The Architecture of the Taj and its Architect

Summary

This article revisits the controversy over the design and authorship of the Taj Mahal. While some 19th-century writers speculated that the mausoleum was designed by an Italian architect—citing references to a “Geronimo Veroneo” or other Europeans—the author argues that the Taj Mahal’s architecture is firmly rooted in Indo-Islamic tradition. He systematically examines the monument’s plan, structural features, ornamentation and inscriptions to demonstrate that it evolved organically from previous Mughal buildings like Humayun’s Tomb, Akbar’s tomb at Sikandra and Itmad-ud-daula’s mausoleum. The article emphasises the harmonious proportions of the central dome, the symmetrical placement of the four minarets and the pietra dura inlay work with floral motifs reminiscent of Persian textiles. Persian inscriptions on the gateway and tomb identify the structure as a work commissioned by Emperor Shah Jahan for his wife Mumtaz Mahal and executed by craftsmen under the supervision of the architect Ustad Ahmad Lahori. The author dismisses the Italian hypothesis as a colonial myth unsupported by contemporary Persian sources. He notes that the Mughal court employed European artists mainly for paintings or mechanical devices, not for designing imperial mausoleums. The article also explores the aesthetic symbolism of the Taj, interpreting its garden layout as an evocation of paradise and its luminous white marble as a metaphor for purity. By analysing the fusion of Persian, Indian and Central Asian elements, the author concludes that the Taj represents the culmination of Mughal architectural genius.