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| Things to do before you kick the bucket: 1) Visit the Taj 2) Try justifying your happiness on seeing it to a mad crowd of tourists and a mystified photographer |
It felt like
my feet had grown roots as I paused at the Darwaza-i-Rauza.
I had to. It was too much to take in at one go. Against the words “O Soul, thou
art at rest. Return to the Lord at peace with Him, and He at peace with you,”
what Rabindranath Tagore calls "a teardrop on the cheek of time,"
unfolded as one beautiful painting across the vast blue canvas.
She was the child of their love and she stood there for all to see – wholesome in appearance, clothed in white marble from Makrana and embellished with patterns of lapidary - every precious stone I could possibly think of - carnelian, black onyx, mother of pearl, jasper, agate, lapis lazuli, amethyst and sapphire, guarded by four towering minarets, laced with calligraphy on her pishtaqs, nestled amongst gardens of cypress trees, casting her magical reflection into the central pool. She was a royal - rich, beautiful and famous. She had proud, passionate parents. Yet, she stood there humbled by their love, bearing testimony to it.
There was something about her. She was the essence of peace although amongst people not of her time. It didn’t seem to bother her. People leaned against her, flashes going off, posing as though they could hold her in the palm of their hands. She was in every photograph that people would preserve, in every promise a lover made and on every tour guide’s lips. She blushed, turning a shade of amaranth as the sun began to set.
The smooth Indian marble veneer of the Taj was luminous as it responded to the movement of light through the day. Her varied moods were a dance of mystical light - Tender blues during dawn, the amaranth hues at sunset, the tinge of apricot flecked with gold at dusk or almost translucent pearly white under a full moon. The ever-changing sky and ominous clouds that compose the backdrop assisted in sharing her story.
She was the child of their love and she stood there for all to see – wholesome in appearance, clothed in white marble from Makrana and embellished with patterns of lapidary - every precious stone I could possibly think of - carnelian, black onyx, mother of pearl, jasper, agate, lapis lazuli, amethyst and sapphire, guarded by four towering minarets, laced with calligraphy on her pishtaqs, nestled amongst gardens of cypress trees, casting her magical reflection into the central pool. She was a royal - rich, beautiful and famous. She had proud, passionate parents. Yet, she stood there humbled by their love, bearing testimony to it.
There was something about her. She was the essence of peace although amongst people not of her time. It didn’t seem to bother her. People leaned against her, flashes going off, posing as though they could hold her in the palm of their hands. She was in every photograph that people would preserve, in every promise a lover made and on every tour guide’s lips. She blushed, turning a shade of amaranth as the sun began to set.
The smooth Indian marble veneer of the Taj was luminous as it responded to the movement of light through the day. Her varied moods were a dance of mystical light - Tender blues during dawn, the amaranth hues at sunset, the tinge of apricot flecked with gold at dusk or almost translucent pearly white under a full moon. The ever-changing sky and ominous clouds that compose the backdrop assisted in sharing her story.
I had spent a
whole day here in her presence, listening to a story of the greatest love
affair. Arjumand Banu Begum (Mumtaz
Mahal to us) had borne 14 children before her and she, Taj, had been her final
wish. After her mother’s death, Shah Jahan’s only reason to continue living had
been his wife’s memory and he had honoured it with Taj. A few years before his
own demise, he viewed the Taj Mahal soaring to a height of 74.21 meters, from
the fort where he had been imprisoned by his own son. Though incarcerated, he
had always been at liberty to love and continue loving in the only way he knew.
Taj was a mausoleum. She housed her dead parents, but she was not cold as one would imagine her to be. She burned with the heat of their passion and the warmth of their undying love.
I stood near her heart that housed the sarcophagi as she allowed the last rays of the sun to stream through her intricately patterned and pierced jali screens on to the ninety nine names of the God on her mother’s casket and the words "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..” on her father’s, paying homage to them for the day.
Taj was a mausoleum. She housed her dead parents, but she was not cold as one would imagine her to be. She burned with the heat of their passion and the warmth of their undying love.
I stood near her heart that housed the sarcophagi as she allowed the last rays of the sun to stream through her intricately patterned and pierced jali screens on to the ninety nine names of the God on her mother’s casket and the words "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..” on her father’s, paying homage to them for the day.
She had been
vandalized. Her visitors had felt a dire need to leave their mark and had
declared their names, scribbled hearts and offered their love, precious stones
she cased were plucked out and fragments of her skin were chipped, exposing her
bare. She was hurt and I was too, because I couldn’t fix her.
I hold the emotion of love in a special place and she allowed in me, yet another amorous soul treading upon her regal path, the warmth to surface and rekindle my senses.
It is indeed best described by the English poet, Sir Edwin Arnold, as "Not a piece of architecture, as other buildings are, but the proud passions of an emperor’s love wrought in living stones." It is a celebration of a woman built in marble and that’s the way to appreciate her.
In her father’s words:
“Should guilty seek asylum here,
Like one pardoned, he becomes free from sin.
Should a sinner make his way to this mansion,
All his past sins are to be washed away.
The sight of this mansion creates sorrowing sighs;
And the sun and the moon shed tears from their eyes.
In this world this edifice has been made;
To display thereby the creator's glory.”
Yes, she is a piece of art, a grand romance. Novalis was right. Love is the supreme poetry of nature and she stood there, a monument telling the story, living the memory.
I hold the emotion of love in a special place and she allowed in me, yet another amorous soul treading upon her regal path, the warmth to surface and rekindle my senses.
It is indeed best described by the English poet, Sir Edwin Arnold, as "Not a piece of architecture, as other buildings are, but the proud passions of an emperor’s love wrought in living stones." It is a celebration of a woman built in marble and that’s the way to appreciate her.
In her father’s words:
“Should guilty seek asylum here,
Like one pardoned, he becomes free from sin.
Should a sinner make his way to this mansion,
All his past sins are to be washed away.
The sight of this mansion creates sorrowing sighs;
And the sun and the moon shed tears from their eyes.
In this world this edifice has been made;
To display thereby the creator's glory.”
Yes, she is a piece of art, a grand romance. Novalis was right. Love is the supreme poetry of nature and she stood there, a monument telling the story, living the memory.
