Introduction to History of Asian Architecture

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4.0 INDIAN ARCHITECTURE

4.2 TAJ MAHAL AUGMENTED DOWNLOAD POLI TAJ MAHAL APPS available on google play
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When was it built : Between 1632 and 1653 AD
Who built it : Shah Jahan, 5th Emperor of the Mughal Dynasty
Time taken : 21 years
Where is it located : Agra, Uttar Pradesh, India
Why was it built : As a memorial to Shah Jahan’s beloved wife Mumtaz Mahal after her death in 1631
Dimensions : Situated in a 170000 sq. m complex; 57 m at the base; 68 m in height and raised platform

Materials used height 6 m
Architect : White Marble for the main mausoleum, Red Sandstone for fortifying structure and accents
Architectural Style : Ustad Ahmed Lahori
Cost of Construction : Mughal
Maintained By : 32 crore rupees
Special Recognitions : Archeological Survey of India (ASI)
: Declared UNESCO World Heritage site in 1983 and winner of the New7Wonders of The World

List Initiative between 2000 and 2007.

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PLAN OF TAJ MAHAL

Guest House Main
Gateway
Ornamental Forecourt

Tomb Pool

Taj Ganj

Yamuna

Mosque CharBagh Servant Royal Tombs
Quaters

Famous as one of the wonders of the world, the Taj Mahal at Agra, India, is epitome of true love and passion. The
Taj Mahal was built by the famous Mughal emperor Shah Jahan in memory of his beloved wife, Mumtaz Mahal. The
architectural beauty and magnificence of the Taj Mahal has never been surpassed. It is said to be the most beautiful
monument built by the Mughal rulers and represents the zenith of the Mughal architecture. Built entirely out of white
marbles, the beauty of the Taj Mahal is beyond description.

ARCHITECTURE
AND DESIGN

Taj Mahal, synonymous with India’s identity, is the
crowning jewel of Mughal architecture in India. The
Mughal tradition of erecting majestic mausoleums
in memory of Royal members found its culmination
in the Taj’s majestic form. The Humayun’s tomb built
in 1562 was a major influence over Taj’s design.

An architectural marvel, the structure incorporates
elements of Persian influences like the design of
the Dome and incorporation of arched entrances or
‘Iwans’ along with inspiration from contemporary
Hindu design elements like chhatris and copious
incorporation of the lotus motif. Described by
Tagore as “the tear-drop on the cheek of time”, the
monument embodies funeral austerity turned into
the most beautiful reminder of eternal love.

Taj Mahal is part of an elaborate complex consisting
of a decorative gateway, a beautifully designed
garden, a wonderful water system and a mosque.
The complex is situated on the southern banks of
river Yamuna. The complex stretches in a south to
north incline towards the river and is constructed in
steps. 

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EXTERIOR OF THE TAJ MAHAL

The central focus of the complex is the Tomb structure. Made completely out of white marble, its beauty lies in the
symmetry of its architecture. The structure is situated on a raised square plinth, also made of white marble, at a height
of 50 m from the river level, at one end of the complex. The tomb itself is situated at the center of the plinth, framed
by four equidistant minarets. The Taj Mahal is a square structure with sides measuring 55 m.

The minarets are spread at a distance of 41.75 m from the tomb wall and have a height of 39.62 m. There is a bulbous
central dome in the main building, 18.28 m in diameter and 73 m in height. The dome is elevated from the top of the
building by a 7 m high cylindrical base. It is decorated at its top by lotus motif and ends in a gilded finial topped with
the Islamic half-moon. The spherical and grand aspect of the central dome is emphasized by incorporation of smaller
domes on both sides in the form of chhatris, also capped in gilded finials.

Each minaret is divided into three equal segments by two balconies and has an octagonal base. The delicate curve
of the dome is emphasized by the tapering structure and slightly angular placement of the minarets. The entrance
to the main tomb is framed by a huge arched vault or Iwan which in turn is again framed by two similar but smaller
arches on each side. These arches indicate stacked balconies along two different levels. This is called pishtaqs, which
is replicated on all the eight edges of the building affording it another dimension of symmetry.

