Through the architecture of mausoleum, the world will get to know some of the most magnificent works of Islamic art, which sometimes forms the impression that “beauty in itself carries the power of survival” (Malraux) and that by the sublimity and completeness of its aesthetic and artistic expression it justifies immortality.
Some of these works of Islamic architecture in Mogul India can be considered the most beautiful works of art that have ever occurred; they have never been surpassed by any architectural works. The most famous among them certainly is the Taj Mahal that – by a reflection of the inner origin in its forms, its overall structure, clearly discernible form, the fundamental spiritual hinterland and the baraqat of Persian and Indian Sufis addressed from within, by the energy and special metaphysical quality of beauty that it emanates – it testifies that it is the exceptional masterpiece of the artistic genius of Islam and perhaps his swan song in India.
It seems as if in it the Islamic art touches the ultimate limits of its historic achievement and reaches some kind of formal perfection, which in the historical order of things and the world experience almost always signifies some kind of ending. This paper is a certain hermeneutical – interpretative effort to understand the uniqueness of the architecture of the Taj Mahal and polysemy of its symbolism from the horizon of Islamic spirituality, metaphysics and the philosophy of art.
Keywords: Taj Mahal, the Great Moguls, mausoleum, architecture, art, symbolism
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