TAJ MAHAL

The Taj Mahal (pronounced /tɑdʒ mə'hɑl/ ---- Hindi: ताज महल; Persian/Urdu: تاج محل) is a mausoleum located in Agra, India, built by Mughal Emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal.

The Taj Mahal (also "the Taj") is considered the finest example of Mughal architecture, a style that combines elements from Persian, Ottoman, Indian, and Islamic architectural styles. In 1983, the Taj Mahal became a UNESCO World Heritage Site and was cited as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage."

While the white domed marble mausoleum is its most familiar component, the Taj Mahal is actually an integrated complex of structures. Building began around 1632 and was completed around 1653, and employed thousands of artisans and craftsmen. The Persian architect, Ustad Ahmad Lahauri is generally considered to be the principal designer of the Taj Mahal.

Origin and Inspiration

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was grief stricken when his third wife, Mumtaz Mahal, died during the birth of their fourteenth child, Gauhara Begum. The court chronicles of Shah Jahan's grief illustrates the love story traditionally held as an inspiration for Taj Mahal. The construction of Taj Mahal begun soon after Mumtaz's death with the principal mausoleum completed in 1648. The surrounding buildings and garden were finished five years later. Emperor Shah Jahan himself described the Taj in these 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.

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.

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Shah Jahan, who commissioned the Taj Mahal -"Shah jahan on a globe" from the Smithsonian Institution

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Origins and Architecture of the Taj Mahal

The Taj Mahal represents the finest and most sophisticated example of Mughal architecture. Its origins lie in the moving circumstances of its commission and the culture and history of an Islamic Mughal empire's rule of large parts of India.

The distraught Mughal Emperor Shah Jahan commissioned the mausoleum upon the death of his favourite wife, Mumtaz Mahal. Today it is one of the most famous and recognisable buildings in the world and while the white domed marble mausoleum is the most familiar part of the monument, the Taj Mahal is an extensive complex of buildings and gardens that extends over 22.44 Hectares[a] and includes subsidiary tombs, waterworks infrastructure, the small town of 'Taj Ganji' and a 'moonlight garden' to the north of the river. Construction began in 1632 CE, (1041 AH), on the south bank of the River Yamuna in Agra, India and was completed in 1648 CE (1058 AH). The design was conceived as both an earthly replica of the house of Mumtaz in paradise and an instrument of propaganda for the emperor.

Who designed the Taj Mahal is unclear; although it is known that a large team of designers and craftsmen were responsible with Jahan himself taking an active role. Ustad Ahmad Lahauri is considered the most likely candidate as the principal designer.

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Tomb of Humayun shares architectural similarities with the Taj Mahal

Early Mughal Architecture

Mughal Architecture, an amalgam of Islamic, Persian and Indian architecture, is the distinctive style developed by the Mughal Empire in India in the 16th and 17th centuries.

The Mughal Dynasty began with the emperor Babur in 1526. Babur erected a mosque at Panipat to celebrate his victory over Ibrahim Lodi. A second mosque, known as the Babri masjid, was built in Ayodhya and was demolished in 1992 by Hindu extremists. A third mosque also built by Babur during the same period was constructed in Sambhal in District Moradabad.

Some of the first and most characteristic examples that remain of early Mughal architecture were built in the short reign (1540–1545) of emperor Sher Shah Suri, who was not a Mughal; they include a mosque known as the Qila i Kuhna (1541) near Delhi, and the military architecture of the Old Fort in Delhi, Lal Bagh (Dhaka) in Bangladesh , and Rohtas Fort, near Jhelum in present-day Pakistan. His mausoleum, octagonal in plan and set upon a plinth in the middle of an artificial lake, is in Sasaram, and was completed by his son and successor Islam Shah Suri (1545AD-1553AD).

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Akbar The Great

The Emperor Akbar (1556-1605) built largely, and the style developed vigorously during his reign. As in the Gujarat and other styles, there is a combination of Muslim and Hindu features in his works. Akbar constructed the royal city of Fatehpur Sikri, located 26 miles (42 km) west of Agra, in the late 1500s.

The numerous structures at Fatehpur Sikri best illustrate the style of his works, and the great mosque there is scarcely matched in elegance and architectural effect; the south gateway is well known, and from its size and structure excels any similar entrance in India.

The Mughals built impressive tombs, which include the fine tomb of Akbar's father Humayun, and Akbar's tomb at Sikandra, near Agra, which is a unique structure of the kind and of great merit.

(Akbar the Great history will continue)

Jahangir

Tomb of Itimad-ud-Daula, AgraUnder Jahangir (1605–1627) the Hindu features vanished from the style; his great mosque at Lahore is in the Persian style, covered with enamelled tiles.

At Agra, the tomb of Itmad-ud-Daula completed in 1628, built entirely of white marble and covered wholely by pietra dura mosaic, is one of the most splendid examples of that class of ornamentation anywhere to be found.

Jahangir also built the Shalimar Gardens and its accompanying pavilions on the shore of Dal Lake in Kashmir. He also built a monument to his pet antelope, Hiran Minar in Sheikhupura, Pakistan and due to his great love for his wife, after his death she went on to build his mausoleum in Lahore.

(Jehangir will continue)

Shah Jahan the Magnificent
Mughal Emperor - Reign 1628 - 1658

Full name Shabuddin Mohammed Shah Jahan
Born January 5, 1592
Birthplace Lahore
Died January 22, 1666 (age 74)
Place of death Agra
Buried Taj Mahal
Predecessor Jehangir
Successor Aurangazeb
Wives Akbarabadi Mahal (d. 1677)
Kandahari Mahal (b. 1594, m. 1609)
Mumtaz Mahal (b. 1593, m. 1612, d. 1631)
Hasina Begum Sahiba (m. 1617)
Muti Begum Sahiba
Qudsia Begum Sahiba
Fatehpuri Mahal Sahiba (d. after 1666)
Sarhindi Begum Sahiba (d. after 1650)
Shrimati Manbhavathi Baiji Lal Sahiba (m. 1626)
Offspring Jahanara Begum, Dara Shukoh, Shah Shuja, Roshanara Begum,
Aurangzeb, Murad Baksh, Gauhara Begum
Dynasty Mughal
Father Jehangir
Mother Princess Manmati
Religious beliefs Islam

RQ..i will do the reading as time permits but that is one majestic awesome building..

Shah Jahan the Magnificent


Shihab-ud-din Muhammad Shah Jahan I (full title: Al-Sultan al-'Azam wal Khaqan al-Mukarram, Abu'l-Muzaffar Shihab ud-din Muhammad, Sahib-i-Qiran-i-Sani, Shah Jahan I Padshah Ghazi Zillu'llah [Firdaus-Ashiyani]) (also spelled Shah Jehan, Shahjehan. Urdu: شاه ‌جهان), (January 5, 1592 – January 22, 1666) was the ruler of the Mughal Empire in the Indian subcontinent from 1628 until 1658. The name Shah Jahan comes from Persian meaning "King of the World." He was the fifth Mughal ruler after Babur, Humayun, Akbar, and Jahangir. While young, he was a favourite of Akbar.

Even while very young, he could be pointed out to be the successor to the Mughal throne after the death of Jahangir. He succeeded to the throne upon his father's death in 1627. He is considered to be one of the greatest Mughals and his reign has been called the Golden Age of Mughals. Like Akbar, he was eager to expand his empire. The chief events of his reign were the destruction of the kingdom of Ahmadnagar (1636), the loss of Kandahar to the Persians (1653), and a second war against the Deccan princes (1655). In 1658 he fell ill, and was confined by his son Aurangzeb in the citadel of Agra until his death in 1666. On the eve of his death in 1666, the Mughal Empire spanned almost 750,000,000 acres (3,000,000 km2), about 9/10 the size of modern India.

The period of his reign was the golden age of Mugal Architecture. Shah Jahan erected many splendid monuments, the most famous of which is the Taj Mahal at Agra built as a tomb for his wife Mumtaz Mahal (birth name Arjumand Banu Begum). The Pearl Mosque at Agra and the palace and great mosque at Delhi also commemorate him. The celebrated Peacock Throne, said to be worth millions of dollars by modern estimates, also dates from his reign. He was the founder of Shahjahanabad, now known as 'Old Delhi'. The important buildings of Shah Jahan were the Diwan-i-Am and Diwan-i-Khas in the fort of Delhi, the Jama Masjid, the Moti Masjid and the Taj. It is pointed out that the Palace of Delhi is the most magnificent in the East.

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quote:

Originally posted by IK:
RQ..i will do the reading as time permits but that is one majestic awesome building..

Hi IK..you can say that one again...so glad you are a reader...like me...hence love n lil patience ...

BIOGRAPHY

Birth And Early Years

Shah Jahan was born as Prince Khurram Shihab-ud-din Muhammad, in 1592 in Lahore as the third and favorite son of the emperor Jahangir, his mother being a Rathore Rajput Princess, known as Princess Manmati who was Jahangir's wife. The name Khurram - Persian for 'joyful' - was given by his grandfather Akbar.

His early years saw him receive a cultured, broad education and he distinguished himself in the martial arts and as a military commander while leading his father's armies in numerous campaigns - Mewar (1615 CE, 1024 AH), the Deccan (1617 and 1621 CE, 1026 and 1030 AH), Kangra (1618 CE, 1027AH).

He was responsible for most of the territorial gains during his father's reign. He also demonstrated a precocious talent for building, impressing his father at the age of 16 when he built his quarters within Babur's Kabul fort and redesigned buildings within Agra fort

MARRIAGE

In 1607 CE (1025 AH) Khurrum was to marry Arjumand Banu Begum, the grand daughter of a Persian noble, who was just 14 years old at the time. She would become the unquestioned love of his life. They would, however, have to wait five years before they were married in 1612 CE (1021 AH). After their wedding celebrations, Khurram "finding her in appearance and character elect among all the women of the time," gave her the title Mumtaz Mahal (Jewel of the Palace).

The intervening years had seen Khurrum take two other wives known as Akbarabadi Mahal (d.1677 CE, 1088 AH), and Kandahari Mahal (b. c1594 CE, c1002 AH), (m.1609 CE, 1018 AH). By all accounts however, Khurrum was so taken with Mumtaz, that he showed little interest in exercising his polygamous rights with the two earlier wives, other than dutifully siring a child with each.

According to the official court chronicler Qazwini, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favor which His Majesty had for the Cradle of Excellence [Mumtaz] exceeded by a thousand times what he felt for any other.

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A brief pause to note:

Shah Jahan Mother as stated was Princess Manmati

Princess Manmati, Taj Bibi Bilqis Makani Begum Sahiba Jodh Bai, née Rajkumari Shri Manavati Baiji Lall Sahiba (May 13, 1573 – April 18, 1619, Agra) was a lady of Rajput birth who became the wife of Nurudin Salim Jahangir and mother of Shahabuddin Mohammad Shah Jahan mughal emperors.