The juxtaposition of solids and voids in combination with concave and convex design elements create a breath taking
effect of contrast. The marble exterior changes colour periodically reflecting the light conditions of the day and
produces an astonishing pearly diaphanous effect at night.

The exteriors of the Taj are inlaid with intricate decorations. Generously inlaid with precious gemstones like opals,
lapis lazuli and jade, the decorations offer stunning flashes of colour against a white background.   Stucco and
paintings cover the exterior walls along with calligraphy of verses from Quran or excerpts from poems in black marble.
Murals of herringbone inlays and marble jaalis, mosaics of colored stones in geometric patterns along with abstract
tessellations cover the exterior floors and surfaces.

THE DOME 60 m

•The most remarkable part of theTaj

Mahal.

•Enormous white onion shaped dome

crowning the tomb.

•Located at the exact centre of the

structure, the main dome ked by

four smaller ones on it four corners

The dome

•The onion shapeddome of theT aj •The drum is also intricately •TajM ahal-I slamic
Mahals its on am assivedrum that designed with superb inlay work. inscription on the gold
adds support to thec ircular to.p
gilded Finial

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INTERIOR OF THE TAJ MAHAL

The interior of Taj mahal is dominated by a cavernous octagonal central chamber with eight smaller chambers
radiating from it. The smaller chambers are leveled across two floors making a total of 16 such niches. The central
chamber is the main funerary chamber housing the cenotaphs of Mumtaz Mahal and Shah Jahan. The two ornate
marble cenotaphs are enclosed within a marble screen and face the south. The actual sarcophagi are housed below
the tomb is a relatively simple crypt. 

Although Islam prohibits elaborate decoration of tombs, Shah Jahan flamboyantly overlooked the dictate and
commissioned opulent detailing of the interior surfaces. Inlays of Pietra dura and lapidary adorn the floors and works
of the walls and floors. Copious amounts of gemstones were used for the design along with colored stones. Highly
polished surfaces reflect the light filtered through marble lattice work in the windows and arches.
Calligraphic inscriptions of the 99 names of God is carved on the tombs itself and on Shah Jahan’s tomb an addition
passage has been inscribed in impeccable calligraphy reading “He travelled 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 Taj Mahal is situated
on a raised platform which
is over 6 meters high.
• The actual Tomb of Shah
Jahan is in the basement
below the platform.
• Surmounted by a curving
dome which is over 60m
long on each side.
• Height is over 60m at its
pinnacle.
• Platform covers 94 sq m
area.

FOUNDATION OF THE TAJ MAHAL

Well Foundation
Yamuna River

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THE GARDEN (MUGHAL GARDEN) AT THE TAJ MAHAL

The garden is an intricate part of Mughal mausoleums and is commonly known as Charbagh. Raised red sandstone
pathways divide the Mughal garden into four segments which are in turn fractioned into 16 symmetrical sections.

A raised square marble pool is situated midway between the Taj Mahal and the Entrance. The Hawd al-Kawthar
or Tank of Abundance positioned on the north-south axis offer beautiful reflection of the Taj in all its glory. Various
fruit bearing trees and Cyprus trees symbolizing life and death respectively are arranged in symmetrical equidistant
patterns along the raised central pathway. The garden is designed in such a way that it offers unhindered view of the
Taj from any random point

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OTHER BUILDINGS IN THE TAJ COMPLEX

Every element of the Taj complex was designed to uphold the majesty and beauty of the Taj Mahal. The main entrance gateway or
Darwaza-e-Rauza is constructed with red sandstone and is designed in such a way that standing outside the archway one cannot
see the Taj, but upon entering it manifests offering a breathtaking effect.

The mosque on the western side of the Taj Mahal and the Nakkar Khana or guest house on the eastern side are made with red
sandstone. They are mirror images of each other in design, which in Mughal architectural terms is called Jawab, and enhance the
symmetry of the Taj along with emphasizing the translucent beauty of the white marble structure.

