7 August: Mary's birthday, Agra (Taj Mahal!) to Delhi

Today is Mary's birthday. What a great way to mark your 29th year on this earth!

So, we didn't sleep really well last night. Seems like Ramzan ended because of all the horns blaring from 11:00 on. I finally got out of bed at 1:00 and blearily squinted out into the rain-streaked darkness. Not much traffic then but still more movement than I'd expect. I asked USIEF staffer (and all around great guy) Shafique if Ramzan had ended. Watching him eat plate after plate of breakfast food later confirmed that yes, the month-long fasting period had come to an end. We left the hotel at 5:30 and arrived at the first staging area (transfer to a large golf-cart-style bus) as the sky grew light blue. Tickets procured, we walked toward the exterior courtyard, already stunning in its blend of delicacy and strength. The soaring 110' red sandstone archway is called Jahan Ari (?) Gate, a tribute to his eldest daughter. If you want to use this in research, check the name and spelling--I was writing fast. The gate is topped by 2 rows of 11 small off-white domes, symbolizing the 22 years it took to complete the structure. Its edges are rimmed in large black calligraphy (1/2" thick black onyx inlay) of 29 select verses from the Qu'ran. There are loads of optical tricks built in to maximize the viewer's experience of beauty here. In the calligraphy, every other word is sized larger to give the appearance of balance and equal flow (I'm paraphrasing). Gopal pointed out the center line to us, the 1.7 km line around which the whole effect of the Taj Mahal is anchored. This is a masterpiece of symmetry, and I will try not to use the word too many times here, but want to emphasize that as the hallmark of the Taj Mahal's architectural poetry. It is perfect in that regard. 

There are a few themes that repeat as you view the Taj Mahal. One is that is was masterfully crafted. Another is that it has been looted, much of its treasure stolen by Indian and British opportunist jerks (my term there). The semi-precious stones remain, mostly because of the secret-formula superglue builders used to secure them to the marble. We saw many red flowers of coral and green leaves of malachite from Zambia. There are three main arches on the property, one to the east, west and south. In the outer courtyard there are still baradari (sp?), rooms for visitors. Those with doors were for women to stay, those without were for men. Before this place was fully developed as a tourist spot, it used to be a parking lot. The Taj Mahal brings in a lot of tourist revenue, and India's economy depends on the 11.26% of its GDP that comes from this sector. That's why it's so protected now, says Gopal. 

When you enter the archway, your breath is held in check. The inside is splendid itself, and I found myself taking pictures though now those memories have been supplanted. As soon as you look up through the exit arch (maybe 20 feet?) you feel compelled to see the whole of the magnificent structure on the other side. So much has been written about the beauty of the Taj Mahal, the saddest and loveliest monument to love. I cannot add anything new. Lou shared a line from Tagore: that the Taj Mahal was like a beautiful tear suspended on the cheek of time (I hope I got that right). We took pictures that I hope will convey some of that architectural wonder. The slender blue pool that connects the gate and the mausoleum itself is now a lotus pond but was designed for wudu, or ritual washing of the hands, feet and mouth before prayer. But I am not sure that is still practiced here, though the building to the west of the mausoleum is in fact a functioning mosque, positioned to face Mecca. Cypresses line the pool, and we learned that cypresses are used in Chinese death rituals to prevent earthworms from eating the body. Mughals borrowed this symbol as well as the frangipane (sp?) trees that mark the border of the inner courtyard. They are a symbol of sadness. The subtle divisions in the garden planning become clear and strategically planned once they're pointed out. 

