Sections
in each facade have been demarcated by semi-octagonal pilasters that rise from
the plinth of the main tomb. They have chevron patterns inlaid with black and
yellow marble horizontally along their whole height. They appear to be fluted on each side though, as a matter of fact, there is no real fluting at all. They create a beautiful illusionary effect which the architect has very skilfully manipulated.
Uniform Size of Calligraphic Characters
The letter of the inscription around archways at the Taj Mahal, are generally supposed to become larger and larger above. On closer scrutiny, however, they are found to be of uniform size.
Instead, the letters have been inscribed densely at the bottom, with little plain surface in between; the inscription becomes more and more sparse as it rises with more plain surface in between the letters.
The diminution of the plain surfaces has been accurately calculated. Thus, the optical perspective of the letters has been reconciled, and unmistakable uniformity is obtained.
Solids and Voids
The great depth has also been further suggested by the double arches, one over the other, on each side of the central portal. The solids and voids have very judiciously been distributed to provide a variety, yet an undiminished uniformity.
These alcoves, the balconies in each minaret, the chhatris near the dome, and certain pronounced projections in each facade allow a beautiful play of light and shadow.
Forms and Lines
The composition of the forms and lines of the Taj Mahal is perfectly symmetrical. Here we meet with a beautiful admixture of lines, horizontal with vertical, and straight with curved - all harmoniously set together in the total unity.
They adopt each other with amazing uniformity. The combination is entirely rhythmic and melodic. Especially the semi-octagonal alcoves at the chamfered angles which are perceptible from every perspective view and give a 3-dimensional appearance from the outset. They emphasise the diagonal lines and suggest depth.