Manmati was born the daughter of Raja Shri Udai Singhji Sahib Bahadur (Udai Singh), Raja of Jodhpur, by his wife Shri Rajavat Kachavahi Rani Manrang Deviji Sahiba (Rani Manrang Devi). On January 21, 1586, she was married to the future mughal emperor Jahangir at Fatehpur Sikri.

Princess Manmati was Jehangir's third wife. She had one son who ascended the peacock throne as emperor Shah Jahan. Manmati died at Akbarabad, and was buried at Sohagpura.

(Princess Manmati history will continue)

Prince Khurram (Shah Jahan) with his son Dara Shikoh: Leaf from an album made for Emperor Shah Jahan, ca. 1620; Mughal, period of Jahangir (1605–27)
By Nanha; India

This superbly painted image framed by a splendid border shows the future emperor admiring jewels with his favorite son. Holding a tray of emeralds and rubies, the father contemplates a ruby in his right hand, while the child grasps a peacock fan and a turban ornament. They are seated on a raised dais that is placed at an uncharacteristic angle to the picture plane. Both father and son are turned toward the viewer but, as with most Mughal portraits, their heads are seen in strict profile. The sumptuousness of court life is conveyed in the detailed depiction of the jewels, the gilded furniture, the textiles, and, most spectacularly, the large bolster with its designs of figures and plants. The asymmetry of the page and the naturalistic scene set against a large expanse of mostly undifferentiated background are especially strong design elements. In many ways these features relate to a traditional Rajput sensibility, which undoubtedly informs this work. The composition is further enhanced by the border, whose flora and fauna are unusually varied and freely disposed.


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quote:

Originally posted by RQ:

quote:

Originally posted by IK:
RQ..i will do the reading as time permits but that is one majestic awesome building..

Hi IK..you can say that one again...so glad you are a reader...like me...hence love n lil patience ...

RQ..i love reading but sometimes i'm so busy it's hard to do...am gone have some chores to do..have a goodnight

Shah Jahan Riding with son - Dara Shikoh

Shah Jahan - Mumtaz Mahal

Shah Jahan seated on Peacock throne

Accession

Inheritance of power and wealth in the Mughal empire was not determined through primogeniture, but by princely sons competing to achieve military successes and consolidating their power at court. This often led to rebellions and wars of succession. As a result, a complex political climate surrounded the Mughal court in Khurram's formative years.

In 1611 his father married Nur Jahan, the widowed daughter of a Persian immigrant. She rapidly became an important member of Jahangir's court and, together with her brother Asaf Khan, wielded considerable influence. Arjumand was Asaf Khan's daughter and her marriage to Khurrum consolidated Nur Jahan and Asaf Khan's positions at court.

Khurram's military successes of 1617 CE (1026 AH) against the Lodi in the Deccan effectively secured the southern border of the empire and his grateful father rewarded him with the prestigious title 'Shah Jahan Bahadur' (Lord of the World) which implicitly sealed his inheritance. Court intrigues, however, including Nur Jahan's decision to have her daughter from her first marriage wed Shah Jahan's youngest brother and her support for his claim to the throne led Khurram, supported by Asaf Khan, into open revolt against his father in 1622.

The rebellion was quelled by Jahangir's forces in 1626 and Khurram was forced to submit unconditionally. Upon the death of Jahangir in 1627, Khurram succeeded to the Mughal throne as Shah Jahan, King of the World and Lord of the Auspicious Conjunctions, the latter title alluding to his pride in his Timurid roots.

Despite her frequent pregnancies, Mumtaz Mahal travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. Mumtaz Mahal was utterly devoted — she was his constant companion and trusted confidante and their relationship was intense. She is portrayed by Shah Jahan's chroniclers as the perfect wife with no aspirations to political power. This is in direct opposition to how Nur Jahan had been perceived.

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Shah Jahan's court

Rule

Although his father's rule was generally peaceful, the empire was experiencing challenges by the end of his reign. Shah Jahan reversed this trend by putting down a [Islamic] rebellion in Ahmednagar, repulsing the Portuguese in Bengal, capturing the Rajput kingdoms of Baglana and Bundelkhand to the west and the northwest beyond the Khyber Pass. Shah Jahan's military campaigns drained the imperial treasury.

Under his rule, the state became a huge military machine and the nobles and their contingents multiplied almost fourfold, as did the demands for more revenue from the peasantry. It was however a period of general stability — the administration was centralised and court affairs systematised. Historiography and the arts increasingly became instruments of propaganda, where beautiful artworks or poetry expressed specific state ideologies which held that central power and hierarchical order would create balance and harmony. The empire continued to expand moderately during his reign but the first signs of an imperial decline were seen in the later years.

His political efforts encouraged the emergence of large centres of commerce and crafts — such as Lahore, Delhi, Agra, and Ahmedabad — linked by roads and waterways to distant places and ports. He moved the capital from Agra to Delhi.

Under Shah Jahan's rule, Mughal artistic and architectural achievements reached their zenith. Shah Jahan was a prolific builder with a highly refined aesthetic. He built the legendary Taj Mahal in Agra as a tomb for his beloved wife, Mumtaz Mahal. Among his other surviving buildings are the Red Fort and Jama Masjid in Delhi, the Shalimar Gardens of Lahore, sections of the Lahore Fort (such as Sheesh Mahal, and Naulakha pavilion), and his father's mausoleum.

Legend has it that Shah Jahan wanted to build a black Taj Mahal for himself, to match the white one he reportedly loved much more. There is no reputable scholarship to support this hypothesis, however.

It is believed that Shah Jahan cut the hand of the chief architect who built Taj Mahal thinking another such Taj Mahal will never be built again.

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More on these eternal lovers... continues t'ow....

MUMTAJ MAHAL


Mumtāz Mahal (April, 1593 - 17 June 1631) (Persian, Urdu: ممتاز محل; pronunciation /mumtɑːz mɛhɛl/; meaning "beloved ornament of the palace") is the common nickname of Arjumand Banu Begum, an Indian-Persian Empress in the Mughal Dynasty. She was born in Agra, India. Her father was the Persian noble Abdul Hasan Asaf Khan, the brother of Nur Jehan (who subsequently became the wife of the emperor Jahangir). She was religiously a Shi'a Muslim. She was married at the age of 19, on 10 May 1612, to Prince Khurram, who would later ascend the Peacock Throne as Mughal emperor Shah Jahan I. She was his third wife, and became his favorite. She died in Burhanpur in the Deccan (now in Madhya Pradesh) during the birth of their fourteenth child, a daughter named Gauhara Begum. Her body remained at Burhanpur for 23 years until the Taj was completed. Only then was her coffin shifted to Agra. Her body was then buried in the Taj Mahal in Agra.

Brief Biography - Part 1 - Marriage


In 1607 AD (1016 AH), Prince Khurrum was betrothed to Arjumand Banu Begum, who was just 14 years old at the time. She would become the unquestioned love of his life. They would however, have to wait five years before they were married in 1612 AD (1021 AH), on a date selected by the court astrologers as most conducive to ensuring a happy marriage. After their wedding celebrations, Khurram "finding her in appearance and character elect among all the women of the time", gave her the title 'Mumtaz Mahal' Begum (Chosen One of the Palace).

The intervening years had seen Khurrum take two other wives. By all accounts however, Khurram was so taken with Mumtaz, that he showed little interest in exercising his polygamous rights with the two earlier wives, other than dutifully siring a child with each. According to the official court chronicler, Qazwini, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which His Majesty had for the Cradle of Excellence (Mumtaz) exceeded by a thousand times what he felt for any other."

Mumtaz Mahal had a very deep and loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, gracefulness and compassion. Mumtaz Mahal was Shah Jahan's trusted companion, travelling with him all over the Mughal Empire. He trusted her so far that he even gave her his imperial seal, the Muhr Uzah. Mumtaz was portrayed as the perfect wife with no aspirations to political power in contrast to Nur Jehan, the wife of Jahangir who had wielded considerable influence in the previous reign. She was a great influence on him, apparently often intervening on behalf of the poor and destitute. But she also enjoyed watching elephant and combat fights performed for the court. It was quite common for women of noble birth to commission architecture in the Mughal Empire. Mumtaz devoted some time to a riverside garden in Agra.

Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant and their relationship was intense. Indeed, the court historians go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their nineteen years of marriage, they had thirteen children together, seven of whom died at birth or at a very young age.

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Brief Biography - Part 2 - Death

Mumtaz died in Burhanpur in 1631 AD (1040 AH), while giving birth to their fourteenth child. She had been accompanying her husband whilst he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. Rumour has it that on her deathbed, her last wish to the emperor was for a symbol or a monument to their love. She also asked her husband not to marry anyone. Inconsolable, the Emperor promised immediately. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently after her death, Shah Jahan went into secluded mourning for a year.[citation needed] When he appeared again, his hair had turned white, his back was bent, and his face worn. Jahan's eldest daughter, the devoted Jahanara Begum, gradually brought him out of grief and took the place of Mumtaz at court.

Her personal fortune valued at 10,000,000 rupees was divided by Shah Jahan between Jahanara Begum, who received half and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja and the head lady in waiting of the deceased Empress back to Agra. There it was interred in a small building on the banks of the Yumma River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally bought him to the region. While there he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife, a task that would take more than 22 years to complete, the Taj Mahal.

Today, the Taj Mahal stands as the ultimate monument to love, and an homage to her beauty and life.

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Shah Jahan - Mumtaj Mahal - Eternal Love

Shah Jahan - Mumtaz Mahal

Shah Jahan & Mumtaj Mahal Children

1. Shahzadi Huralnissa Begum (1613 - 1616)

2. Shahzadi (Imperial Princess) Jahanara Begum ) (1614 - 1681)

3. Shahzada (Imperial Prince) Dara Shikoh (1615 - 1659)

4. Shahzada Mohammed Sultan Shah Shuja Bahadur (1616 - 1660)

5. Shahzadi Roshanara Begum (1617 - 1671)

6. Badshah Mohinnudin Mohammed Aurangzeb (1618 - 1707)

7. Shahzada Sultan Ummid Baksh (1619 - 1622)

8. Shahzadi Surayya Banu Begum (1621 - 1628)

9. Shahzada Sultan Murad Baksh (1624 - 1661)

10. Shahzada Sultan Luftallah (1626 - 1628)

11. Shahzada Sultan Daulat Afza (1628 - ?)

12. Shahzadi Husnara Begum (1630 - ?)

13. Shahzadi Gauhara Begum (1631 - 1707)

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(History of their Children will continue later)

Boat on the Yamuna river...behind the Taj Mahal

In this picture taken 25 October 2006, Indian Muslim devotees offer prayers at The Taj Mahal in Agra. In spite of air pollution monitoring and curbs on nearby industrial activity India's famed monument to love, the Taj Mahal, is still turning yellow, a parliamentary committee has found according to Indian newspaper reports 15 May 2007. In a bid to preserve the Taj, the Supreme Court a decade ago ordered the closure or relocation of thousands of smoke-spewing iron foundries, brick kilns and glass-making units near the massive tomb. The magnificent white-marbled, 17th-century Taj Mahal was built by emperor Shah Jahan as a tomb for his beloved queen, Mumtaz Mahal, who died while giving birth to their 14th child.

a view with the golden rays of the rising sun striking the Taj Mahal...