Walking beside the lovely pool toward the mausoleum, we learned that Shah Jahan designed almost every aspect of the great structure. After the death of his beloved third (of four) wives, he spent three months writing out ideas for design, construction, adornment, etc. He sent these ideas to architects around the world, and finally selected Issa Moh Fundi (sp?), an Iranian who secured the job by making a 6" x 6" scaled model of Shah Jahan's vision. On her deathbed (she died giving birth to their 14th child), Mon Taj Jahan exacted three promises from Shah Jahan: not to marry again, to care for their children, and to do something to show our love, something that would last forever. He had wanted the tomb to be red and black, because those were his young wife's favorite colors, but Fundi convinced him to make it white. Fundi also suggested the name: Mon means wax, and the structure looks to be waxen in its perfection; Taj means crown, and an overhead view shows it in the shape of a lady's crown; Mahal means palace. At 286' above water, it is India's tallest structure. Additionally, Fundi suggested the concept of the grounds, that they would symbolize heaven as depicted in the Qu'ran. The green and red show the royalty of the deceased, and the white stands for heaven. 

Construction began in December 1631. It took 22 years to complete the whole complex: 17 years for the building, in part because of the elaborate anti-earthquake measures. The building actually floats on water. There are 27 water tables, plus sagan (?) wood as pillars in the water. From Africa, this tree is termite-free and gets stronger in water. There is a 300 sq. ft. plate form, but I don't really understand what that means. These serve as natural shock absorbers. This technique was first used for one of the major churches in Venice (Lodi?), and clearly it has stood the test of time here. The four minarets which stand as sentinels at each corner were designed to fall away from the building in the event of seismic activity. They are inclined 1" away from the base at a 45 degree angle (I think I heard right, but that seems like  large angle). This is another of the optical illusions. The minarets appear straight from each direction, yet they all extend a little outward, giving a more expansive visual effect.

The dome on top is 250 kgs. The lightest stone used is 492 kgs...I see that in my notes, but those two numbers contradict each other. If you want to reconcile them, look it up! (smile). The top of the dome is an inverted lotus flower, and Gopal challenges us to figure out how workers got the final stone up on top. The answer eventually emerges, though with much help. 20,000 workers toiled round the clock at the Taj Mahal: 10,000 on the day shift constructed portions of the ramp that would up to the top. The guys at night laid mud across the crude ramp so when it dried it was wide and strong enough to support the elephants that hauled the stones up. For the final stone the ramp was 27.9 kms long. Because of the large amount of mud and earth used in construction, the city of Agra to this day sits higher than its sister cities. It's hard to imagine the long ramp wrapping around the structure, looking today at the finished product. Now it gets cleaned every 5 years, with a mud bath that dries and then is rinsed away with soap and water. Easy. As if on cue, the rising sun hit the top corner of the mausoleum, and Gopal pointed out the brilliant shine off the inlaid stones. Yes, it's lovely (inventive, yes, and almost a cheap trick to capitalize on nature's regularity that way!) I hear the building shines under the moonlight, but for now I won't be able to confirm that for myself.

Running out of typing steam...will be quick about the interior. There is impressive marble bas relief on the exterior walls of the Taj Mahal. Artists painted designs on the marble in henna then chiseled out the based. The marble sections are single slabs: huge, trust me. This is masterful work. The decorative inlay above the bas relief features firestone (the red stuff) and cornelian (the blue black stuff). It too looks flat but is actually 1/2" thick. It's totally smooth as well and was effected using the same henna and chisel process as with the bas relief, just in reverse. 

There are replicas of Mon Taj and Shah Jahan in the center chamber, screened off in a gorgeously filigreed marble octagon. The replica of Shah Jahan's tomb is the third non-symmetrical element Gopal wanted us to see--so noted. The friezes were created freehand, so they are one of the only non-symmetrical elements of the whole structure. As an example, Gopal pointed out a single flower adorning the top of the filigreed frieze. It was a flower with 72 petals or cornelian and mother of pearl, each smaller than a tennis ball. He said the level of intricacy of the work exacted a serious toll on workers. They'd work for a few days, then have to rest for 20-25 days so their hands could recover. It took 72 people to complete each flower (the repetition of the numbers makes me wonder if I improperly recorded something). There are 1696 flowers in all, so it's no wonder the structure took so long to complete.

