Same Day Agra Trip ( Same Day Taj Mahal Trip)Taj Mahal
The Taj Mahal (pronounced /tɑʒ mə'hɑl/) (Persian: تاج محل, Devanagari:) is a mausoleum located in Agra, India, that was built under Mughal Emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal. The Taj Mahal (also "the Taj") is considered the finest example of Mughal architecture, a style that combines elements from Persian, Turkish, Indian, and Islamic
architectural styles. In 1983, the Taj Mahal became a UNESCO World Heritage Site and was cited as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage." While the white domed marble and tile mausoleum is most familiar, Taj Mahal is an integrated symmetric complex of structures that was completed around 1648. Ustad Ahmad Lahauri is generally considered as the principal designer of Taj Mahal.
Architecture Main article: Origins and architecture of the Taj Mahal
The Tomb
The focus of the Taj Mahal is the white marble tomb, which stands on a square plinth consisting of a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome. Like most Mughal tombs, basic elements are Persian in origin. The base of the Taj is a large, multi-chambered structure The base structure is a large, multi-chambered structure. The base is essentially a cube with chamfered edges and is roughly 55 meters 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. On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on chamfered corner areas as well. The design is completely symmetrical on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb.
The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level. The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top is decorated with a lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements. The main dome is crowned by a gilded spire or finial. The finial, made of gold until the early 1800s, is now made of bronze. The finial provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of Shiva.[2] At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The minaret chattris share the same finishing touches, a lotus design topped by a gilded finial. Each of the minarets were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb. Base, dome, and minaret Finial Main iwan and side pishtaqs Simplified diagram of the Taj Mahal floor plan
The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level. The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top is decorated with a lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements. The main dome is crowned by a gilded spire or finial. The finial, made of gold until the early 1800s, is now made of bronze. The finial provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of Shiva.[2] At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The minaret chattris share the same finishing touches, a lotus design topped by a gilded finial. Each of the minarets were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb. Base, dome, and minaret Finial Main iwan and side pishtaqs Simplified diagram of the Taj Mahal floor plan Exterior decoration
The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture. As the surface area changes, a large pishtaq has more area than a smaller one, and the decorations are refined proportionally. The decorative elements were created by applying
paint or stucco, or by stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. The calligraphy found in Taj Mahal are of florid thuluth script, created by Persian calligrapher, Amanat Khan, who signed several of the panels. The calligraphy is made by jasper inlaid in white marble panels, and the work found on the marble cenotaphs in the tomb is extremely detailed and delicate. Higher panels are written slightly larger to reduce the skewing effect from viewing below. Throughout the complex, passages from the Qur'an are used as decorative elements. Recent scholarship suggests that Amanat Khan chose the passages as well.[3][4] The texts refer to themes of judgment and 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. As one enters through 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."[5][4] Abstract forms are used especially in the plinth, minarets, gateway, mosque, jawab, and to a lesser extent, on the surfaces of the tomb. The domes and vaults of sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in sandstone buildings and dark or black inlays on the white marbles. Mortared areas of marble buildings have been stained or painted dark and thus creating a geometric patterns of considerable complexity. Floors and walkways use contrasting tiles or blocks in tessellation patterns.
The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture. As the surface area changes, a large pishtaq has more area than a smaller one, and the decorations are refined proportionally. The decorative elements were created by applying
paint or stucco, or by stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. The calligraphy found in Taj Mahal are of florid thuluth script, created by Persian calligrapher, Amanat Khan, who signed several of the panels. The calligraphy is made by jasper inlaid in white marble panels, and the work found on the marble cenotaphs in the tomb is extremely detailed and delicate. Higher panels are written slightly larger to reduce the skewing effect from viewing below. Throughout the complex, passages from the Qur'an are used as decorative elements. Recent scholarship suggests that Amanat Khan chose the passages as well.[3][4] The texts refer to themes of judgment and 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. As one enters through 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."[5][4] Abstract forms are used especially in the plinth, minarets, gateway, mosque, jawab, and to a lesser extent, on the surfaces of the tomb. The domes and vaults of sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in sandstone buildings and dark or black inlays on the white marbles. Mortared areas of marble buildings have been stained or painted dark and thus creating a geometric patterns of considerable complexity. Floors and walkways use contrasting tiles or blocks in tessellation patterns. Vegetative motifs are found at the lower walls of the tomb. They 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, leveled and polished to the surface of the walls.