A view of the rays of the setting sun on the Taj Mahal...

Movie - Taj Mahal (1963)

Director: M. Sadiq

Writing credits: (in alphabetical order)

Qamar Jalalabadi - screenplay
Qamar Jalalabadi - story
Tabish Sultanpuri - dialogue

Genre: Drama | Romance | Musical

Cast (Cast overview, first billed only)

Bina Rai ... Arjuman Banoo / Malka-E-Alam Mumtaz
Pradeep Kumar ... Shehzada Khurram / Shah Jehan
Jabeen Jalil ... Ladli Banoo
Veena ... Malka-E-Alam Noor Jehan / Mehrunissa
Jeevan Kala
Madhumati
Ruby Mayer ... Arjuman Banoo's Governess (as Sulochana)
Lata Sinha
Sujata
Helen ... Court Dancer - song 'Na Nare Na Na'
Minoo Mumtaz ... Gulbadan (as Minu Mumtaz)
Rehman ... Shahenshan Jehangir
Jeevan ... Shehzada Saifuddin Shahryar Qazi
Murad ... Mahabat Khan
Balam

Synopsis:

It was at the Meena Bazar that Shehzada Khurram first laid eyes on Arjuman Banu. When their eyes met it was love at first sight for both of them. When Queen Noor Jehan, one of the wives of Shahenshah Jehangir, finds out she is enraged, as she wants Khurram to get married to her daughter, Ladli Banu, even though Arjuman is her niece. She plots to hold Arjuman as a prisoner in her palace, but in vain; then she attempts to have Khurram sent away to battle - again in vain, as Khurram returns triumphant, and is named 'Shah Jehan'. Then she has her step-son, Saifuddin, arrange to kill Khurram - again in vain. Khurram gets stabbed but with Arjuman's help he recovers, returns home, but does not tell his father, fearing for his health. When Jehangir hears of Arjuman's assistance, he gladly arranges their marriage, while Saifuddin ends up marrying Ladli. Then Khurram is sent away to another kingdom, leaving Noor Jehan to plot against him. When Jehangir falls ill, she takes over the reins, has Khurram declared an intruder and sends her armies to bring him in or alternatively his two sons. Watch as events unfold, which will ultimately lead to the building of one of the seven wonders of the world - The Taj Mahal


Filmfare Awards:

Year Result Award Category/Recipient(s)

1964 - Won Filmfare Award: Best Lyricist Sahir Ludhianvi
For the song "Jo vada kiya woh nibhana padega".

Best Music Director: Roshan

Nominated Filmfare Award Best Playback Singer - Female: Lata Mangeshkar
For the song "Jo Waada Kiya Woh Nibhana padega"

jo waada kiya woh

Movie : Taj Mahal (1963)
Singer : Lata Mangeshkar, Mohd Rafi
Music Director : Roshan
Lyrics : Sahir Ludhianvi
Year : 1963
Producer : Pushpa Pictures
Director : Sadiq M
Actors : Beena Roy, Pradeep Kumar

Hindi Lyrics Translation

Movie : TAJMAHAL
Song : Jo Vaada Kiya Woh Nibhaana Padega


Jo Vaada Kiya Woh Nibhaana Padega
You have to keep the promise that you have made

Roke Zamaana Chaahe Roke Khudaai
Even if the world or the Lord stops you

Tumko Aana Padega
you have to come


Tarasti Nigaahon Ne Aawaz Di Hai
The longing/ fearful eyes have called out to you

Mohabbat Ki Aahon Ne Awaaz Di Hai
the desperate sighs of love are calling out to you

Jaane Hayaa Jaane Ada Chodo Tarsaana
Life of modesty and life of grace, please don't put me to fear

Tumko Aana Padega
You have to come

Ye Maana Hamein Jaan Se Jaana Padega
I agree that I have to go from the world

Par Ye Samajh Lo Tumne Jab Bhi Pukaara
But understand this that whenever you give a call

Humko Aana Padega...
I will have to come

Hum Apni Wafaa Pe Na Ilzaam Lenge
We will not take blame to our loyalty/love

Tumhe Dil Diya Hai Tumhe Jaan Bhi Denge
I have given you my heart, will also give you my soul


Jab Ishq Ka Sauda Kiya, Phir Kya Ghabraana
Now that I have traded my love for yours, why be afraid

Humko Aana Padega
I have to come


Chamakte Hain Jab Tak Yeh Chaand Aur Taare
Until the time the stars and the moon shine

Na Tootenge Ab Keh Do Paimaan Hamaare
Our promise will never break, say it

Ek Doosra Jab De Sadaa Hoke Dewaana
When the other gives out/ goes around like crazy

Humko Aana Padega
we have to come

jurm-e-ulfat

Lyrics...Jurm -E-Ulfat

Jurm-E-Ulfat Pe Hamen Log Sazaa Dete Hain - 2
Kaise Naadaan Hain, Sholon Ko Havaa Dete Hain
Kaise Naadaan Hain

Hamse Divaane Kahin Tar Ke Vafaa Karate Hain - 2
Jaan Jaaye Ki Rahe Baat Nibhaa Dete Hain
Jaan Jaaye...

Aap Daulat Ke Taraazu Main Dilon Ko Taulen - 2
Ham Mohabbat Se Mohabbat Ka Silaa Dete Hain
Ham Mohabbat Se...

Takt Kya Chiiz Hai Aur Laal-Javaahar Kya Hai - 2
Ishq Vale To Khudaai Bhi Luta Dete Hain
Ishq Vaale ...

Hamane Dil De Bhi Diyaa Ehad-E-Vafaa Le Bhi Liyaa - 2
Aap Ab Shokh Se Deden Jo Sazaa Dete Hain
Jurm-E-Ulfat Pe Hamen Log Sazaa Dete Hain

jo baat tujh mein

Hindi lyrics

Jo Baat Tujh Mein Hai Terii Tasvir Mein Nahin, Tasvir Mein Nahin
Jo Baat Tujh Mein Hai

RangonN MeinN Teraa Aks Dhalaa, Tuu Na Dhal Sakii
Saason Ki Aanch Jism Ki Kushabuu Na Dhal Saki
Tujh Mein, Tujh Mein Jo Loch Hai Terii Taharir Mein Nahin
Taharir Mein Nahin
Jo Baat Tujh Mein Hai Teri ...

Bejaan Husn Mein Kahaan Raftaar Ki Adaa
Inakaar Kii Adaa Hai Na Iqaraar Ki Adaa
Koi, Koi Lachak Bhi Zulf-E-Girahagiir Mein Nahin
Jo Baat Tujh Mein Hai Teri ...

Duniyaa Mein Koi Chiiz Nahin Hai Teri Taraha
Phir Ek Baar Saamane Aa Jaa Kisi Taraha
Kyaa Aur, Kyaa Aur Ek Jhalak Meri Taqadir Mein Nahin
Taqadiir Mein Nahin
Jo Baat Tujh Mein Hai Teri ...

paanv choo lene do

Paanv Chhu Lene Do
Here is the song 'Paanv Chhu Lene Do' from movie 'Tajmahal'.


paanv chhoo lene do phoolon ko inaayat hogi, inaayat hogi
Let the flowers touch your feet, it will be a favor

varnaa hamko nahin, inko bhi shikaayat hogi
else not only I, they too will protest

shikaayat hogi
will protest


aap jo phool bichhaayen unhen ham Thukraayen - 2
If you cast flowers and I reject them

hamko dar hai
I am afraid

hamko Dar hai ke ye tauheen-e-muhabbat hogi
I am afraid that it will be an insult of love

muhabbat hogi
of love


dil ki bechain umangon pe karam farmaao - 2
The restless yearnings of my heart, please be so kind

itnaa ruk ruk
If you pause

itnaa ruk ruk ke chaloge to qayaamat hogi
If you pause while walking (to me) it will be end of the world

qayaamat hogi
be end of the world


sharm roke hai idhar, shauq udhar khinche hai - 2
Modesty holds me back, eagerness pulls me there

kyaa khabar thi
Who knew

kyaa khabar thi kabhi is dil ki ye haalat hogi
Who knew that of my heart, such will be the state

ye haalat hogi
be the state


sharm gairon se huaa karti hai apnon se nahin - 2
Diffidence is fine with outsiders, not with dear ones

sharm ham se
Diffidence with me

sharm ham se bhi karoge to museebat hogi
Diffidence with me from you, it will be a disaster

museebat hogi
it will be disaster

paanv chhoo lene do phoolon ko inaayat hogi, inaayat hogi
Let the flowers touch your feet, it will be a favor

hamko Dar hai ke ye tauheen-e-muhabbat hogi, muhabbat hogi
I am afraid that it will be an insult of love

Courtesy - hindi-lyrics

na na re na na

Lyrics...

na na na re na na, haath na lagaanaa
tose baar baar kahoon mohe na sataanaa
dooNgi gaariyaan
roop ye suhaanaa, uspe ye baalaa
gori tori akhiyaan hai rang kaa khazaanaa
laage pyaariyaan

bhaiyaa moraa gabroo hai, ( sainyaa moraa baankaa ) -2
chaalengi kataaren tere ( muD ke jo jhaankaa ) -2
royegaa tor khadaa na na jaan ganvaanaa ye ( mainn boloon ) -2
main doongi gaariyaan
na na na re na na, haath na lagaanaa
tose baar baar kahoo mohe na sataanaa
doongi gaariyaan

nainon ki kataari laage, ( man pe jo thaari ) -2
gensoo jhuke jo tori ( chhab matvaari ) -2
roop jhalak dikhlaanaa nahin tarsaanaa
o na bolo ye batiyaan na bolo gaariyaan
roop ye suhaanaa, uspe ye baalaa
gori tori akhiyaan hai rang kaa khazaanaa
laage pyaariyaan

roop ke khazaane pe hai ( sainyaa ji kaa pahraa ) -2
jiven more saiyaan jaase ( pyaar moraa gahraa ) -2
tu hai purush anjaanaa, binaa pahchaanaa
re ( main boloon ) -2
main doongi gaariyaan
mi: roop ye suhaanaa, uspe ye baalaa
gori tori akhiyaan hai rang kaa khazaanaa
laage pyaariyaan
su: na na na re na na, haath na lagaanaa
tose baar baar kahoon mohe na sataanaa
doongi gaariyaan

chandi ka badan

Singers: Asha Bhosle, Manna Dey, Meena Kapoor, Mohd Rafi

Hindi Lyrics: courtesy mil...

chaandi kaa badan sone kii nazar
us par ye nazaakat kyaa kahiye
eji kyaa kahiye
kis kis pe tumhaare jalvon ne
todi hai qayaamat kyaa kahiye
ejii kyaa kahiye
chaandi kaa badan sone kii nazar

Female:
gustaaKh zubaan gustaakh nazar
ye rang-e-tabiyat kyaa kahiye
ejii kyaa kahiye
aise bhii kahin is duniyaa mein
hoti hai muhabbat kyaa kahiye
ejii kyaa kahiye
GustaaKh zubaan gustaakh nazar

