CENTER FOR ART AND ARCHAEOLOGY

Main entrance on south to Taj Mausoleum compound, portal, east half, detail: The great gate called darwaza-i rauza (gate of the mausoleum) is clad in red sandstone and white marble. White marble frames the dominant portal arch in the center and then decreases towards the corner towers. The corners are accentuated by engaged towers (minarets). At the bottom left end of the frame is the signature of the calligrapher Amanat Khan and Hijri date 1057 (1647/48 CE). The great gate doesn't have an outer dome.

Main entrance on south to Taj Mausoleum compound, portal, upper part: The roof of the great gate is accentuated with small white marble cupolas; the north and south pishtaqs are each topped by a row of eleven cupolas (chaukhandi) set between the freestanding guldastas of the engaged colonettes that frame the central part of the facades.

Main entrance on south to Taj Mausoleum compound, portal: The great gate called darwaza-i rauza (gate of the mausoleum) is clad in red sandstone and white marble. White marble frames the dominant portal arch in the center and then decreases towards the corner towers. The corners are accentuated by engaged towers (minarets). At the bottom left end of the frame is the signature of the calligrapher Amanat Khan and Hijri date 1057 (1647/48 CE). The great gate doesn't have an outer dome.

Main entrance on south to Taj Mausoleum compound, portal: The great gate called darwaza-i rauza (gate of the mausoleum) is clad in red sandstone and white marble. White marble frames the dominant portal arch in the center and then decreases towards the corner towers. The corners are accentuated by engaged towers (minarets). At the bottom left end of the frame is the signature of the calligrapher Amanat Khan and Hijri date 1057 (1647/48 CE). The great gate doesn't have an outer dome.

Main entrance on south to Taj Mausoleum compound, portal: The great gate called darwaza-i rauza (gate of the mausoleum) is clad in red sandstone and white marble. White marble frames the dominant portal arch in the center and then decreases towards the corner towers. The corners are accentuated by engaged towers (minarets). At the bottom left end of the frame is the signature of the calligrapher Amanat Khan and Hijri date 1057 (1647/48 CE). The great gate doesn't have an outer dome.

Octagonal Burj at southwest corner of Taj Mausoleum platform: At the four corners of the terrace, there are four octagonal towers (burj) of three storeys, and the third storey has a domed roof. While these are accents of the architectural composition, they also have a functional use.

Octagonal pavilion at southwest corner of compound hall: At the four corners of the terrace, there are four octagonal towers (burj) of three storeys, and the third storey has a domed roof. While these are accents of the architectural composition, they also have a functional use.

Octagonal pavilion at southwest corner of compound hall: At the four corners of the terrace, there are four octagonal towers (burj) of three storeys, and the third storey has a domed roof. While these are accents of the architectural composition, they also have a functional use.

Octagonal pavilion at southwest corner of compound wall, view from Tomb of Satiunnisa Khanam: At the four corners of the terrace, there are four octagonal towers (burj) of three storeys, and the third storey has a domed roof. While these are accents of the architectural composition, they also have a functional use.

Fatehpuri Darwaza, outer west gate: the gate has a broad center with a pishtaq taking the form of a pointed archway in a rectangular frame, set between engaged polygonal shafts topped by guldastas (ornamental pinnacles extending above roof level). At the top is a parapet carved in relief with crenelations.

Fatehpuri Darwaza, outer west gate: the gate has a broad center with a pishtaq taking the form of a pointed archway in a rectangular frame, set between engaged polygonal shafts topped by guldastas (ornamental pinnacles extending above roof level). At the top is a parapet carved in relief with crenelations.

Garden, pavilion at western end of east-west water channel: There are two pavilions placed in mirror symmetry in the enclosing wall at the ends of the east-west walkway. The pavilions are known as Naubat Khana (drum house). It consists of an open veranda framed by square closed rooms.

Garden, marble lotus tank in centre: The garden is the heart of the Taj Mahal Complex. The large square is divided by two main walkways (khiyaban) into four quadrants. Each quadrant is further divided by narrower cross-axial walkways. The garden was supplied with water from the Yamuna river through an aqueduct. The original planting is a not a well known aspect of the garden. The present lawns, flowers and trees are maintained by the Horticultural Branch of the ASI.

Mosque, west of mausoleum, east facade, iwan: The vault of the pishtaq of the mosque, with stucco-plaster (qalib kari) decoration. In the central arch a bowl supports a vase flanked by two miniature depictions of the mausoleum. The arched panels of the transition zone show symmetrically arranged flower vases on pedestals, cypresses entangled by blossoming creepers and flowering plants.

Mosque, west of mausoleum, Interior, nave, central recessed arch: The arches flanking the hall and their linking passages are covered with several designs of ornamental cartouches and interlacing floral scrolls arranged in symmetrical correspondences. The mosque's floor is inlaid with a pattern of prayer mats to create individual spaces for precants.

Mosque, west of mausoleum, nave, view showing spandrels, squinches and incised stucco domical ceiling: The dome of the mosque is covered with a diaper pattern creating a whirling effect. The decoration appears as white patterns on the red surface. The design is made with a sgraffito technique: a coat of red plaster is laid over a white one, then the top coat is cut away to expose the desired design in the white layer underneath.

Mosque, west of mausoleum, nave, incised stucco domical ceiling: The dome of the mosque is covered with a diaper pattern creating a whirling effect. The decoration appears as white patterns on the red surface. The design is made with a sgraffito technique: a coat of red plaster is laid over a white one, then the top coat is cut away to expose the desired design in the white layer underneath.

Mosque, west of mausoleum, nave, central recessed arch, spandrels: The central pishtaq is deepened which allows the insertion of flanking rooms connected by linking passages. The dados have a display of flowering plants that recall their marble counterparts in the mausoleum; but since sandstone is more susceptible to corrosion, they are not as well preserved and have been replaced by carved copies.

View of the mosque, west of mausoleum: The mosque is based on a standard type which the Mughals took over from the Sultanate architecture of Delhi. It has an oblong massive prayer hall formed by vaulted bays or rooms arranged in a row with a dominant central pishtaq and domes. A large pishtaq is flanked by the standard superimposed niches, though those of the upper storey are blind. There is more intensity of ornamentation and marbling in the center than in the corners. The corners are emphasised by engaged towers topped by chhatris. There are three white marble domes, the walls are covered with the usual multi-cusped blind arches and the dados are surrounded by an inlaid chevron pattern.

Mosque, west of mausoleum, East facade, iwan

Mosque, west of mausoleum, East facade, iwan

View of the mosque, west of mausoleum: The mosque is based on a standard type which the Mughals took over from the Sultanate architecture of Delhi. It has an oblong massive prayer hall formed by vaulted bays or rooms arranged in a row with a dominant central pishtaq and domes. A large pishtaq is flanked by the standard superimposed niches, though those of the upper storey are blind. There is more intensity of ornamentation and marbling in the center than in the corners. The corners are emphasised by engaged towers topped by chhatris. There are three white marble domes, the walls are covered with the usual multi-cusped blind arches and the dados are surrounded by an inlaid chevron pattern.

Mosque, west of mausoleum, east facade, iwan, north wall: The mosque has three domed bays which are of hall-like dimensions and made cruciform by arched recesses. All the dados have a display of flowering plants that recall their marble counterparts in the mausoleum; but since sandstone is more susceptible to corrosion, they are not as well preserved and have been replaced by carved copies. Flowers and plants were a form of decoration specially sanctioned by Islamic theologians and so were appropriate for a religious building.