The echo in the central chamber is really powerful too, not so loud as resonant. The floor is white marble with black regular geometric patterns, an 8-point star and another figure, repeated over an over. The sound bounces off the walls and floor, collects into the dome 86 feet above and rolls back in a warm rush. I had the feeling that Carnatic music would not be pleasant here, but the muezzin's call would be wonderful to hear. And the Buddhist or even Vedic chanting would certainly be enhanced. And I guess strings would be sublime. 

This hushed and solemn central chamber was lit not with torches but with 1 single candle, whose light would be caught in and refracted in the diamonds embedded in the friezes. Apparently it lit the whole hall, and I bet it was ethereal. The back marble frieze has a Persian carpet design, the "Gateway to Heaven", one of the best ever, intones Gopal. 

The domes are doubled, the lower at 86' and the higher at 126'. the 40' gap is tall and broad enough for 27 elephants to walk in a row. This duality serves to maintain a constant temperature. It also holds the echo for five seconds. The top of the dome has a sunflower with 36 petals. According to ShiriYenta (?) this is a tribute to Ganesha, though I forgot in which ancient text this story appears. The eight side rooms off the central chamber parallel the Eight Gates of Heaven in the Qu'ran. The building looks square but is in fact an octagon.

As a final note, Gopal pointed out a section of frieze that contained an iris in the shape of the "ohm" symbol. In his estimation this "proves" Shah Jahan's commitment to the universality or completeness of the three major religions. 

As we step outside he points out that the perfect symmetry extends across the Yamuna River to the site of the never-built Black Taj Mahal, the intended final resting place of Shah Jahan. Instead he is buried next to his beloved third wife under the replicas that we viewed today.

I cast a final glance back at the gorgeous compound, hoping that my daughters will one day look on it in similar conditions, early morning, low crowd volume, hazy air softening the sandstone's and marble's features even more. They would love it. Somehow I think Chris and I will put our travel energies elsewhere, and that's okay too. But come here if you can, and come early. Be here by 6:00. It makes all the difference. 

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Back to the hotel for breakfast, 10:30 departure. I bought kohl for myself and gifts. Can't wait to try it out, hope I don't get home with infected eyes--nice mental picture. We made a last stop at the Tomb of Etimad ud Doulah, "The Sacred Trust", sometimes called the Baby Taj. It was built in 1628 and is pretty widely acknowledged as a major source of inspiration for the Taj Mahal. The compound shares many characteristics with the Taj Mahal: a red sandstone entrance arch, gates to the cardinal directions, proximity to the river, symmetry in the buildings and in the gardens, inlaid marble, a central chamber with rooms to side (containing tombs of other family members). It's unique for a few reasons: it was the first mausoleum built by a daughter to her parents, it's of white Macrana (sp?) marble, and it's topped not by a dome but by a slouching pyramid-type structure. I'm sure Wikipedia has wonderful pictures of it. This woman, whose name I don't know, what the daughter of Mirza Gyaz Begam (sp!!), a singularly honest minister of finance during Mughal times. Gopal called this woman "the trickiest woman". Jahangir fell in love with her when he was 11. His father, Akbar, summarily married her off to a sheik in Iraq. Undaunted, Jahangir went to retriever her. Gopal says the woman took advantage of Jahangir, made him an alcoholic, and upon his death claimed the throne and ruled as queen...for three whole weeks. That didn't last long, she was chased off by the men. But she's the aunt of Men Taj, the wife of Shah Jahan (whose name I still don't know how to spell). 

We were reminded of the symbols on tombs: rectangles with a small pentagon on top are for men; flowery designs are for women. There was an hermaphrodite similarly honored here whose tomb sported both symbols. Our guide mistakenly referred to the person as a eunuch, but a few very basic questions cleared that up quickly .

The ride back to Delhi has been long, mostly because I've typed notes the whole time. Whereas it's fun to relive the last few days, it's tedious to realize how many holes there are in my narrative. I'm distracted now by the gigantic puddles that are snarling traffic on the outskirts of the city. The rain has been heavy the past few days. At this point, let it rain. We just passed a monument with a large pillar in the center, and several life-size statues of various Important People. Sanjeev says a politician from the UP erected the monument to herself in the last few years. That's a story worth investigating.