Male:
aanchal ki dhanak ke saaye me.n
ye phuul gulaabii cheharon ke
ye phuul gulaabii haaye gulaabii cheharon ke
is vaqt hamaarii nazaron mein
kyaa chiiz hai jannat kyaa kahiye
ejii kyaa kahiye
is vaqt hamaarii nazaron mein

tumase nazaren jo milin
diin-o-duniyaa se gaye
ik tamannaa ke sivaa
har tamannaa se gaye
mast aankhon se jo pii
jaam-o-miinaa se gaye
zulf laharaai jahaan
ham bhii laharaa se gaye
huure.n milatii hain kise
is kii paravaah se gaye
is kii paravaah se, paravaah se,
se gaye

is vaqt hamaarii nazaron mein
kyaa chiiz hai jannat kyaa kahiye
ejii kyaa kahiye
chaandi kaa badan sone kii nazar

Female:
yuun garm nigaahein mat daalo
ye jism pighal bhii pighal bhii sakate hain
ye jism pighal bhii sakate hai.n
ude na kahin ruup ki shabanam *
garm nigaahen Daalo kam-kam *
aadaab-e-nazaaraa bhuule ho - 2
tum logon kii vahashat kyaa kahiye
eji kyaa kahiye

tum hamein jeet sako
is kaa imkaan nahin
Khud ko badanaam karen
ham vo naadaan nahin
koi marataa hai mare
ham pe ehasaan nahin
un se kyuun baat karen
jin se pahachaan nahin
tum ko aramaan hai to hai
ham ko aramaan nahin
ham ko aramaan ke aramaan ke aramaan nahin
aadaab-e-nazaaraa bhuule ho
tum logon ki vahashat kyaa kahiye
ejii kyaa kahiye

gustaakh zubaan gustaakh nazar

Male:
jin logon ko tum Thukaraa ke chalo *
vo log bhii qismat vaale hain *
tum jis kii tamannaa kar baiTho *
un logon kii qismat kyaa kahiye *
ejii kyaa kahiye

ye javaanii ye adaa **
kyon na maGaruur ho tum **
farsh par utarii hue **
arsh kii huur ho tum **
shoKh jalvon kii qasam **
sholaa-e-tuur ho tum **
koii dekhe to kahe **
nashe mein chuur ho tum **

tum jis kii tamannaa kar baiTho *
un logon kii qismat kyaa kahiye *
ejii kyaa kahiye

chaandii kaa badan sone kii nazar

Female:
din raat duhaai dete hain
ye haal hai in diivaanon kaa
jahaan dekhii naii suurat machal baithe
yahii, yahii, yahii lenge
ye haal hai in diivaanon kaa diivaanon kaa

Male:
jin kii Khaatir Gam sahen aur ro-ro jaan gavaayen
haay rii qismat unhin ke muunh se diivaane kahalaayen

Female:
in aashiqon ke haath hai
ai zindagii bavaal
in kaa karen khayaal ke
apanaa karen khayaal
har lab arz-e-shauq to
har aankh hai savaal
ye Gam se beqaraar hai
vo dard se niDhaal

arey ye haal hai in diivaanon kaa
ye haal hai in diivaanon kaa

Male:
meri neend gai meraa chain gayaa
vo jo pahale thi taab-o-tabaan gai
yahii rang rahaa yahi Dhang rahaa
to ye jaan lo jaan kii jaan gaii

ye haal hai in diivaanon kaa - 2

Female:
kisii ko Khud-Khushii kaa, shauq ho to, kyaa kare koii

Male:
davaa-e-hijr de, biimaar ko, achchhaa kare koii

Female:
koii bevajah sar phode to kyon paravaah kare koii

Male:
kisii majabuur-e-Gam kaa haal kyon aisaa kare koii

Female:
mazaa to hai ke jab tum,
tum ta.Dapaa karo,
dekhaa kare koi

Male:
maren ham aur tum par,
ke tum par Khuun kaa
daavaa kare koi

haan, daavaa kare koi

ye haal hai in divaanon kaa, divaanon kaa

Female:
jite bhi nahin marate bhii nahin
bechaaron ki haalat kyaa kahiye
eji kyaa kahiye

chaandii kaa badan sone ki nazar

jo wada kiya ho

Taj Mahal Movie clip - Part 2 of song...as the great King grew old...n remembers his Queen.

jo wada kiya

Lataji sings live...

Love is varied....
this is the first time i have read the translation of this song which has torn at my heart for yrs and yrs.

1990, i took my eldest (only at the time) to GY...in the video, my brother played this song so that the videographer can have it in the background

the trans. has added to my love and understanding of the emotional hold this song has on my heart-strings

quote:

Originally posted by RQ:
jo waada kiya woh

Movie : Taj Mahal (1963)
Singer : Lata Mangeshkar, Mohd Rafi
Music Director : Roshan
Lyrics : Sahir Ludhianvi
Year : 1963
Producer : Pushpa Pictures
Director : Sadiq M
Actors : Beena Roy, Pradeep Kumar

Hindi Lyrics Translation

Movie : TAJMAHAL
Song : Jo Vaada Kiya Woh Nibhaana Padega


Jo Vaada Kiya Woh Nibhaana Padega
You have to keep the promise that you have made

Roke Zamaana Chaahe Roke Khudaai
Even if the world or the Lord stops you

Tumko Aana Padega
you have to come


Tarasti Nigaahon Ne Aawaz Di Hai
The longing/ fearful eyes have called out to you

Mohabbat Ki Aahon Ne Awaaz Di Hai
the desperate sighs of love are calling out to you

Jaane Hayaa Jaane Ada Chodo Tarsaana
Life of modesty and life of grace, please don't put me to fear

Tumko Aana Padega
You have to come

Ye Maana Hamein Jaan Se Jaana Padega
I agree that I have to go from the world

Par Ye Samajh Lo Tumne Jab Bhi Pukaara
But understand this that whenever you give a call

Humko Aana Padega...
I will have to come

Hum Apni Wafaa Pe Na Ilzaam Lenge
We will not take blame to our loyalty/love

Tumhe Dil Diya Hai Tumhe Jaan Bhi Denge
I have given you my heart, will also give you my soul


Jab Ishq Ka Sauda Kiya, Phir Kya Ghabraana
Now that I have traded my love for yours, why be afraid

Humko Aana Padega
I have to come


Chamakte Hain Jab Tak Yeh Chaand Aur Taare
Until the time the stars and the moon shine

Na Tootenge Ab Keh Do Paimaan Hamaare
Our promise will never break, say it

Ek Doosra Jab De Sadaa Hoke Dewaana
When the other gives out/ goes around like crazy

Humko Aana Padega
we have to come

Chami..took a while to find this trans..after checking several lyrics sites...
am glad to be able to add something Xspecial to your life - memory album -
my fav lil/big didi...aren't yuh glad am back n started this thread...
on our Famous Eternal Lovers...

Architecture

Main Central Room - The tomb

The focus of the Taj Mahal is the white marble tomb, which stands on a square plinth consisting of a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome. Like most Mughal tombs, basic elements are Persian in origin.


The base structure is a large, multi-chambered structure. The base is essentially a cube with chamfered edges and is roughly 55 meters on each side (see floor plan, right). On the long sides, a massive pishtaq, or vaulted archway, frames the iwan with a similar arch-shaped balcony.

On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on chamfered corner areas as well. The design is completely symmetrical on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level.

The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top is decorated with a lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements.

The main dome is crowned by a gilded spire or finial. The finial, made of gold until the early 1800s, is now made of bronze. The finial provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of Shiva.

At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The minaret chattris share the same finishing touches, a lotus design topped by a gilded finial. Each of the minarets were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb.

source

Simplified diagram of the Taj Mahal floor plan

Main iwan and side pishtaqs

Base, Dome & Minaret

Exterior Decoration

The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture. As the surface area changes, a large pishtaq has more area than a smaller one, and the decorations are refined proportionally. The decorative elements were created by applying paint or stucco, or by stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs.

The calligraphy found in Taj Mahal are of florid thuluth script, created by Persian calligrapher Amanat Khan, who signed several of the panels. The calligraphy is made by jasper inlaid in white marble panels, and the work found on the marble cenotaphs in the tomb is extremely detailed and delicate. Higher panels are written slightly larger to reduce the skewing effect when viewing from below. Throughout the complex, passages from the Qur'an are used as decorative elements. Recent scholarship suggests that Amanat Khan chose the passages as well. The texts refer to themes of judgment and include the following Surahs:

Ash-Shams

Surat Ash - Shams (Arabic: الشمس‎ aš-Šams, The Sun) is the 91st sura of the Qur'an with 15 ayat. It opens with a series of solemn oaths sworn on various astronomical phenomena, the first of which, "by the sun", gives the sura its name, then on the human soul itself. It then describes the fate of Thamud, a formerly prosperous extinct Arab tribe. The prophet Saleh urged them to worship God alone, and commanded them in God's name to preserve a certain she-camel; they disobeyed and continued to reject his message, and God destroyed them all except those who had followed Salih.

Al-Ikhlas

Al-Ikhlas (Arabic: سورة الإخلاص‎) (The Fidelity), aka At-tawhid (سورة التوحيد) (Monotheism) is the 112th Sura of the Qur'an. It is a short declaration of tawhid, God's absolute unity, consisting of 4 ayat. Al-Ikhlas means "the purity" or "the refining", meaning to remain pure and faithful or a state of purging one's soul of non-Islamic beliefs, such as paganism and polytheism.

It is disputed whether this is a Makkan or Madinan sura. The former seems more probable, particularly since it seems to be have been alluded to by Bilal, who, when he was being tortured by his cruel master, is said to have repeated "Ahad, Ahad!" (unique, referring as here to Allah). It is reported from Ubayy ibn Ka'b that it was revealed after the polytheists asked "O Muhammad! Tell us the lineage of your Lord."

Summary

This sura establishes the Oneness of the Creator: the doctrine of Tawhid. It says that God is without equal, without origin, without end, and unlike anything else that exists. The fourth line, "Nothing is like Him", is a fundamental statement of tanzih; God as the incomparable.

This sura was inscribed on the Dome of the Rock at Jerusalem by Abd al-Malik ibn Marwan. By Md Nafees Khan.

Al-Fajr

Surat Al-Fajr (Arabic: سورة الفجر‎ Sūrat ul-Faǧr, The Dawn, Daybreak) is the 89th sura of the Qur'an with 30 ayat.

The sura describes destruction of disbelieving peoples, such as Ancient Egyptians and the people of Iram of the Pillars. It condems those who love wealth and look with disdain upon the poor and orphans. Righteous people are promised Paradise - the final verse says "Enter thou My Heaven".

Red Sunrise - Daybreak

Ad-Dhuha

Surah Ad-Dhuha (Arabic: الضحى‎ aḍ-Ḍuḥà, The Morning Hours, Morning Bright) is the 93rd sura of the Qur'an with 11 ayat.

