Taj Mausoleum, Octagonal mortuary hall, domical ceiling. The apex is accentuated with a whirl pattern and from the center hangs a vase shaped bronze lamp inlaid with gold and silver. Lord Curzon had the lamp made in Cairo. 

Taj Mausoleum, Octagonal mortuary hall, marble screen surrounding the graves. The screen is octagonal and reflects on a smaller scale the octagon of the surrounding hall and intensifies the paradoxical symbolism of the number eight. The frames are filled with jalis and covered with flowers, plants and flowery arabesques. Within the screen are the upper cenotaphs of Mumtaz Mahal and Shah Jahan. The cenotaph of Mumtaz is exactly in the center of the hall so the larger cenotaph of Shah Jahan was added as an afterthought.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail. The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom. 

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Octagonal mortuary hall, interior, wall detail: The hall has the form of a perfect octagon to a side, with two tiers of two radiating niches. The niches are framed, and the room encircled, by inlaid inscriptions from the Quran. The dados display carved flower vases framed by pietra dura inlay, and corner colonnettes are carved with plant motifs springing from pots with overhanging leaves - evoking paradisical bloom.

Taj Mausoleum, Iwan on west, south wall, detail: The mausoleum sits on a plinth, decorated with delicate relief carvings (munabbat kari) of plant elements. Flowers cover the dados of the three walls of the iwan and have symmetrical composition and minute botanical details. Shah Jahan’s artists composed flowers of their own convention, even grafting blossoms and leaves of different species together onto one plant. The style of the representation of the carved dado flowers is inspired by European herbals of the 16th and 17th centuries which Jahangir’s painters had consulted for floral miniatures.

Taj Mausoleum, Iwan on west, carved and inlaid dado on side wall: The mausoleum sits on a plinth, decorated with delicate relief carvings (munabbat kari) of plant elements. Flowers cover the dados of the three walls of the iwan and have symmetrical composition and minute botanical details. Shah Jahan’s artists composed flowers of their own convention, even grafting blossoms and leaves of different species together onto one plant. The style of the representation of the carved dado flowers is inspired by European herbals of the 16th and 17th centuries which Jahangir’s painters had consulted for floral miniatures.

Taj Mausoleum, Iwan on west, back wall, detail: The pishtaq is accentuated by a large inscription in sulus script in a band on its rectangular frame. The texts are selected passages from the Quran which relate to the eschatological programme of the building and make references to the Last Judgment, divine forgiveness, and the reward of the faithful in Paradise. The spandrels are filled with flowery arabesques in red, green and dark yellow in inlay. The inner walls of the iwan are patterned with blind arches alternating with cartouches.

Taj Mausoleum, Iwan on west: The pishtaq is accentuated by a large inscription in sulus script in a band on its rectangular frame. The texts are selected passages from the Quran which relate to the eschatological programme of the building and make references to the Last Judgment, divine forgiveness, and the reward of the faithful in Paradise. The spandrels are filled with flowery arabesques in red, green and dark yellow in inlay. The inner walls of the iwan are patterned with blind arches alternating with cartouches.

Taj Mausoleum, Iwan on south, calligraphy: The texts chosen refer broadly to the themes of judgment and fruitful paradisiacal rewards for the faithful. The inscriptions over the gateway invite the reader to enter the paradise. And as one enters towards the main mausoleum, the tone of the inscriptions changes from paradisiacal to that of an impending doom that awaits the unbelievers on the Day of Judgment. However, once inside the mausoleum, the tone of the inscriptions changes yet again from judgment to paradisiacal. The text is written in a language close to the 'Thuluth', a style associated in particular with the Persian calligrapher Amanat Khan who resided at the Mughal court and who was responsible for making the calligraphy of the entire Taj Mahal. His signature appears besides many times in the marble.