Taj Mahal

128 ebba koch EBBA KOCH THE TAJ MAHAL: ARCHITECTURE, SYMBOLISM, AND URBAN SIGNIFICANCE Much has been written on the Taj Mahal, but little has been said about its architecture. There has been only one interpretation of the symbolism of the mausoleum,1 and the urban situation of the monument in the city of Agra has been almost entirely neglected. In brief form, this essay presents the main results of a recently completed monograph in which I address these issues. 2 The Taj Mahal is the Mughals’ great contribution to world architecture, and, as the contemporary sources reveal, it was conceived as such from the very beginning (? . 1). In the words of Shah Jahan’s early historian Muhammad Amin Qazwini, writing in the 1630s: And a dome of high foundation and a building of great magni? cence was founded—a similar and equal to it the eye of the Age has not seen under these nine vaults of the enamel-blue sky, and of anything resembling it the ear of Time has not heard in any of the past ages†¦it will be the masterpiece of the days to come, and that which adds to the astonishment of humanity at large. 3 Not only was the monument to be a magni? cent burial place for Mumtaz Mahal, Shah Jahan’s beloved wife (d. 631), but also—and this is explicitly pointed out by the emperor’s main historian {Abd al-Hamid Lahawri—it was to testify to the power and glory of Shah Jahan (r. 1628–58) and Mughal rule: They laid the plan for a magni? cent building and a dome of high foundation which for its loftiness will until the Day of Resurrection remain a memorial to the sky-reaching ambition of His Majesty, the Sahib Qiran-Thani (Second Lord of the Auspicious Conjunction of the Planets Jupiter and Venus), and its strength will represent the ? rmness of the intentions of its builder. In other words, the Taj Mahal was built with posterity in mind, and we the viewers are part of its concept. I came to study the Taj Mahal in the conte xt of a survey of the palaces and gardens of Shah Jahan that I have been conducting since 1976 as part of a larger survey of Mughal architecture. With the assistance of Dr. Yunus Jaffery from Dr. Zakir Hussain College in Delhi,5 I have established from the Persian sources a corpus of thirty-? ve Shahjahani palaces (sing. dawlatkh? na) and garden residences (sing. b? gh), of which twenty-four proved upon ? ld investigation to exist in varying sizes and states of preservation. In the whole of Islamic architecture, this is the largest extant body of palaces built by a single patron. Entirely new measured drawings of seventeen palaces were prepared by the Indian architect Richard A. Barraud, who drew them on the basis of measurements he and I made during extensive ? eldwork,6 which I undertook because many of these complexes are hardly or not at all recorded. Altogether, Mughal architecture, like the Islamic architecture of India in general, is not well documented.The art historian cann ot rely on measured drawings to the same extent possible for the better-documented areas of Islamic architecture or for Western historical architecture in general. The pioneering surveys of the Archaeological Survey of India from the end of the nineteenth and the ? rst half of the twentieth centuries included several Mughal sites, but only a few—such as the monographs of Edmund W. Smith on Fatehpur Sikri and on Akbar’s Tomb at Sikandra—were published. 7 More often than not, when one wants to have an exact plan of a building one has to go and measure it.On the other hand, while establishing this basic documentation, the art historian is confronted by all the questions the discipline has developed in the span of its existence, during which the approach has moved from formal assessment and analysis towards contextual studies. I began my survey of the palaces at Agra and, during the 1980s, spent months in the Red Fort, measuring and photographing its buildings. From here the Taj Mahal was always before my eyes at a distance across the river Yamuna, popularly called Jamna (? g. 2), and one of these views eventually became the cover image of my book Mughal Architecture (1991), in which he taj mahal: architecture, symbolism, and urban signi? cance 129 Fig. 1. Agra, Taj Mahal (1632–43), mausoleum and flanking buildings seen from the upper level of the gate. (Photo: Ebba Koch, 1996) I dealt with the Taj Mahal for the ? rst time, albeit only brie? y. 8 I felt overwhelmed by its perfection, splendor, and sheer size. Eventually I realized that as a scholar I was not alone in my awe of the famous building. The vast literature on the Taj Mahal comprises surprisingly few serious scholarly studies and, as I pointed out at the beginning, there is as yet no monograph or modern analytical treatise dedicated to its architecture. At the same time I came to realize that many answers to my questions about Shah Jahan’s palaces and gardens lay in the Taj Mahal as the ultimate project of his architectural patronage. The ? nal incentive to study it in detail came in 1994, when the editors of the second edition of the Encyclopaedia of Islam asked me to write the article on the building. 