Although there is some debate amongst scholars, this sura in often considered to be the second revealed to Muhammad. After the first sura (al-Alaq) was received, there was a period of silence in which no further messages were revealed. During this time, the new Prophet wondered if he had somehow displeased God, who it seemed for a while was no longer sending down His message. This sura broke that silence, and reassured Muhammad that all will be understood in time. The image of the morning (ad-Dhuha) is the first word of the sura, and can be understood as symbolizing Muhammad's "new day" as the Messenger of God, as well as the "dawn" of the new way of life that would become Islam. After this sura, the visitations of Gabriel with the words of the Qur'an would come to Muhammad regularly until his death.

Because of subject matter, length, style, and placement in the Qur'an, this sura is often coupled with Sura Al-Inshirah. They are generally considered to have be revealed around the same time.

At-Tīn

Surat At-Tin (Arabic: التين‎ at-Tīn, The Fig, The Figtree) is the 95th sura of the Qur'an with 8 ayat.

This sura opens by mentioning the fig (the sura's namesake), the olive, Mount Sinai, and "this city secured" (generally considered to be Mecca).

(1) CONSIDER the fig and the olive, (2) and Mount Sinai, (3) and this land secure!

Muhammad Asad, the author of The Message of The Qur'an comments on these verses as follows:

The "fig" and the "olive" symbolize, in this context, the lands in which these trees predominate: i.e., the countries bordering on the eastern part of the Mediterranean, especially Palestine and Syria. As it was in these lands that most of the Abrahamic prophets mentioned in the Qur’an lived and preached, these two species of tree may be taken as metonyms for the religious teachings voiced by the long line of those God-inspired men, culminating in the person of the last Judaic prophet, Jesus. "Mount Sinai", on the other hand, stresses specifically the apostleship of Moses, inasmuch as the religious law valid before, and up to, the advent of Muhammad - and in its essentials binding on Jesus as well - was revealed to Moses on a mountain of the Sinai Desert. Finally, "this land secure" signifies undoubtedly (as is evident from 2:126) Mecca, where Muhammad, the Last Prophet, was born and received his divine call. Thus, verses 1-3 draw our attention to the fundamental ethical unity underlying the teachings - the genuine teachings - of all the three historic phases of monotheistic religion, metonymically personified by Moses, Jesus and Muhammad. The specific truth to be considered here is referred to in the next three verses.

The cosmology of the Qur'an states that God made mankind out of clay. This sura suggests not only this, but that the mould which God used for man was "the best possible". The lowness of the clay has set humanity apart from God; because clay is heavier and more solid than fire, from which the Jinn were made, or light, from which the angels came.

However, not all humanity is condemned to absolute removal from God's company. The passage continues that "those who believe and do what is right will have a reward that will never be cut off". A human life, when perfected, will thus rise above its modest origins, giving the human condition a unique possibly for glory on the Last Day. God's judgment, for Heaven or Hell, cannot be contradicted, for "Is not God the best of judges?"

A fruiting Common Fig tree (F. carica)

Olive tree fm Jordan

Al-Inshirah

Surat Al-Inshirah (Arabic: الإنشراح‎ al-ʾInširāḥ, Solace or Comfort) is the 94th sura of the Qur'an with 8 ayat; revealed in Mecca.

The passage asks the reader, who is Muhammad specifically, if God has been a comfort and a remover of obstacles. In fact, whatever personal sorrows this may bring to mind, "Surely, with each difficulty there is ease". This may indeed be the key phrase of this sura; it is repeated in lines 5 and 6. Conversely, the reader is asked to continue their work diligently, even when it grows simple again - for God Himself is what you are working for.

It is typically assumed that this sura is referring to the early days of Muhammad's prophethood, when he would have been both confused by the revelations, and unsure about how his people would receive him. Because of subject matter, length, style, and placement in the Qur'an, this sura is often coupled with Sura ad-Dhuha. They are generally considered to have be revealed around the same time.

A map of Mecca, circa 1790. Sura Al-Inshirah was revealed in Mecca, around 611 C.E.

Ya-Sin

Surah Ya-Sin (Arabic: سورة يس‎) is the 36th 'chapter' of Qur'an with 83 ayat, and was revealed in the Islamic holy city of Mecca. It is given the honorary title of "the Heart of the Qur'an".According to Islamic tradition this Surah has many benefits, and it is read by Muslims at the Janazah (funeral) prayer. Muhammad's sayings in the Hadith, as well as the works of scholars like Imam Tirmizi who studied under Imam Bukhari in the 9th century, have asserted that reciting Surah Ya-Seen has many benefits.

The Surah claims that God sent two messengers, and then a third, to the ancient city of Antioch, and they were repeatedly spurned. It goes on to describe non-Muslims who have repeatedly refused injunction to aid the poor and do good in this world: "And when it is said to them: "Spend of that with which Allah has provided you," those who disbelieve say to those who believe: "Shall we feed those whom, if Allah willed, He (Himself) would have fed? You are only in a plain error." (verse 47)

This Surah also countered the claims of the [Quraysh] tribe of Mecca that the Qur'an was mere poetry; that God did not teach Muhammad only a "plain reminder" in the Qur'an (verse 69).

The Surah also mentions the bountiful life in Paradise for believers: "They and their wives will be in pleasant shade, reclining on thrones", and goes on to describe the punishment for criminals and other wrong-doers. (verse 56)

The Surah concludes by describing some of God's wonders, like the creation of earth and heaven and how he can do it again, and how man was created by him and shall return to him.

At-Takwir

Surat At-Takwir (Arabic: سورة التكوير‎) (The Overthrowing) is the 81st sura of the Qur'an with 29 ayat.

The prohibition of female infanticide was revealed in ayat 8,9 of this Sura:

"And when the female (infant) buried alive (as the pagan Arabs used to do) shall be questioned: For what sin she was killed? (9)"

Al-Infitar

Surat Al-Infitar (Arabic: سورة الانفطار‎) (The Cleaving, Bursting Apart) is the 82nd sura of the Qur'an with 19 ayat.

The Translation of Surah Infitar (Surah 82) By Dr Mohsin

Al-Infitar In the name of Allah, the Beneficent, the Merciful

When the heaven is cleft asunder. (1) And when the stars have fallen and scattered; (2) And when the seas are burst forth; (3) And when the graves are turned upside down (and bring out their contents).(4) (Then) a person will know what he has sent forward and (what he has) left behind (of good or bad deeds). (5) O man! What has made you careless about your Lord, the Most Generous? (6) Who created you, fashioned you perfectly, and gave you due proportion; (7) In whatever form He willed, He put you together. (8) Nay! But you deny the Ad-Din (i.e. the Day of Recompense). (9) But verily, over you (are appointed angels in charge of mankind) to watch you[] , (10) Kirâman (Honourable) Kâtibîn writing down (your deeds)[] , (11) They know all that you do. (12) Verily, the Abrâr (pious and righteous) will be in Delight (Paradise); (13) And verily, the Fujjâr (the wicked, disbelievers, polytheists sinners and evil-doers) will be in the blazing Fire (Hell), (14) Therein they will enter, and taste its burning flame on the Day of Recompense, (15) And they (Al-Fujjâr) will not be absent therefrom. (16) And what will make you know what the Day of Recompense is? (17) Again, what will make you know what the Day of Recompense is? (18) (It will be) the Day when no person shall have power (to do) anything for another, and the Decision, that Day, will be (wholly) with Allâh. (19)

source

Al-Inshiqaq

Surat Al-Inshiqaq (Arabic: سورة الانشقاق‎) (The Sundering, Splitting Open) is the 84th sura of the Qur'an with 25 ayat.

Al-Bayyina

Surat Al-Bayyina (Arabic: سورة البينة‎ ) (The Clear Proof, Evidence) is the 98th sura of the Qur'an with 8 ayat

Period of Revelation

The place where this sura was revealed is disputed, with the majority believing that it was revealed at Medina. However, because it explains why God has sent a messenger, many have argued that it must be an earlier revelation from Mecca. Ibn Az Zubair and Ata bin Yasar hold the view that it is Medani. Ibn Abbas and Qatadah are reported to have hold the views, first that it is Makki, second that it is Medani. Hadhrat Aishah regards it as a Makki sura. Abu Hayyan, author of Bahr al-Muhit, and Abdul Munim ibn Al-Faras, author of Ahkam al-Quran, also have preferred to regard it as Makki. As for its contents, there is nothing in it to indicate whether it was revealed at Makka or at Madina.

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Al-Mulk

Surat Al-Mulk (Arabic: سورة الملك‎) (The Sovereignty, Control; literally 'the kingdom') is the 67th sura (chapter) of the Qur'an, comprising 30 ayat. The name of this sura refers to Malik al Mulk (Arabic: مالك الملك‎) 'The Owner of All Sovereignty', literally 'king of the realm', one of the 99 Names of Allah. The sura preaches the infinite power of Allah and states that those who reject warnings of Prophets will be companions of the Blazing Fire, meaning they will be punished in Hell.

It has been told in Hadith that Prophet Muhammad (salallahu alayhi wa sallam) has said that if every night Surat ul-Mulk is recited, then the reciter shall be protected from the tortures of the grave.

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Al-Fatḥ

Surat Al-Fatḥ (Arabic: سورة الفتح‎ ) (Victory, Conquest) is the 48th sura of the Qur'an with 29 ayat.

Al-Mursalat

Surat Al-Mursalat (Arabic: سورة المرسلات‎) (The Emissaries, Winds Sent Forth) is the 77th sura of the Qur'an with 50 ayat.

Az-Zumar

Surat Az-Zumar (Arabic: سورة الزمر‎) (The Troops, Throngs) is the 39th sura of the Qur'an with 75 ayat.

The following Surahs have been copied -translated in above posts...for comprehension

Surah 91 - The Sun
Surah 112 - The Purity of Faith
Surah 89 - Daybreak
Surah 93 - Morning Light
Surah 95 - The Fig
Surah 94 - The Solace
Surah 36 - Ya Sin
Surah 81 - The Folding Up
Surah 82 - The Cleaving Asunder
Surah 84 - The Rending Asunder
Surah 98 - The Evidence
Surah 67 - Dominion
Surah 48 - Victory
Surah 77 - Those Sent Forth
Surah 39 - The Crowds

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As one enters through Taj Mahal Gate, the calligraphy reads

"O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you."

Abstract forms are used especially in the plinth, minarets, gateway, mosque, jawab, and to a lesser extent, on the surfaces of the tomb. The domes and vaults of sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in sandstone buildings and dark or black inlays on the white marbles. Mortared areas of marble buildings have been stained or painted dark and thus creating a geometric patterns of considerable complexity. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

Vegetative motifs are found at the lower walls of the tomb. They are white marble dados that have been sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of these carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are yellow marble, jasper and jade, leveled and polished to the surface of the walls.

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Thuluth

Thuluth (Arabic: ثلث "one-third", Turkish: Sülüs) is a script variety of Islamic calligraphy, which made its first appearance in the fourth century of the Hegira (11th century CE). The straight angular forms of Kufic were replaced in the new script by curved and oblique lines. In Thuluth, one-third of each letter slopes, from which the name (meaning "a third" in Arabic) comes. It is a large and elegant, cursive script, used in medieval times on mosque decorations. Various calligraphic styles evolved from Thuluth through slight changes of form.