Darwaza-e-Rauza Guest House
Ornamental Pool
Tomb
Mosque

Royal Tombs

CharBagh Main
Gateway

Servant Forecourt
Quaters

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CONSTRUCTION OF THE TAJ MAHAL

Construction of the Taj Mahal started in the year 1632. Around 22,000 masons, stonecutters, calligraphers and artisans,
from all over India and Central Asia were employed during the construction period of 22 years.

The marble used for the building was sourced from various parts of India and around 1000 elements were employed
for this purpose. A board of architects oversaw the design elements under imperial supervision. The main tomb took
10 years to build and other ancillary buildings took another 12 years to complete.

FLOORING PATTERN

CALLIGRAPHY

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Khajuraho Group of Monuments

The name Khajuraho is derived from its Sanskrit nomenclature ‘Kharjuravahaka’ which is the confluence of two
Sanskrit words ‘Kharjur’ meaning date palm and ‘Vahaka’ meaning bearer. There are about 25 temples spread
over an area of approximately 6 square Km. The temples are grouped into three categories depending on their
orientation – the Western Group of Temples, the Eastern Group of Temples and the Southern Group of Temples.
These temples are dedicated to several Hindu Gods and Goddesses along with deities in Jain beliefs. Among
the temples that are standing till now, 6 are dedicated to Lord Shiva, 8 to Lord Vishnu, 1 each to Lord Ganesha
and the Sun God, while 3 are dedicated to Jain Tirthankaras.
The largest of the temples is the Kandariya Mahadeo Temple that is dedicated to the glory of lord Shiva. It
makes Khajuraho one of the four holy sites dedicated to the glory of Lord Shiva, the other three being Gaya,
Kashi and Kedarnath. The temples are known for their elaborate and intricate carvings and sculpture. While
these sculptures depict various scenes from everyday lives, the Khajuraho temples are primarily known for the
artful and erotic depiction of the female form as well as various sexual practices of the time.

59

Jaisalmer Fort, Rajasthan India.



CHAPTER 5.0

MALAYSIAN HERITAGE
ARCHITECTURE

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5.1 THE MINANGKABAU HOUSE AUGMENTED DOWNLOAD POLI MINANGKABAU available on google play
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In Negeri Sembilan, the Minangkabau
descendants are still holding fast to Perpatih
tradition that was subscribed to and practiced
by their ancestors.

These houses that are passed on through
generations remain to this day and exist
around traditional villages in Negeri Sembilan
located at upstream and along the rivers
found.
The houses that are still embellished with
traditions can be found in districts of Rembau,
Kuala Pilah and small parts in Tampin. These
houses place emphasis more on the verandah,
leaving few areas for room spaces. This is the
opposite of the house in Western Sumatera.

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MINANGKABAU HOUSE IN REMBAU, NEGERI SEMBILAN

The influence of the Minangkabau culture is from the Minangkabau
people in Indonesia. In Negeri Sembilan, most of the Malays originated
from Minangkabau (National Archives of Malaysia, 2015). Thus, the
influence of Minangkabau culture is very strong. Rumah Minangkabau
also known as “rumah gadang are the traditional matriarchal homes
of the Minangkabau people”(Bahauddin et al, 2012). The rumah gadang
serves as a “residence and also hall for family meetings and ceremonial
activities” (Bahauddin et al, 2012).

The uniqueness of Minangkabau houses is the shape of the roof which
clearly differs it from other Malay houses. The Minangkabau house “has
a long curved-shaped roof with both ends of the roof pointing slightly
upwards” (National Archives of Malaysia, 2015). The roof looks like buffalo
horn that people often associates it with the stories Tambo Minangkabau
Alam that is actually about the victory of Minangkabau people fighting
against Javanese buffalo (Nusantara Cultures, 2011).

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RUMAH GADANG

Rumah gadang like any other Malay
houses has serambi, rumah ibu, anjung,
rumah dapur and tengah.

