In The Taj Mahal: Architecture, symbolism, and urban significance an architectural historian Ebba Koch claims that the Taj Mahal, built in 1632, in Agra, under the patronage of Shah Jahan, was not just a burial place for Shah’s wife, but a powerful tool to emphasize the significance of the ruler, and support the dominant imperial ideology, a framework that presupposed the mighty monarch and justification of the imperial society as the only way to evolve.
Based on the analysis of palaces built under Shah’s patronage, Koch supposes that one of the essential goals of the Taj Mahal was to demonstrate Shah Jahan’s significance for the country and create a visible and impressive monument to his exceptional power and rule. For this reason, the building combines many unique solutions and features, differentiating it from other ones, and forming a recognizable image of the mausoleum. To prove the idea that architecture, symbolism and urban significance of the mausoleum praise Shah, he focuses on the in-depth analysis of the building, its style, selection of the place, and purpose. The Taj Mahal is known as a burial place for the wife of a ruler, Mumtaz Mahal. At the same time, Koch champions the idea that grief was not the only reason for this project.
He points out that the surrounding, the peculiarities of the area, and the role architecture played at that period of time preconditioned the use of this art as the tool to popularize the name of Shah Jahan and make his rule memorable. Koch explains the choice of the forms and adherence to the style by the dominance of imperial ideology and the requirement to demonstrate the achievements of the state to all people. That is why the surrounding and urban context also play a vital role in the formation of the image of the Taj Mahal. The mausoleum also serves as a source of knowledge about the architectural principles of that period.
The importance of this building and the Shah Jahan’s attention to it preconditioned the use of innovative solutions and the most successful experiences of that era. Koch assumes that the in-depth analysis of the style of the mausoleum improves the understanding of the principles of Shahjahani architecture. They include geometrical planning, symmetry, symbolism, and attention to detail. Koch supports these assumptions with the detailed investigation of the Taj Mahal and features that meet the requirements of Shahjahani architecture. He describes the inner place, the tomb yard, and related buildings and points out the dominance of symmetry, symbolism, and hierarchy. It means that the building represents the basic ideas of that era and embodies the vision of style and beauty.
Koch ends cogitations about the Taj Mahal with the description of naturalistic decorations and ornaments of cenotaphs that also contribute to the creation of the image of the whole construction. It means that builders of the past used visual arts as the central tool to underline the power of the empire and its ruler. For this reason, the Taj Mahal is not only the burial place for the beloved wife of Shah Jahan, but it should be taken as the symbol of the epoch characterized by the exceptional power of a monarch.
The urban context and the peculiarities of the style evidence this assumption. Using Koch’s research and idea about the role of the Taj Mahal as the manifestation of power, I will explore other types of arts and methods that help rulers of that period to create monuments to themselves and underline their commitment to the development of the state and its wealth.