History - Thuluth Script

The greatest contributions to the evolution of the Thuluth script, occurred during Ottoman Empire in three successive steps that Ottoman Art Historians call "Calligraphical Revolutions".

The first "revolution" occurred in the 15th Century and was initiated by the Master Calligrapher Şeyh Hamdullah.

The second revolution occurred as a result of the Ottoman Calligrapher Hâfız Osman in the 17th Century.

Finally, Mehmed Şevkî Efendi in the late 19th Century, gave the script the distinctive shape it has today.

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Herringbone

Taj plant - flower motifs

Spandrel detail

Incised painting

Incised painting is a technique used to decorate stone surfaces. First, a channel is scratched in the stone. Then, a thick paint or stucco plaster is laid across the surface. Last, the paint is scraped off the surface of the stone, leaving paint in the incision. This technique was used in decorating the Taj Mahal.

Interior Decorations

The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. Here the inlay work is not pietra dura, but lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, though only the south garden-facing door is used. The interior walls are about 25 metres high and topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level. As with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas and each balcony's exterior window has an intricate screen or jali cut from marble.

In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. Each chamber wall has been highly decorated with dado bas relief, intricate lapidary inlay and refined calligraphy panels, reflecting in miniature detail the design elements seen throughout the exterior of the complex. The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate pierce work. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.
Muslim tradition forbids elaborate decoration of graves and hence Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber with their faces turned right and towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise center of the inner chamber with a rectangular marble base of 1.5 meters by 2.5 meters. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet.

Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on slightly taller base, again decorated with astonishing precision with lapidary and calligraphy that identifies Shah Jahan. On the lid of this casket is a traditional sculpture of a small pen box. The pen box and writing tablet were traditional Mughal funerary icons decorating men's and women's caskets respectively. Ninety Nine Names of God are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt including "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He traveled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the in the year 1076 Hijri."

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Arch of Jali

Delicate pierce work

Inlay details

Details of Jali

Jali screen surrounding the cenotaphs

Tombs of Shah Jahan and Mumtaz Mahal

Central Interior of Taj Mahal - Cenotaphs - Shah Jahan - Mumtaz Mahal

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Taj Mahal..reflects..daytime..sunset..full moon..

Main entrance to central room of Tombs

Sonia Jehan - Mumtaz Mahal - Taj Mahal

Sonia Jehan...Mumtaz Mahal

Sonia is the granddaughter of famous playback singer Noor Jehan

Taj Mahal released in Pakistan

All Indian films were banned in Pakistan during the Indo-Pak war in 1965. But on April 28, 2006 the flick Taj Mahal - An Eternal Love Story directed by Akbar Khan was released in Pakistan.

The film was distributed there by Evergreen Distributors of Pakistan. The entire cast and crew was flown down to Pakistan for the screening in Karachi, Lahore and Islamabad.

The director had extended a special invitation to President Pervez Musharraf and his wife to grace the premiere show in Islamabad.

The film stars Zulfi Sayed as Shah Jahan and Sonia Jehan as Mumtaz Mahal. Sonia is the granddaughter of famous playback singer Noor Jehan.
It has been reported that the common history of the two countries has been the reason for the release of this film. The grave of Jehangir is in Lahore and that of Shah Jahan is in Agra. Khan will also try to re-release the film in India after the Pakistan tour.


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Director

I am setting out to make a film that will bring this glorious passage of history to life. I am seeking to humanize it not as a docu drama but as an experience in living history. I want to put the audience on the lap of the Golden Era of the Peacock Throne, to experience the romance of Emperor Shah Jahan and his Empress Mumtaz Mahal - the romance that eventually turned into an eternal love story – The Taj Mahal.

The Taj Mahal is not just the story of a mausoleum; it is the story of a family. It is not only a romance, it is also a tragedy. The Moghuls were an amalgamation of fierce battles, bitter vengeance and sublime aesthetics. They loved with passion and hated with an equal passion. The scene was set for the clashing of arms, charging of horses and whipping off heads, in short for fratricidal violence, as brothers destroyed each other and sons rebelled against fathers in their rivalry for throne.

The greatest love story of all times was thus splattered with the blood of ambition.

TEAM

Introducing the Eternal Lovers of all time…


Zulfikar as Prince Shah Jahan
Sonya Jehan as Mumtaz Mahal.

Cast:

Kabir Bedi, Manisha Koirala, Pooja Batra, Arbaaz Ali, Kim Sharma, Milind Gunaji, Vaquar Sheikh And Arbaaz Khan

Producer, Director : Akbar Khan

Executive producer: Shahala Sheikh

Script: Fatima Meer & Akbar Khan

Music: Naushad

Cinematographer: R. M. Rao

Lyrics: Naqsh Layallpuri & Syed Gulrez

Dialogue: Mohafiz Hyder & Rajeev Mirza

Art director: Ratnakar Y. Phadke

Associate Art Director: Chandravadan B. More

Action director: Sham Kaushal

Choreographer : Saroj Khan

Audiographer: Sona Choudhary

Costume & Jewellery: Anna Singh

Publicist: Dale Bhagwagar

Online Media Consultants: Hungama - IndiaFM

Office Incharge: Himmat Singh

Banner: Mashreq Communications Limited (An Akbar Khan, Obaid Mohammed Khamis, Hazza Sultan Khalfan Al-Darmaki Presentation)

Bankers: Bank of Baroda, The Jammu & Kashmir Bank Ltd.

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SYNOPSIS - PLOT

From the moment Prince Khurram set eyes on the lovely Arjumand, to when he became Emperor Shah Jahan, and she his muse - Mumtaz Mahal. From a battle for supremacy that saw brothers turn to bitter enemies, to the despair of an emperor - and the end of a golden era. The pristine marble walls tell tales of a family.

The family is the royal family of the Moghuls - driven by an overpowering passion of love and hate. At the center of this drama are the young lovers, Prince Khurram, son of Emperor Jahangir and Arjumand, the niece of Empress Noor Jahan.

Amidst burning ambitions, a power struggle and a dark conspiracy, the budding romance of the two teenagers blossomed as Prince Khurram went on to ascend the throne as Emperor Shah Jahan. Their relationship lasted 19 long years, until 1631, when the Empress passed away giving birth to her fourteenth child.

Deeply struck by this tragedy, Shah Jahan devoted 22 years to perpetuate her memory. When it was completed, the Taj Mahal became Mumtaz Mahal for him, and when his body was interred alongside hers, together they became the Taj Mahal.

Emperor Shah Jahan's son, Aurangzeb, went on to to ascend the throne by executing his eldest brother, and imprisoning his father. Thus ending a chapter on the glorious period of the great Moghuls.

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SETS

Ratnakar Phadke (Art Director)
C. B. More (Associate Art Director)

A challenging job always brings out the best in an artist. When Producer – Director Akbar Khan assigned us the art direction of his magnum opus 'Taj Mahal - an eternal love story', instinctively we knew that we will reach the pinnacle of our career. Although we had more than a hundred films to our credit, we were still aspiring to get the best of our capabilities explored. Fortunately, our destiny fulfilled our ambition through Producer – Director Akbar Khan and his film 'Taj Mahal'; therefore we put our heart and soul in our job. We went to libraries and referred several books on that period. After that the art director team along with Akbar Khan visited the Taj Mahal, Fatehpur Sikri, Red Fort and other Mughal monuments in India, absorbing the nuances and collecting samples.

By dint of an exhaustive research and fertile imagination, the ambience of that period was amazingly recreated. There is tremendous creativity involved even in replication. We could have used yellow marble following the sample of Taj Mahal but we have used white keeping in mind that in the film, the monument is newly built. We have also used tricks using our knowledge of colours and materials. For example every royal chamber had exquisitely embroidered chiks. Instead of using the impractical option of embroidering all the chiks, we painted the designs in a way that gave the embroidered look when photographed. Several such ideas led to the making of these sets. We used thermacol, mixed it with fevicol and other ingredients and made it look like marble. The sets showing the abode in Agra Palace where Shah Jahan was detained, the bedrooms of Noor Jahan and Jahan Ara, Emperor Jahangir’s court, the heroine’s chamber and the Meena Bazar are, in particular, breath-takingly exquisite.

We made miniatures of the interiors of Taj Mahal and the monuments in its construction stages. On camera, they will look life-size. We have also made a mini-Taj Mahal for a specific scene requirement. There is this sequence where Shah Jahan is imprisoned by Aurangzeb for seven years. In those times, Shah Jahan would keep looking at the architectural marvel from his chamber. Our job was to construct a mini Taj to help the actor and cameraman understand the perspective. The difficult part was calculating the distance between Agra fort and Taj Mahal as that would determine the size of Taj as seen by Shah Jahan. The size we constructed is exactly the size, as Shah Jahan would have seen.

We had the privilege of not only designing and erecting the sets but also of the selection and collection of the property and the artifacts for the decor, which tremendously contributed to the recreation of the backdrop of this memorable film.

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LOCATIONS

Major portions of 'Taj Mahal - an eternal love story' are being shot at the Mehrangarh Fort in Jodhpur. The fort has been exclusively leased out, and the interiors of the Taj Mahal have been constructed within, besides the Diwan-E-Khaas and other interiors replicating the Agra fort. The famous battle of the Samugarh,, which was a clash of more than two-thousand soldiers fought just eight kilometers east of Agra causing the civil war during the reign of Emperor Shahjahan, will be picturised in some parts of India as well as in Uzbekistan, alongwith hundreds of horses, elephants and camels, by action-director Sham Kaushal.

COSTUMES - Anna Singh

I have designed costumes for many social films but for the first time I was entrusted with a historical, that too, pertaining to the Moghul era. I was thrilled and excited to avail myself the opportunity to demonstrate the range of my capability. I undertook an intensive research by examining the miniature paintings of that period in many books, studied the script of 'Taj Mahal - an eternal love story', pondered the characters and mood of the scenes, pored over the designs of the sets and their colour schemes and then opted for my colour combinations, fabrics and jewellery.

I set up my department in the Mehrangarh Fort itself where my expert tailors, border specialists and zari artistes were accommodated. The overall result is highly gratifying to Producer-Director Akbar Khan, all the artistes and myself.

MUSIC - Naushad

For, Naushad, the music maestro; the veteran composer who has come up with unforgettable scores in period pieces like Mughal-e-Azam, Baiju Bawra and ShahJahan to name some, this film is yet another challenge. The film’s historical theme gives great scope for providing music with grandeur.

Naushad says, “Akbar is not like the present-day producers, who gets you some cassette of a foreign song, and asks you to copy it. He has been fascinated with the Mughal history for a long time and has deep knowledge of the subject”.

Naushad states and is assured that the Khan is a patron of Indian classical music. He is one filmmaker who’s a joy to work with, since he understands the finer nuances of music. Naushad opines the film’s subject is just perfect for a die-hard Indian classical music exponent like him.