Interior decorations
The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. Here the inlay work is not pietra dura, but lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, though only the south garden-facing door is used. The interior walls are about 25 metres high and topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level. As 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 and 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 chattris at the corners. Each chamber wall 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. The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate pierce work. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.
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 chattris at the corners. Each chamber wall 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. The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate pierce work. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers. Muslim tradition forbids elaborate decoration of graves and hence Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber with their faces turned right and towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise center of the inner chamber with a rectangular marble base of 1.5 meters by 2.5 meters. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on slightly taller base, again decorated with astonishing precision with lapidary and calligraphy that identifies Shah Jahan. On the lid of this casket is a traditional sculpture of a small pen box. The pen box and writing tablet were traditional Mughal funerary icons decorating men's and women's caskets respectively. Ninety Nine Names of God are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt including "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He traveled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."
The garden
The complex is set around a large 300-meter square charbagh, a Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and gateway, with a reflecting pool on North-South axis reflects the image of the Taj Mahal. Elsewhere, the garden is laid out with avenues of trees and fountains.[6] The raised marble water tank is called al Hawd al-Kawthar, in reference to "Tank of Abundance" promised to Muhammad.[7] The charbagh garden, a design inspired by Persian gardens, was introduced to India by the first Mughal emperor Babur. It symbolizes four flowing rivers of Paradise and reflects the gardens of Paradise derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of Mughal period, paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.
Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, instead is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, Archaeological Survey of India interprets that the Yamuna itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise.[8] The similarity in layout of the garden and its architectural features such as fountains, brick and marble walkways, and geometric brick-lined flowerbeds with Shalimar's suggest that the garden may have been designed by the same engineer, Ali Mardan.[9] Early accounts of the garden describe its profusion of vegetation, including roses, daffodils, and fruit trees in abundance.[10] As the Mughal Empire declined, the tending of the garden declined as well. When the British took over the management of Taj Mahal, they changed the landscaping to resemble that of lawns of London.[11]
Outlying buildings
The Taj Mahal complex is bounded by crenellated red sandstone walls on three sides with river-facing side open. Outside these walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favorite servant. These structures,
composed primarily of red sandstone, are typical of the smaller Mughal tombs of the era. The garden-facing inner sides of the wall are 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 that may have been viewing areas or watch towers like the Music House, which is now used as a museum. The main gateway (darwaza) is a monumental structure built primarily of marble and is reminiscent of Mughal architecture of earlier emperors. Its archways mirror the shape of tomb's archways, and its pishtaq arches incorporate calligraphy that decorates the tomb. It utilizes 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, there are two grand red sandstone buildings that are open to the sides of the tomb. Their backs parallel western and eastern walls, and these two buildings are precise mirror images of each other. The western building is a mosque and its opposite is the jawab (answer) whose primary purpose was architectural balance and may have been used as a
guesthouse. The distinctions between these two buildings include the lack of mihrab, a niche in a mosque's wall facing Mecca, in the jawab and that the floors of jawab have a geometric design, while the mosque floor was laid with outlines of 569 prayer rugs in black marble. The mosque's basic design is similar to others built by Shah Jahan, particularly to his Masjid-Jahan Numa, or Jama Masjid of Delhi, a long hall surmounted by three domes. The Mughal mosques of this period divide the sanctuary hall into three areas with a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an enormous vaulting dome. These outlying buildings were completed in 1643.Construction
The Taj Mahal was built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land.[12] An area of roughly three acres was excavated, filled with dirt to reduce seepage and leveled at 50 meters above riverbank. In the tomb area, wells were dug and filled with stone and rubble as the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle. According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site. Teams of twenty or thirty oxen were strained to pull blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex. The plinth and tomb took
roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex. Estimates of the cost of the construction of Taj Mahal vary due to difficulties in estimating construction costs across time. The total cost of construction has been estimated to be about 32 million Rupees at that time which now runs into trillions of Dollars if converted to present currency rates.[13] The Taj Mahal was constructed using materials from all over India and Asia. Over 1,000 elephants were used to transport building materials during the construction. The translucent white marble was brought from Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.
roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex. Estimates of the cost of the construction of Taj Mahal vary due to difficulties in estimating construction costs across time. The total cost of construction has been estimated to be about 32 million Rupees at that time which now runs into trillions of Dollars if converted to present currency rates.[13] The Taj Mahal was constructed using materials from all over India and Asia. Over 1,000 elephants were used to transport building materials during the construction. The translucent white marble was brought from Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble. A labour force of twenty thousand workers was recruited across northern India. Sculptors from Bukhara, calligraphers from Syria and Persia, inlayer from southern India, stonecutters from Baluchistan, a specialist in building turrets, another who carved only marble flowers were part of the thirty-seven men who formed the creative unit. Some of the builders involved in construction of Taj Mahal are:
- The main dome was designed by Ismail Afandi (a.ka. Ismail Khan),[14] of the Ottoman Empire and was considered as a premier designer of hemispheres and domes.
- Ustad Isa of Persia (Iran) and Isa Muhammad Effendi of Persia (Iran), trained by Koca Mimar Sinan Agha of Ottoman Empire, are frequently credited with a key role in the architectural design,[15][16] but there is little evidence to support this claim.
- 'Puru' from Benarus, Persia (Iran) has been mentioned as a supervising architect.[17]
- Qazim Khan, a native of Lahore, cast the solid gold finial.
- Chiranjilal, a lapidary from Delhi, was chosen as the chief sculptor and mosaicist.
- Amanat Khan from Shiraz, Iran was the chief calligrapher. His name has been inscribed at the end of the inscription on the Taj Mahal gateway.[18] Muhammad Hanif was a supervisor of masons and Mir Abdul Karim and Mukkarimat Khan of Shiraz, Iran (Persia) handled finances and management of daily production.
History
Soon after the Taj Mahal's completion, Shah Jahan was deposed and put under house arrest at nearby Agra Fort by his son Aurangzeb. Upon Shah Jahan's death, Aurangzeb buried him in the Taj Mahal next to his wife. By late 19th century, parts of the Taj Mahal had fallen badly into disrepair. Protective wartime scaffolding During the time of Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiseled out precious stones and lapis lazuli from its walls. At the end of 19th century British viceroy Lord Curzon ordered a massive restoration project, which was completed in 1908. He also commissioned the large lamp
in the interior chamber, modeled after one in a Cairo mosque. During this time the garden was remodeled with British-looking lawns that are visible today. In 1942, the government erected a scaffolding in anticipation of an air attack by German Luftwaffe and later by Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots. Its recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura oil refinery, which was opposed by Supreme Court of India directives. In 1983, the Taj Mahal was designated a UNESCO World Heritage Site.
in the interior chamber, modeled after one in a Cairo mosque. During this time the garden was remodeled with British-looking lawns that are visible today. In 1942, the government erected a scaffolding in anticipation of an air attack by German Luftwaffe and later by Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots. Its recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura oil refinery, which was opposed by Supreme Court of India directives. In 1983, the Taj Mahal was designated a UNESCO World Heritage Site. SHAHJAHAN MUMTAJ
Agra Fort
Agra Fort is a UNESCO World Heritage site located in Agra, India. The fort is also known as Lal
Qila, Fort Rouge and Red Fort of Agra. It is about 2.5 km northwest of its much more famous sister monument, the Taj Mahal. The fort can be more accurately described as a walled palatial city. It is the most important fort in India. The great Mughals Babur, Humayun, Akbar, Jehangir, Shah Jahan and Aurangzeb lived here, and the country was governed from here. It contained the largest state treasury and mint. It was visited by foreign ambassadors, travellers and the highest dignitaries who participated in the making of history in India.
Qila, Fort Rouge and Red Fort of Agra. It is about 2.5 km northwest of its much more famous sister monument, the Taj Mahal. The fort can be more accurately described as a walled palatial city. It is the most important fort in India. The great Mughals Babur, Humayun, Akbar, Jehangir, Shah Jahan and Aurangzeb lived here, and the country was governed from here. It contained the largest state treasury and mint. It was visited by foreign ambassadors, travellers and the highest dignitaries who participated in the making of history in India.History
This was originally a brick fort and the Chauhan Rajputs held it. It was mentioned for the first time in 1080 AD when a Ghaznavide force captured it. Sikandar Lodi (1487-1517) was the first Sultan of Delhi who shifted to Agra and lived in the fort. He governed the country from here and Agra assumed the importance of the 2nd capital. He died in the fort in 1517 and his son, Ibrahim Lodi, held it for nine years until he was defeated and killed at Panipat in 1526. Several palaces, wells and a mosque were built by him in the fort during his period.