In my opinion, the reasons they separate
the spaces accordingly is to ensure
activities can be carry out conveniently.
They separated the front portion and back
portion to separate the spaces for male
and female. Rumah

Minangkabau is very unique as it have
Indonesia culture in it together with local
culture.

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SERI MENANTI PALACE

The four-storey palace Minangkabau
“Rumah-rumah Adat” architecture, was
constructed without nails, pieced together
with hardwood dowels and rivets. 99 posts
were used in the construction and the entire
structure was raised on timber posts made of
penak (cengal) wood, transported 64km from
a forest in Bukit Perigi, Jelebu. Each post
represents famous warriors from various
groups. The four main posts at the centre
of the palace rise 20 metres(60feet) from
the ground to the central tower (the highest
floor) and each post is made from a single
cengal tree trunk.

Decorating the roof of the central tower are
a pair of locked buffalo horns, regarded as a
protective symbol for Minangkabau houses.
The roof tiles or genting, are made from
ironwood (kayu belian), a hardwood species
that is extremely rare now. These were
imported from Sarawak. Istana Sri Menanti
was the official residence of the royal family
until 1931 and was turned into a Royal
Museum in 1992.

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5.2 ISTANA KENANGAN KUALA KANGSAR

It was built in 1926 for Sultan Iskandar Shah by the Malay
carpenter Enci Sepian from Bukit Mertajam, with the assistance
of his sons Zainal Abidin and Ismail. The palace was previously
known as the Valley Palace due to its location. The palace had
been the official residence between 1931 and 1933. However,
upon completion of Istana Iskandariah, the Istana Kenangan
was used to host royal receptions and where the palace guests
stayed. It today houses the Royal Museum of Perak.

HISTORY

It is two storeys high with the top floor consisting of the
bedchamber, family bedrooms, dining hall. The ground floor
was once used as the official royal office where its original
floor was made out of solid wood. The wooden floor however
had been replaced by marble. Istana Kenangan represents the
remarkable traditional Malay architecture.

The construction of Istana Kenangan is wholly used in hardwood,
tepas walled and roofed wood (belian timber) characterized
by perabung lima and pisang sesikat. Iron nails (metal nails)
are not used in the construction of the Istana Kenangan. The
palace is adorned with intriguing Malay carvings and the use of
woven yarns with traditional Malay wreath patterns.

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The building is built on 60 pillars of which the length is about 41 meters and 11 meters wide The shape of this building
if viewed from the air looks like a sword that is stored in the sheath. The centerpiece of the building was placed on a
throne and on the ground floor was made as an official office for the Royal Highness. This lower ground floor using
cement floor and its surroundings covered with shutters.

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5.3 SULTAN ABDUL SAMAD BUILDING AUGMENTED DOWNLOAD POLI BANGUNAN APPS available on google play
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ORIGIN AND DESIGN

The government offices of the British colonial administration was originally located in the Bluff Road (present day
Jalan Bukit Aman) area on a hill overlooking the Padang now called Merdeka Square. However, due to the need for
more office space and complaints from the public about the necessity of going up and down the hill, the State Engineer
of Selangor Public Work Department Charles Edwin Spooner proposed the building of government offices lower down
at the plain. The initial suggestion was rejected due to cost, but the British Resident of Selangor William Edward
Maxwell accepted a second proposal that cost less.

The building has two stories, with the floor plan roughly in the shape of the letter F with an extended top bar representing
the frontage. The facade of the building faces the Padang and stretches over 137.2 metres (450 ft) along Jalan Raja,
at that time the largest building in Malaya. The building has 3.5 metres (11 ft) wide verandas on both floors. A central
clock tower is 41 metres (135 ft) in height, and designed to echo the Big Ben but in an Indo-Saracenic style. Two lower
towers flanked the clock tower, each containing a staircase.
The design of these two towers may have been influenced by Muir Central College of Allahabad in India.All three
towers are topped by a copper-clad onion dome. The style of the building is sometimes referred to as the “blood and
bandages” style – red bricks with white plastered arches and banding.