“With its Mughal back-drop, it has got a good scope for Indian classical music. In the Mughal era, Indian classical music was widely prevalent”.

PS: A winner of the Dadasaheb Phalke Award for his contribution to Indian Cinema, the last film that Naushad composed music for was Akbar Khan's Taj Mahal: An Eternal Love Story (2005). He passed away in Mumbai on May 5, 2006 due to cardiac arrest.

Taj Mahal views

A modern Wonder of the World...enjoy....the views..

Ek Mohabbat

Taj Mahal Anthem...Ek Mohabat...by A. R. Rahaman

Zulfikar Syed is Akbar Khan's blue-eyed boy

Director Akbar Khan is quite impressed with his "Taj Mahal" hero Zulfikar Syed and would like to cast him in all his future projects, except "Taxi Driver".

"Zulfikar comes from a very good family. It shows in his behavior, language, attitude and walk... So, yes, I'm definitely working with him again. In fact I'd like him to be in all my projects. But he may not be in my next film 'Taxi Driver' which requires a 40-year old father as the male lead.

"Neither of my 'Taj Mahal' leads, Sonia Jehan (granddaughter of legendary singer Noorjehan) or Zulfikar, will be in 'Taxi Driver'. Zulfi looks too boyish for that. He will be in 'Changez Khan' in a pivotal role. I've already started working on his looks and diction for that film."

For the shy model-turned actor it's a much-delayed homecoming. "I did 'Pyaasa' and 'Chupke Se' earlier... and now I'm back," he smiles.

That self-assured feeling has returned to model-turned-actor Zulfikar Syed, better known as Zulfi, after receiving appreciation for his performance as the Mughal prince Khurram in "Taj Mahal".

"I've worked very hard on getting the diction and the body language correct. Playing a historical character so early in my life wasn't easy. But the director was with me all the way. He helped me with every aspect of the character. I'm so glad people have appreciated my efforts."

Zulfi, who's a well-known model, signed no films while he was working in "Taj Mahal" for two years. "I wanted it to be a new beginning for me... and it is. Though I've had a couple of mishaps at the box office, I think this film proves I'm not a non-actor."

Zulfi feels the myth that models can't act has been broken. "Yes it's true that for a long time it was believed models couldn't act. But I think people like Aishwarya Rai, Sushmita Sen, Jackie Shroff and John Abraham have broken that myth."

For a long time Zulfi was recognized for his underwear ad where girls make lipstick marks all over his body. "That ad not only made me a known face, it also made the product very, very successful. It was my main claim to fame so far, I agree. But I'd like that to change after 'Taj Mahal'."

He says he enjoyed working with his "Taj Mahal" co-star Sonia Jehan. "She's half-French and half-Pakistani. And we shared a very good working relationship. We had difficult scenes to perform. But I think we managed to make our romantic scenes look comfortable."

How does Zulfi see his future? "I'm confident. While I was doing 'Taj Mahal' the offers never stopped coming. But I didn't want to do just any old thing."

"Regardless of how 'Taj Mahal' performs, I'll be eternally indebted to Mr. Khan for allowing me to be part of this film."

The actor claims to be single. "Though I've several female friends I still don't have a special girlfriend. People find that hard to believe. But it's the truth. Like Shah Jehan I'm an eternal romantic. Maybe love is around the corner."

Subhash K. Jha, IANS

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hhhmmm...wearing a mala...108..beads...

Zulfi Syed..




Zulfikar (Zulfi) Syed is the face which can be spotted in countless music videos, ramp and television ads. A successful model, and a not so successful actor Zulfikar Syed, better known as Zulfi, zoomed to popularity when he won Gladrags Manhunt contest in 1996.

He was more recognized for his ad where girls make lipstick marks all over his body. His wistful, sensuous eyes, finely chiselled face and a well-sculpted body has made him a ramp favourite.

His famous ad campaigns are Raymond's, Fiesta condoms, Trevi jeans, Warehouse, Levis etc. He has also acted in music videos like 'Chahat Desh Se Anewale', 'Buleyaa', 'Dhuwa Dhuwa Ho Raha Hai Sama', 'Tere Khayalon Mein' etc.

He made his movie debut in the film 'Pyaasa' (2002), which unfortunately flopped but showed some of his acting potential. He also performed Prince Khurram's role in the mega budget film 'Taj Mahal' (2005).

Retrospect - A different kind of Cultural Diplomacy



ALL SET TO MAKE HISTORY: Akbar Khan with the stars of his film "Taj Mahal", Zulfikar Syed and Pakistani actress Sonia Jehan, at a press conference in New Delhi

NEW DELHI: Bonding with Pakistan the "filmi" way now, the Hindi movie "Taj Mahal' is all set to make history across the border. Slated for release at theatres in Pakistan this coming Friday, the film will be accompanied by Union Tourism and Culture Minister Ambika Soni as well as representatives from the film industry.

The proceeds from the film will be donated towards relief work for victims of the recent earthquake in Pakistan.

"Three years ago when I went to Karachi, I never thought that an Indian movie would be released officially through legal channels in Pakistan. Even at the worst of times, Hindi movies have been popular in Pakistan," said filmmaker Mahesh Bhatt, who is leading the delegation, at a press conference here on Monday.

In a different kind of cultural diplomacy, actresses Manisha Koirala, Rekha, Fardeen Khan and the cast of the film are also expected to be part of the delegation. Cashing in on the Bollywood movie craze, the key issues on the agenda would be an attempt to formalise a procedure for release of Hindi movies at theatres in Pakistan. The possibility of co-productions between the two countries is also likely to be part of the discussions as much as identifying locations for Indian crews to shoot in Pakistan.

"The movie is carrying the message of love. This opens up 150 million viewers for Bollywood. There is a lot of talent in Pakistan, like lyricists, but the problem is that the film industry lacks technical aspects which we can provide," said the director of "Taj Mahal", Akbar Khan.

In an attempt to include rationality and "openness" in exchange for culture, it is hoped that the screening of the film will be a step towards getting the Pakistan Government to show more films on television and in theatres. "The movie reflects the composite culture shared between India and Pakistan," said Ms. Ambika Soni. She hoped that there would be many more much exchanges like paintings of Amrita Shergil in Pakistan and Ismat Chughtai in India. "Taj Mahal'', which will be premiered in Lahore on Wednesday and in Karachi the next day, comes soon after the classic "Mughal-e-Azam" was shown in the country. The next film which is likely to go across the border is Sunny Deol starrer "Soni-Mahiwal".

"This is a big moment for the Indian film industry. It is the beginning of a dialogue. It is the first film accompanied by an official delegation," said filmmaker Feroz Khan.

Mandira Nayar

Taj Mahal

Movie Name : Taj Mahal (2005)
Singer : Hariharan, Preeti Uttam
Music Director : Naushad
Lyrics : Naqsh Lyallpuri, Syed Gulrez
Year : 2005
Producer : Akbar Khan
Director : Akbar Khan
Actors : Zulfi Syed, Sonia Jehan, Arbaaz Ali, Kabir Bedi, Kim Sharma, Manisha Koirala, Pooja Batra

apne zulfein mere

Movie Name: Taj Mahal (2005)
Singer: Hariharan
Music Director: Naushad
Lyrics: Naqsh Lyallpuri, Syed Gulrez
Year: 2005
Producer: Akbar Khan
Director: Akbar Khan

Song lyrics...Apni Zulfein Mere

apni zulfein mere shano pe bikhar jane do
aaj roko na mujhe hadh se gujar jaane do
apni zulfein mere shano pe bikhar jane do

tum jo aaye toh baharon pe shabab aaya hai
in nazaron pe bhi halka sa nasha chaya hain
apni aankhon ko nasha aur bhi badh jane do
apni zulfein mere shano pe bikhar jane do
aaj roko na mujhe hadh se gujar jaane do
apni zulfein mere shano pe bikhar jane do

surkh hoton pe gulabo ka guma hota hain
aaisa manjar ho jaha hosh kaha rehta hain
yeh hasin hoth mere hothon se mil jaana do
apni zulfein mere shano pe bikhar jane do
aaj roko na mujhe hadh se gujar jaane do
apni zulfein mere shano pe bikhar jane do

Ajnabi Thehro Zara

Movie Name : Taj Mahal (2005)
Singer : Hariharan, Preeti Uttam
Music Director : Naushad
Lyrics : Naqsh Lyallpuri, Syed Gulrez
Year : 2005
Producer : Akbar Khan
Director : Akbar Khan

Ajnabi Thehro Zara...lyrics n trans...

ajnabi thehro zara
stop, oh stranger

tum farishta ho ya koi khwab ka chehra ho tum
are you an angel or a dream?

ajnabi thehro zara ajnabi thehro zara
stranger, wait a minute....

dil pootchta hain kya ho tum kya ho tum
my heart desires to know what you are

tum farishta ho ya koi khwab ka chehra ho tum
are you an angel or the image of a dream?

ajnabi thehro zara thehro zara
stranger, wait a minute....

dil pootchta hain kya ho tum kya ho tum
my heart desires to know what you are

ishq ka paigam hu main pyar ka vadaa ho tum
I'm the message of love and you are the promise of love

aye pari chehra meri taqdeer ka tohfa ho tum
oh angel face, you are the gift of my destiny
ajnabi thehro zara thehro zara
stop, oh stranger

dil pootchta hain kya ho tum kya ho tum
my heart desires to know what you are

maine kudrat se jo manga tha wahi jalwa ho tum
you are the radiance I asked from the universe

jindagi main hu tumhari aur meri duniya ho tum
I'm your life and you are my world

ajnabi thehro zara ajnabi thehro zara
stranger, wait a minute....

dil pootchta hain kya ho tum kya ho tum
my heart desires to know what you are

ajnabi thehro zara ajnabi thehro zara
stranger, wait a minute....

o dilruba dilruba dilruba
oh my love!
lyrics with trans...courtesy..bhai asj...mua tks..

Ishq Ki Daastaan


Movie Name: Taj Mahal (2005)
Singer: Kavita Krishnamurthy, Preeti Uttam
Music Director: Naushad
Lyrics: Naqsh Lyallpuri, Syed Gulrez
Year: 2005
Producer: Akbar Khan
Director: Akbar Khan
Actors: Zulfi Syed, Sonia Jehan, Arbaaz Ali, Kabir Bedi, Kim Sharma, Manisha Koirala, Pooja Batra

Ishq Ki Daastaan...lyrics

dil ke armano ki shamma jalae baithe hain
unki tasveer ko dil main chupaye baithe hain
ishq ki dastaan sari mehfil sune
ishq dil main chupana jaroori nahin
ishq ejsaas hain dil ki awaaz hain
sun le sara zamana jaroori nahin

ishq dil main rahega toh ghut jayega
yu hi tadpega machlega mit jayega
ishq ko yu mitana jaroori nahin

ishq mitna nahin hain mehakta hai yeh
ishq shola hain dil main dehakta hain
sabka daman jalana jaroori nahin

ishq elaan hain ishq toofan hain
tauba tauba na samjhe woh nadaan hain
aag dil main dabana jaroori nahin

ishq dil ke dhadakne ki pehchaan hain
ishq bebaat ho chahe badnaam hain
haale dil yu sunana jaroori nahin

ishq koi raaz nahin
ishq aawaz nahin
ishq khamosh nahin
ishq behosh nahin
ishq gumnam na ho
ishq badnaam na ho
ishq duniya ko dikha le
unki aankhon main chupa le
khul ke jeene main maja hain
ada hain nasha hain

Lyrics..courtesy - MusicIndiaOnLine...