After Panipat, Mughals captured the fort and a vast treasure - which included a diamond that was later named as the Koh-i-Nor diamond - was seized. Babur stayed in the fort in the palace of Ibrahim. He built a baoli (step well) in it. Humayun was coronated here in 1530. Humayun was defeated in Bilgram in 1530. Sher Shah held the fort for five years. The Mughals defeated the Afghans finally at Panipat in 1556. Realizing the importance of its central situation, Akbar decided to make it his capital and arrived in Agra in 1558. His historian, Abdul Fazal, recorded that this was a brick fort known as 'Badalgarh' . It was in a ruined condition and Akbar had it rebuilt with red sandstone. Architects laid the foundation and it was built with bricks in the inner core with sandstone on external surfaces. Some 1444000 builders worked on it for eight years, completing it in 1573.
It was only during the reign of Akbar's grandson, Shah Jahan, that the site finally took on its current state. The legend is that Shah Jahan built the beautiful Taj Mahal for his wife, Mumtaz Mahal. Unlike his grandfather, Shah Jahan tended to have buildings made from white marble, often inlaid with gold or semi-precious gems. He destroyed some of the earlier buildings inside the fort in order to make his own. At the end of his life, Shah Jahan was imprisoned by his son, Aurangzeb, in the fort, a punishment which might not seem so harsh, considering the luxury of the fort. It is rumored that Shah Jahan died in Muasamman Burj, a tower with a marble balcony with an excellent view of the Taj Mahal.
It was only during the reign of Akbar's grandson, Shah Jahan, that the site finally took on its current state. The legend is that Shah Jahan built the beautiful Taj Mahal for his wife, Mumtaz Mahal. Unlike his grandfather, Shah Jahan tended to have buildings made from white marble, often inlaid with gold or semi-precious gems. He destroyed some of the earlier buildings inside the fort in order to make his own. At the end of his life, Shah Jahan was imprisoned by his son, Aurangzeb, in the fort, a punishment which might not seem so harsh, considering the luxury of the fort. It is rumored that Shah Jahan died in Muasamman Burj, a tower with a marble balcony with an excellent view of the Taj Mahal.
This was also a site of one of the battles during the Indian rebellion of 1857, which caused the end of the British East India Company's rule in India, and led to a century of direct rule of India by Britain.
Layout
Inside the Musamman Burj, where Shah Jahan spent the last seven years of his life under house arrest by his son Aurangzeb.
The Agra Fort has won the Aga Khan Award for Architecture in the year 2004 and India Post has issued a Stamp to commemorate this prestigious award on 28.11.2004.
The fort has a semi-circular plan, its chord lying parallel to the river. Its walls are seventy feet high. Double ramparts have massive circular bastions are regular intervals as also battlements,
embrasures, machicolations and string courses. Four gates were provided on its four sides, one Khizri gate" opening on to the river. Two of the gates are called the 'Delhi Gate' and the 'Lahore Gate' (sometimes called Amar Singh Gate).
embrasures, machicolations and string courses. Four gates were provided on its four sides, one Khizri gate" opening on to the river. Two of the gates are called the 'Delhi Gate' and the 'Lahore Gate' (sometimes called Amar Singh Gate). The Delhi Gate, which faces the city, is considered the grandest of the four gates. It leads to an inner gate called the Hathi Pol (Elephant Gate) where two life sized stone elephants with their
riders stand guard. A draw-bridge, the slight ascent and 90 degree turns before each subsequent gate make it impregnable: during a siege, attackers had elephants crush the gates. Without a level, straight run-up to gather speed, which is prevented by this layout, they are not effective, though.The monumental Delhi gate was built as the king's formal gate. Because the Indian military (the Parachute Brigade in particular) is still using the northern portion of the Agra Fort, the Delhi Gate cannot be used by the public. Tourists enter via the Lahore Gate so named because it faces Lahore, now in Pakistan.