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CONSTRUCTION

The construction of the building began in September 1894 and was completed
in 1897. The foundation stone was laid on 6 October 1894 by the Governor of the
Straits Settlements Sir Charles Mitchell. The building sits on an area of 1.034
hectares, with the floor of the building occupying an area of 4,208.5 square
metres (45,300 sq ft). The construction used 4 million bricks, 2,500 barrels of
cement, 18,000 pikuls of lime, 5,000 lbs of copper, 50 tons of steel and iron, and
about 30,000 cubic feet of timber. Spooner had previously established in the
Brickfields area a factory for the production of large number of higher quality
bricks, tiles and other building material suitable for the construction of the
building. The cost of construction was $152,000 Straits Dollar.
Spooner also made many alterations and additions while the building was being
constructed with the help of A. B. Hubback. Some of these, such as an extra two
and a half feet of brickwork on the lower walls, were necessary to strengthen
the building due to it being built so close to the river. The height of the clock
tower had also caused much concern to the public, who thought that the tower
may collapse due to the ground vibrations caused by a loud signal gun fired
daily at noon and 5 pm, the built tower however proved to be sturdy. A problem
arose with the clock first delivered as it was not in harmony with the building,
and it was replaced by a second one. The clock was manufactured by Gillett &
Johnston Ltd of Croydon.

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Istana Seri Menanti

The Istana Lama Seri Menanti, is one of the famous landmarks in Kuala Pilah District, Negeri Sembilan, Malaysia
is made in part of Chengal (Penak) wood Neobalanocarpus and iron wood or belian wood Eusideroxylon zwageri
and held together using only wooden pegs. The palace took six years to build and was completed in 1908 at a
cost of $45,000.00 at that time. The design has subtle hints of Minangkabau architecture, has five levels rising
to a height of sixty seven feet or approximately twenty meters high and has ninety nine columns to support the
main structure.
Four of the main columns of sixty seven feet are the Chengal timber that came from Bukit Pergai, Jelebu and
is the central feature of the structure which holds up the apex of the palace, namely the Treasury Room. The
Istana Lama was a replacement for Istana Pulih which was burned down by British soldiers. The drawings and
plans for Istana Lama was detailed by Mr. Woodford (Public Works Department) based on the designs provided
by two local craftsmen, Kahar and Taib. This palace was used until 1932 after which the Yang Di-Pertuan Besar
moved to Istana Besar.

71

Rumah Penghulu Abu Seman, Kuala Lumpur.

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REFERENCES

https://www.culturalindia.net/indian-architecture/
https://www.tajmahal.org.uk
https://www.orangnogori.com
Bindia Thapar, S. K. (2005). Introduction to Indian Architecture (Periplus Asian Architecture Series). Periplus Editions.
Fee, C. V. (2007). Encyclopaedia of Malaysia V05: Architecture (The Encyclopaedia of Malaysia). Didier Millet.
Fu, X. (2017). Traditional Chinese Architecture: Twelve Essays (The Princeton-China Series). Princeton University Press.
Kazuo Nishi, K. H. (2012). What is Japanese Architecture? : A Survey of Traditional Japanese Architecture. USA: Kodansha.
Ancient History Encyclopedia
Japanese Architecture: A Short History
Japanese Architecture: An Exploration of Elements & Forms
What is Japanese Architecture?: A Survey of Traditional Japanese Architecture
IRJABS (Study on the Architecture of Taj Mahal) Ar. NAVIN PIPLANI – TEDx
Google (images)
www.archnet.org ~ www.issuu.com/taj-mahal_9282012.html
University of Bristol - Historical Photographs of China reference number: Bk04-53. Source: ‘The Pageant of Peking’ by Donald
Mennie (A.S.Watson and Co., Shanghai, 1920).
http://malaycivilization.blogspot.com/2013/09/kajian-penyelidikan-dan-penelitian.html