Design & Layout

The mosques, built only to balance the composition are set sufficiently far away to do no more than frame the mausoleum. In essence, the whole riverside platform is a mosque courtyard with a tomb at its center. The great entrance gate with its domed central chamber, set at the end of the long watercourse, would in any other setting be a monument in its own right.

The Taj stands on a raised, square platform (186 x 186 feet) with its four corners truncated, forming an unequal octagon. The architectural design uses the interlocking arabesque concept, in which each element stands on its own and perfectly integrates with the main structure.

It uses the principles of self-replicating geometry and a symmetry of architectural elements. The four graceful and slender 162.5 feet minarets, set symmetrically about the tomb, are scaled down to heighten the effect of the dominant, slightly bulbous dome. Its central dome is 58 feet in diameter and rises to a height of 213 feet It is flanked by four subsidiary domed chambers.

The names of the chief architect who worked on the Taj have been noted. Ismail Afandi, who designed the hemispheres and built the domes was from Turkey. Qazim Khan came from Lahore to cast the gold finial that would top the dome. Chiranji Lal was called from Delhi to pattern the mosaic. From Shiraz in Persia came master calligrapher, Amanat Khan. Stone cutter Amir Ali was from Baluchistan.