The site is very important in terms of architectural history. Abul Fazal recorded that five hundred buildings in the beautiful designs of Bengal and Gujarat were built in the fort. Some of them were demolished to make way for his white marble palaces. Most of the others were destroyed by the British between 1803 and 1862 for raising barracks. Hardly thirty Mughal buildings have survived on the south-eastern side, facing the river. Of these, the Delhi Gate and Akbar Gate and one palace - "Bengali Mahal" - are representative Akbari buildings.
Akbar Gate Akbar Darwazza was renamed "Amar Singh Gate" by Jahangir. The gate is similar in design to the Delhi gate. Both are built of red sandstone. The Bengali Mahal is also built of red sandstone and is now split into "Akbari Mahal" and "Jehagiri Mahal".
Some of the most historically interesting mixing of Hindu and Islamic architecture are found here. In fact, some of the Islamic decorations feature haraam (forbidden)images of living creatures - dragons, elephants and birds, instead of the usual patterns and calligraphy seen in Islamic surface decoration.
Sites and structures within Agra Fort
The Khas Mahal.
Jehangiri Mahal.
Anguri Bagh - 85 square, geometrically arranged gardens
Diwan-i-Am (Hall of Public Audience) - was used to speak to the people and listen to petitioners and once housed the Peacock Throne
Diwan-i-Khas (Hall of Private Audience) - was used to receive kings and dignitary, features black throne of Jehangir
Golden Pavilions - beautiful pavilions with roofs shaped like the roofs of Bengali huts
Jehangiri Mahal - built by Akbar for his son Jehangir
Khas Mahal - white marble palace, one of the best examples of painting on marble Macchi
Bhawan (Fish Enclosure) - grand enclosure for harem functions, once had pools and fountains
Mina Masjid (Heavenly Mosque)- a tiny mosque; closed to the public
Moti Masjid (Pearl Mosque) - a private mosque of Shah Jahan
Musamman Burj - a large, octagonal tower with a balcony facing the Taj Mahal
Nagina Masjid (Gem Mosque) - mosque designed for the ladies of the court, featuring the
Zenana Mina Bazaar (Ladies Bazaar) right next to the balcony, where only female merchants sold wares
Naubat Khana (Drum House) - a place where the king's musicians played
Rang Mahal - where the king's wives and mistresses lived
Shahi Burj - Shah Jahan's private work area
Shah Jahani Mahal - Shah Jahan's first attempt at modification of the red sandstone palace
Sheesh Mahal (Glass Palace) or Shish Mahal - royal dressing room featuring tiny mirror-like glass-mosaic decorations on the walls
Agra Fort should not be confused with the much smaller Red Fort at Delhi. The Mughals never referred the Red Fort as a fort; rather, it was referred as the 'Lal Haveli', or the Red Bungalow. The Prime Minister of India addresses the nation from Delhi's Red Fort on August 15, India's Independence Day.
The Agra Fort plays a key role in the Sherlock Holmes mystery, The Sign of the Four, by Sir Arthur Conan Doyle.
The Agra Fort was featured in the music video for Habibi Da, a hit song of Egyptian pop star Hisham Abbas.
Shivaji came to Agra in 1666 as per the "Purandar Treaty" entered into with Mirza Raje Jaisingh to met Aurangzeb in the Diwan-i-khas. In the audience he was deliberately placed behind men of lower rank, Insulted he stormed out of the imperial audience and was confined to Jai Sing's quarters on 12th May 1666. Fearing the dungeons and execution, in a famously sweet legend, he escaped on the 17th of August 1666. A heroic equestrian statue of Shivaji has been erected outside the fort. The fort standing as a typical example of the Mughal architecture. It shows how the North Indian style of fort construction differetiated from that of the South. In South majority of the beautiful forts were built on the sea beds like the one at Bekal in Kerala
In the second expansion pack for Age of Empires 3, the Asian Dynasties, Agra fort is one of five wonders for the Indian civilization to advance to the next age. Once built, it sends player a shipment of coin. This wonder acts as a Fortress, with an attack (though weaker than European versions) and the ability to train infantry and cavalry units.
In the game "Rise of Nations" the red fort can be built by players as a wonder. The red fort acts just like a normal castle/fortress/redoubt. But has the ability to heal troops garrisoned inside by 500%, and is also resistant to air attacks. Attack range is also longer.
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