The Montreal Star featured an update from Karl on March 2, 1901, providing encouraging news about his ongoing journey. In his latest correspondence, dated January 30, 1901, from Gwalior in the North-West Provinces, Mr. Creelman reports:
“Continuing on my way from Cawnpore, after crossing the Ganges. I found a good road over a level country. Agra, another famous mutiny town, at which place I arrived on January 26th. Agra is one of the most beautiful and interesting cities of India. Situated on the west bank of the river Jumna, and founded in the year 1566, it was for over a hundred years, the seat of the magnificent court of the Great Emperor, and of his successors Jahangir and Shah Jahan. The ancient city of Agra, on the opposite side of the river, was the capital of Lodi, or Afghan Kings of Hindoostan, and on the overthrow of the last of that line, Ibrahim Sultan, at the battle of Panipat in 1526 by Babur, the founder of the Mughal dynasty, the conqueror moved down on Agra and, after defeating the armies of the Rajput Princes in the battle of Fatehpur Sikri, occupied the palace on the eastern bank, where he died in 1530.
Near the military cantonments, stands a wonderful piece of architecture, the celebrated Mausoleum of the Taj Mahal, with its beautiful domes and gardens. This “dream in marble” as it is sometimes called, was erected by the Emperor, Shah Jahan, in 1648, as the tomb of his wife, Arjumand Banu Begum. The exquisite beauty of this wonder stands unrivalled, and it affords an illustration of the saying that the Mughals “built like Titans, and finished like jewellers.” Built of the purest Jaipur marble, the mausoleum stands on a raised platform, at each corner of which is a tall and graceful minaret. Beneath the large dome, and within an enclosure of most delicately carved marble fretwork, are the richly inlaid tombs of the princess and her husband, Shah Jahan.
The Taj which commenced in 1630, and completed in 1648, is the first in the world, as regards, the colour, design and decorative workmanship of its interior. During the [Indian rebellion of 1857] the place was looted, and jewels, pearls, and diamonds of enormous value were stolen, [by British soldiers] and when repairing the damage, coloured glass had to be used to fill up the spaces where the jewels had been before the raid. This wonderful building was designed by an Italian who, on the completion of the great work, was asked by the Emperor if he could build another such structure. He replied “Oh, yes, Your Highness, I could build a much better one,” whereupon he was ordered to have his eyes taken out, so he could not see to build anything so grand for anyone else. The poor Italian was given a princely fortune for his services and sent back home minus his eyesight.”
Oh, dear reader, where to begin? First and foremost, I extend my gratitude to Karl for venturing to the Taj Mahal, allowing me to witness this awe-inspiring monument. This experience undoubtedly ranks among the greatest in my life. But now, let's delve into Karl's letter to the Montreal newspaper, particularly his historical account of the Taj Mahal's rich narrative.
The "dream in marble" undeniably stands as a shrine of love, conceived by Shah Jahan as an enduring tribute to his beloved wife, Arjumand Banu Begum, who tragically passed away while giving birth to their 14th child. The Taj Mahal is considered one of the most outstanding architectural achievements, capturing the Mughal style of architecture combining Persian, Indian and Islamic styles. Recognized as a UNESCO World Heritage Site, it proudly holds the title of "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage." While I must admit my fondness for Karl's anecdote concerning the Italian Architect with the unconventional fate, it raises a thought-provoking question – how did an Italian architect become so adept in Mughal architecture? While historical records mention an Italian architect named Geronimo Veroneo residing in Agra around 1640, his name doesn't grace any documents chronicling the artisans involved in creating the Taj Mahal.
Emperor Shah Jahan entrusted the esteemed Ustad Ahman, also known as Isa Khan, hailing from Shiraz, Iran, with the pivotal role of chief architect. Official historical documents bear testament to the involvement of 37 accomplished individuals, each contributing their distinct expertise in creating the Taj Mahal, ranging from calligraphy to the intricate art of gold leaf design.
While such tales may lend an air of mystique to this monument, no eyes were removed upon the completion of this architectural marvel. Similarly, enduring myths perpetuate the notion that the skilled artisans who dedicated themselves to the construction of the Taj Mahal endured broken limbs and severed digits as punishment. However, I must emphasise that these legends, captivating as they may be, hold no basis in truth.
As for my experience, my journey to the Taj Mahal began with a visit to Mehtab Bagh, also renowned as the Moonlit Gardens, located across the serene Yamuna River. These gardens represent the final instalment of eleven gardens lining the banks of the Yamuna River, a legacy attributed to Emperor Babur, the revered founder of the Mughal dynasty. Over time, these gardens had fallen into disrepair, but they were restored as they protected the Taj Mahal from the blowing sands carried by the river's breezes.
Today, the Mehtab Bagh gardens align with the Taj Mahal's gardens and offer a vantage point to behold the Taj Mahal at sunset. Arriving at the primary parking area, I opted for a delightful rickshaw ride to reach the park's entrance. My dear reader, even as I recount this experience, the excitement and anticipation I felt still resonate within me as if I were stepping into a dream.
A brief stroll through the Mehtab Bagh gardens eventually led me to a wall overlooking the Taj Mahal's property along the riverbank.
From my vantage point, a breathtaking panorama of the Taj Mahal unfolded. In its white-marbled glory, this architectural marvel took centre stage, flanked gracefully by the regal Mosque on its western flank and the mirrored image of Mihman Khana, or assembly hall, adorning its eastern side. The atmosphere was tranquil. Amid these expansive gardens, it felt like a place of deep reverence.
Remarkably, there wasn't a bustling crowd to contend with; instead, I had the front-row view to watch as the Taj Mahal transformed, with ever-shifting colours on the facade as the sun gracefully descended. A gentle tangerine hue delicately landed on the iconic white marble mausoleum.
In my next instalment, dear reader, I will share my experience from the other side of the river.
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