclosing the cenotaphs most of the mural enrichment
consists of inlaid patterns distributed with considerable restraint over the flat
surfaces.
The marble from Markrana is of such a nature that it takes on incredibly subtle
variations of tint and tone, according to the changes in light.
Thus picturing the passing colour of the moment. For every hour of the day and
for every atmospheric condition the Taj has its own colour values from the
dome and the dazzling whiteness at midday to its cold splendour in the
moonlight when the dome, thin of substance as the air hangs among the stars
like a grate pearl.