Hi RQ,

A very inspiring and informative contribution to GNI.

Keep up the good work!

quote:

Originally posted by Anan:
Hi RQ,

A very inspiring and informative contribution to GNI.

Keep up the good work!

Bhai..thank you kindly Sir Anan...1st visitor to this thread...tawt nobaddi like meh or meh threads much...jess guests...have lots more to do on this thread...some historical hot info later...

quote:

Originally posted by RQ:


Chami..took a while to find this trans..after checking several lyrics sites...
am glad to be able to add something Xspecial to your life - memory album -
my fav lil/big didi...aren't yuh glad am back n started this thread...
on our Famous Eternal Lovers...

[]

RQ..yes indeed....i have now come back to continue reading...and i am playing this song again...
of course the meaning for me is from a brother n sister....the words mean the same only the emotions are diff................................................

i have to post the other sets of songs..but cyant find deh trans...am still checking...

Its me again RQ....consider me a fan

I think that I will come back more often.
I was really taken back in time reading all those historical stuff.....

Again.....excellent work RQ

quote:

Originally posted by Anan:
Its me again RQ....consider me a fan

I think that I will come back more often.
I was really taken back in time reading all those historical stuff.....

Again.....excellent work RQ

Agra / Jaipur - HOLI. Wear clothes that you wouldn’t mind getting colour on as this is one of the 5 days of Holi. The festival of Holi is celebrated on the day after the full moon in early March every year. Originally a festival to celebrate good harvests and fertility of the land, Holi is now a symbolic commemoration of a legend from Hindu Mythology. During Holi, the Festival of Colors, to herald the advent of Spring.

THE GRANDEUR AND AURA LEAVES ITS IMPACT

Critic's I-view

The mystery of unknown attracts a human being the most. People want to know what has been lying in the pages of history. The genre of historical drama sets in right here. There have been many historical films made in Bollywood in 50's and 60's, but the trend changed in later years. In the new century new ideas are hard to find and people watch films like Gladiator and others. In Bollywood too, people dare to revisit history. We have seen 'Mughal-E-Azam' getting its frames colored from start to end, and now Akbar Khan presents the story of love, deceit and conspiracy surrounding the most beautiful landmark in this part of the world, Taj Mahal.

Interestingly, it was in 1941 when Bollywood made first film on Taj Mahal. Directed by Nanubhai Vakil it had stars like Kumar, Sarojini and others. Twenty-two years later director M Sadiq attempted another film on this monument of love with Pradeep Kumar, Beena Roy, Jeevan, Helen, Rehman and others. This film is still remembered for its finesse and music. There was yet another attempt two years back when director Robin Khosla dared to make a film with Kulbhushan Kharbanda and Moon Moon Sen. And, now we have Akbar Khan's 'Taj Mahal'. Akbar Khan entered into Bollywood as an actor with his 'Hadsa' that he directed too. His grip on filmmaking has been evident since then.

As younger brother of Firoz Khan and Sanjay Khan, Akbar Khan wanted to show to the world that he could do something better and bigger than his brothers. So, he has come out with this extravaganza 'Taj Mahal: An Eternal Love Story', an approximately Rs 700 million film. Akbar Khan's 'Taj Mahal' progresses in flashback. The film starts with aging Shahjehan (Kabir Bedi) being held captive by his own son Aurangzeb (Arbaaz Khan). Aurangzeb wants to rule India and his quest for power starts at home itself. He would not let any one even from his family challenge his supremacy.

And, if his own brother Dara Shikoh (Waqar Sheikh) wants to pose a challenge, he has to get his head severed and presented on a platter to his father. Brothers die in the battle and their sister Jahan Ara (Manisha Koirala) is made to pass her days with his father. It is here when Shahjehan tells his love story to his daughter. Shahjehan peeps into those days when he was known as Prince Khurram (Zulfi Syed) and he had met the natural beauty Mumtaz Mahal (Sonia Jehan, Noorjehan's grand daughter making her debut in Bollywood).

Prince Khurram falls in love with Mumtaz Mahal originally known as Arjumand. The love blossoms and so does the hate in fort. Khurram's stepmother Noorjehan (Pooja Batra) is planning to get Khurram married to her daughter from earlier marriage, Ladli Begum (Kim Sharma). One consequence leads to another but eventually love wins and prince Khurram unites with Mumtaz. While breathing her last, Mumtaz asks prince Khurram to make a monument to keep their love alive for good.

Akbar Khan as a director has once again emerged victorious in his attempt. He has spent a lot in creating the grandeur and the aura for the content. He has created lavish sets and glittering ornaments for his cast and the labor of love has borne its fruit in the end. The film is a visual treat to watch, whatever may be the result at box office. If Akbar Khan has failed anywhere it is in the cast and the music of the film. Such films run on time winning music. But Naushad with the help of Uttam Singh has failed in reliving the kind of music that he gave in films like 'Mughal-E-Azam'. Not even a single song remains in the memory of viewers after they come out after spending three hours in theatre.

Among other technical departments, the set designing comes the first among winners. Cinematography by R M Rao is superb and Sham Kaushal has choreographed some excellent duel on the screen in recent history. Anan Singh gets full marks in costume designing and Tejas Jogani does wonders in jewelry department. With Fatima Meer, Akbar Khan also takes charge of writing the lines for his characters and there too he manages to get the punch with words. The only technical department that has failed after music though is its editor. The film needs chopping at some places to make it crispier and shorter.

'Taj Mahal: An Eternal Love Story' also lacks star attraction. Had Akbar Khan given more thought to star cast too, then the result would have been very phenomenal. However, the fact remains that whatever cast he assembled has given the best performance. Arbaaz Khan has given his best performance till date. Debutant Sonia Jehan shows that she has mettle but the revelation of the film is Pooja Batra. She has shown immense maturity in handling the role of Prince Khurram's stepmother. She can move ahead in any way after this film. Zulfi Syed looks cute too. Kim Sharma is just okay. On the whole, 'Taj Mahal' is a good film that can sail at box office with the mouth publicity.

source

Akbar Khan blames Subhash Ghai for poor show of Taj Mahal

Akbar Khan - Planning to re-release Taj Mahal film in 2009

Akbar Khan, who is planning to re-release "Taj Mahal - An Eternal Love Story", has hit out at Subhash Ghai for alleged unprofessional distribution of his film which led to its poor performance at the box office on its first release.

"My film suffered because of poor distribution and marketing. It was a complete lapse on the part of the distributor, which was Mukta Arts headed by Subhash Ghai. I trusted them and I was betrayed. It was callously and most unprofessionally marketed and distributed," Khan told IANS.

"I could never think that he (Ghai) would handle the thing so badly. I don't intend to speak to him any more. He is a shabby man," he added.

Based on the lives of Mughal emperor Shah Jahan and his wife Mumtaz Mahal, the film was released in November 2005. It was pulled out of theatres in the second week.

Now Khan, who produced and directed the film with Zulfi Syed, Sonia Jehan and Kabir Bedi in lead roles, is set to re-release it in 2009.

"I'm confident that it would do well this time. Even Raj Kapoor's 'Mera Naam Joker' did not do well when it was released first time because a few of his adversaries played a trick. But it became a landmark film when it was released a second time," Khan said.

Khan said he had planned for a mega release of the film with 400 prints in India, but only 120 prints were distributed across the country. "I spent nearly Rs.20-30 million on prints but of no use as they were never used. Only 110 prints of the film were released in India and that too in all the B-grade theatres in the country.
"Besides, 70 percent of show time that was allotted to the film was a single show at 11:30 a.m., which hardly had any audience," he added.

Khan said posters worth nearly Rs.10 million were dumped in a godown."I had given posters of various sizes worth Rs.10 million to the distributor to distribute it to various theatres across the country, but they were dumped in the godown of the distributor and were never used," he said.

Khan said the film was made on a budget of Rs.500 million and he had given the distribution rights to Mukta Arts on a profit- sharing basis.

"I did not sell the film to the distributor, but I promised them 10 percent commission."

The film, which received two National Awards for best costumes and art direction in 2006, has been screened in various film festivals, including the Dubai International Film Festival and the Damascus Film festival.

It will also be screened at the Cairo International Film festival, the 39th International Film Festival of India in Panaji and the Film Festival in Russia in 2009.

Khan is also planning to release the film in internationally with the director's cut version.

"As it was well received by international audiences at various screenings, I will be dubbing the film in various foreign languages and then releasing it in countries like Indonesia, Egypt, Damascus, Germany and France with the director's cut version keeping the taste of international audience in mind as it will have two songs out of the total six," he said.

The music for the film has been scored by legendary composer Naushad.

source

TAJ MAHAL - 2005 - RELEASE IN 2009

In Taj Mahal, Naushad brings back the melody that reigned supreme. Using modern technology to create period musical notes, Naushad with Uttam Singh have scored very high on melody that is in rhythm with the glorious Mughal era.

Actors : Arbaaz Ali, Kabir Bedi, Kim Sharma, Manisha Koirala, Pooja Batra
Director : Akbar Khan
Lyrics : Naqsh Lyallpuri, Syed Gulrez
Music Director : Naushad
Producer : Akbar Khan
Year : 2005

1. Taj Mahal
Singer : Hariharan, Preeti Uttam

2. Tareef Neeba Bazaar

3. Ajnabi Thehro Zara [ Lyrics ]
Singer : Hariharan, Preeti Uttam

4. Apni Zulfein Mere [ Lyrics ]
Singer : Hariharan

5. Dilruba Dilruba [ Lyrics ]
Singer : Hariharan, Preeti Uttam

6. Ishq Ki Daastaan [ Lyrics ]
Singer : Kavita Krishnamurthy, Preeti Uttam

7. Mumtaz Tujhe Dekha [ Lyrics ]
Singer : Hariharan, Preeti Uttam

8. Yeh Kaun Mujhe Yaad Aaya
Singer : Ajoy Chakraborthy

Monument of love now on celluloid

With "Taj Mahal: An Eternal Love Story", Akbar Khan not only hopes to revive the era of period romances in Bollywood but also tap new markets in China, Japan and the erstwhile Soviet Union. ZIYA US SALAM speaks to the man who promises that his Mumtaz will be a stunner for all the world to see. See, oops, read on...





Akbar Khan with his co-builders on the sets of "Taj Mahal: An Eternal Love Story".



BOLLYWOOD CONTINUES its regal romance with the Moghuls. Dynasties may come, dynasties may go, but as the catchline goes, the Moghuls stay that way. As the perennial favourites of the dream merchants. Right from 1931 to 2002 Bollywood bigwigs continue to be swayed by the Moghul magic.