10 This started my project of newly documenting and analyzing the entire mausoleum complex; I am the ? rst Western scholar since India gained independence in 1947 to have received permission for such an undertaking, through the generosity of the Archaeological Sur- ey of India. With Richard Barraud I have been measuring and photographing the buildings of the complex in intermittent expeditions during the last ten years. 11 The survey has brought me into the remotest corners of the Taj Mahal, and this close encounter with the architecture has revealed the contribution of the anonymous workmen who inscribed their mason marks on the stones. 12 I began my analysis by looking at the entire complex of the Taj Mahal and at its urban situation. I could not help noticing that the Taj Mahal invites an approach that coincides with what since the 1970s might be termed a â€Å"deconstructive reading. According to Jaques Derrida, the main propagator of this method of disassembling and questioning established notions, all Western thought is based on the idea of centers—Origin, Truth, Ideal Form, Fixed Point, Immovable Mover, Essence, God, and Presence—that guarantee all meaning. The problem with these centers is that they attempt to exclude. In doing so they ignore, repress, or marginalize others. 13 Even those 130 ebba koch Fig. 2. Taj Mahal, mausoleum flanked by mosque (right) and Mihman Khana (left), seen across the river Jamna. (Photo: Ebba Koch, 1985) ho are tiring of deconstruction will see that the idea of center-and-margin illustrates the perception of the Taj too tellingly not to be included in this discussion. Traditionally, the white building of the mausoleum takes the position of the center in the conception of th e beholder, who hardly notices the large complex at the end of which it stands. Due to the prominence of the tomb, its surrounding architecture has received very little attention—in other words, it has been marginalized. It thus seems important ? rst to consider the entire complex, especially its subsidiary courtyards, which emerge as integral components of its design.In addition, I have extended the investigation of the surroundings of the Taj to its larger environment, to its relationship to the city of Agra. ANALYSIS OF THE COMPLEX The mausoleum is set at the northern end of the main axis of a vast oblong walled-in complex that mea- sures 896. 10 x 300. 84 m (? g. 3), which works out to 1112. 5 x 374 Shahjahani gaz. Of this complex, the tomb garden and its forecourt are fully preserved; we measured it as 561. 20 x 300. 84 (300) m, that is, 696 x 374 (373) gaz (? g. 4). 14 The Shahjahani linear yard, called gaz or zir? , corresponds to about 81–82 cm, or 32 inches; o ur ? eld studies have shown that it was not an exact unit but a relative, proportionally used one, the length of which could vary slightly, even within one and the same building complex. For the overall length of the Taj complex, the average gaz ? gure comes to 80. 55 cm. The tomb garden consists of two main components: a cross-axial, four-fold garden—in the form of a classical ch? rb? gh (? g. 3: B)—and, towards the river, a raised terrace on which are placed the mausoleum and its ? anking buildings (? g. 3: A).In this, the Taj Mahal garden follows the form of the typical garden of Mughal Agra, the waterfront garden. As I have shown elsewhere, this is a speci? c form of the ch? rb? gh developed by the Mughals in response to the the taj mahal: architecture, symbolism, and urban signi? cance geographic conditions of the Indo-Gangetic plain, and more speci? cally for the riverfront situation at Agra. Here the water source was not a lively spring on a mountain slope, as i n the Mughals’ native Central Asia, but a large, slow-? owing river, from which the desired running water had to be brought into the garden by means of water lifts.Accordingly, the Mughals conceived a garden type to take advantage of this waterfront situation; the main building was not placed in the center of the garden, as in the classical Mughal ch? rb? gh, but rather on an oblong terrace (kurs? ) running along the riverfront. The garden component was on the landward side of the terrace. This shift towards the riverfront provided the main garden pavilions with the climatic advantages of running water and presented a carefully composed front to viewers on a boat or across the river (? g. 2). From the garden itself, the buildings presented an equally satisfying backdrop (? . 1). 15 URBAN CONTEXT Mughal Agra consisted of two bands of such riverfront gardens lining the Jamna, of which only a few survive today. The key to my reconstruction of this riverfront scheme, which formed the urban context of the Taj, is a plan of Agra dating from the 1720s, in the Maharaja Sawai Man Singh II Museum in the City Palace in Jaipur; to my knowledge it is the earliest plan of the city (? g. 5). 16 It shows forty-four garden complexes (including the Agra Fort) along the river and gives their names, which are usually those of their owners, in Devanagari script. 7 Information about these gardens can also be pieced together from the Mughal histories and eulogistic descriptions of Agra, in which gardens of members of the imperial family and of nobles are occasionally mentioned, especially in the context of an imperial visit. Another source is topographical descriptions of Agra written in Persian by local informants for British administrators after the British took Agra in 1803. In his Tafr? h al-{im? r? t (1825–26), Sil Chand describes the gardens of Agra by the same names as feature on the Jaipur plan. 8 The main owners of the riverfront gardens of Agra were the emper ors Shah Jahan and Aurangzeb, members of their imperial family, and their nobility the amirs and man? abd? rs. Even Mumtaz Mahal had a garden at Agra, which she bequeathed to her daughter Jahanara; what is left of this Bagh-i Jahanara is now known by the corrupted name Zahara Bagh and lies south of the 131 Ram Bagh, originally Nur Jahan’s Bagh-i Nur Afshan (? g. 5: 3 and 4; ? g. 6). 19 The evidence indicates that most of these gardens followed the riverfront design, with the main building on a terrace overlooking the river and a ch? rb? gh on the landward side. 0 ANALYSIS OF THE COMPLEX RESUMED The design of the Taj garden thus introduces an established Mughal residential garden type into the context of a monumental imperial mausoleum. The waterfront scheme not only determines the shape of the funerary garden of the Taj, it is also a key element in the planning of the entire Taj complex. At the part of it to the south of the garden is a large rectangle (? g. 3: C) whose centr al square forms the Taj forecourt, called jilawkh? na by Shah Jahan’s chroniclers, the of? cially appointed court historian {Abd al-Hamid Lahawri and Muhammad Salih Kanbu, who wrote on his own account.Both provide us with almost identical detailed descriptions of the entire Taj Mahal complex, on the occasion of its of? cial completion on 17 Dhu ’l-Qa{da 1052 (February 6, 1643). 21 Both historians are remarkably consistent in their use of architectural terms; I follow their terminology. The jilawkh? na square (? g. 3: 11) is framed on both of its shorter sides by two smaller courtyard enclosures. An open bazaar street (? g. 3: 12a, 12b) divides these courtyards and provides the main access to the jilawkh? na and, beyond that, through a monumental gateway (? g. 3: 9), to the tomb garden.The northern pair of courtyards contained the residential quarters for the tomb attendants, the khaw p? ras (? g. 3: 10a, 10b). The southern pair contained subsidiary tomb gardens of less er wives of Shah Jahan, whose identity is still under debate (? g. 3: 13a, 13b). These tomb enclosures echoed the design of the main tomb garden on a smaller scale because they followed the characteristic waterfront scheme of a cross-axial ch? rb? gh combined with an oblong terrace on which stood the tomb structure and its ? anking buildings. (These buildings, with one exception, are no longer preserved. On the outside of the Taj complex are three buildings, two to the west (? g. 3: 20, 21) and one to the east; the latter represents another subsidiary tomb complex of this type (? g. 3: 13c). The waterfront scheme is thus transferred to a landlocked situation in these miniature replicas of the main garden. Not only that, but the waterfront garden is also used as the ordering scheme for the entire sub- 132 ebba koch Fig. 3. Site plan of the Taj Mahal with terms derived from the Persian descriptions by Lahawri and Kanbu of 1643: A. riverfront terrace (kurs? ), B. tomb garden (b? gh), C . omplex of the forecourt (jilawkh? na), D. complex with cross-shaped (ch? r s? ) bazaar and four caravanserais (sar? }? ), 1. mausoleum (raw ¬a), 2. mosque (masjid), 3. assembly hall (mihm? n kh? na), 4a–f. wall towers (burj), 5. pool (haw ¬), 6. first temporary burial site of Mumtaz Mahal, 7a, b. garden wall pavilions ({im? rat) popularly called Naubat Khana (Drum House), 8. double arcaded galleries to the south of the garden (? w? n dar ? w? n), 9. gate (darw? za), 10a, b. quarters for tomb attendants (khaw p? ra), 11. forecourt (jilawkh? na), 12a–f. bazaar streets (b? z? r), 13a–c. ubsidiary tombs (maqbara) all popularly called Saheli Burj (Tower of the Female Friend), 14. gates (darw? za): 14a. popularly called Fatehpuri Gate, 14b. popularly called Fatehabad Gate, 15. gate (darw? za) popularly called Sirhi Darwaza, 16. caravan> the taj mahal: architecture, symbolism, and urban signi? cance 133 Fig. 4. Plan of the preserved complex. (Drawing: Richard A. Barraud and Ebba Koch) serai (sar? }? ) known since the eighteenth century as: 16a Katra (Market) Omar Khan, 16b. Katra Fulel (Market of Perfumes), 16c. Katra Resham (Silk Market), 16d. Katra Jogidas, 17. entral square (chawk), 18a, b. west and east gates of the bazaar and caravanserai complex, 19. south gate of the bazaar and caravanserai complex popularly called Dakhnay Darwaza, 20. outer western tomb, 21. mosque popularly called Fatehpuri Masjid. (Drawing: Richard A. Barraud and Ebba Koch) 134 ebba koch Fig. 5. Plan of Agra, drawn with added numbering after a plan painted on cloth datable to the 1720s, 294 x 272 cm, in the Maharaja Sawai Man Singh II Museum, City Palace, Jaipur (cat. no. 126): 3. Ram Bagh (Bagh-i Nur Afshan), 4. Zahara Bagh (Bagh-i Jahanara), 9. Tomb of I{timad al-Dawla, 17.Mahtab Bagh, 20. Taj Mahal, 28. Agra Fort. (Drawing: Richard A. Barraud and Ebba Koch) sidiary complex of the Taj. In order to understand the complete design, we must turn to contemporary desc ription and look at eighteenth- and nineteenthcentury plans (compare ? gs. 3 and 7). 22 From these it becomes apparent that south of the jilawkh? na there was another courtyard complex with a cross-axial arrangement (? g. 3: D). It was formed by open, intersecting bazaar streets (? g. 3: 12c, 12d, 12e, 12f), which corresponded to the walkways of the garden, and four squarish sar? }? , that is, caravanserais or inns (? g. 3: 16a, 16b, 16c, 16d), taking the place of the four gar- den plots. We meet here with a unique and highly creative transfer of a ch? rb? gh design onto a complex of utilitarian civic architecture. Hence the con? guration of the rectangular unit containing the jilawkh? na and the cross-axial unit to its south echoed the waterfront scheme of the Taj garden. The entire complex of the Taj Mahal thus consisted formally of two units following the waterfront design—that of the Taj garden, a true waterfront garden, and that of the landlocked variant of the subsidiar y units.The tomb garden and the subsidiary complex were the taj mahal: architecture, symbolism, and urban signi? cance 135 Fig. 6. Plan of preserved and reconstructible building substance of the so-called Zahara Bagh, identified as Bagh-i Jahanara (late 1620s to 1630s), Agra. (Drawing: Richard A. Barraud and Ebba Koch) connected not only formally but also functionally. The utilitarian unit serviced the funerary unit of the tomb garden. By imperial command the upkeep of the tomb was ? nanced by the income generated from the bazaars and caravanserais, in addition to that of thirty villages from the district of Agra. 3 The service unit was the counterpart (qar? na)24 of the tomb complex, linked to it by design and function. The two zones, the funerary and the â€Å"wordly,† relate also to the dialectics of the Islamic concept of d? n waduny? }, the domains of the spiritual and the material life. 25 Furthermore, the addition to the mausoleum complex of quarters for merchants and foreign travelers ensured â€Å"that the whole world should see and admire its magni? cence,† in the words of the French jeweler and traveler Jean-Baptiste Tavernier, who was in Agra in 1640–41, and again in 1665. 6 Its reception through world travelers—jah? n-naward? n or rawandah? – 136 ebba koch yi {? lam, as the Mughals called them27—thus forms an integral part of the concept of the Taj Mahal. Of this two-part service unit, the southern cross-axial component is the great mystery of the Taj Mahal: we do not really know how much of it survives. Hardly anybody who walks through the southern gate of the jilawkh? na (? g. 3: 15) and enters the narrow street with the marble inlay workshops realizes that this area, known as the Taj Ganj, was originally part of the Taj complex.Here a densely built city quarter has grown up in which the architecture of Shah Jahan has been buried almost entirely; today one can make out only fragments of the wings of the original bazaars and caravanserais. The four gates of the central square or chawk are preserved (although two only in part) and protected by the Archaeological Survey of India (? g. 8). The Taj Ganj is, however, an integral part of the Taj Mahal, an indispensable component of its planning. It has been lost, but there is no doubt that it should be given back to the Taj by some means.I am planning to do this in the form of an architectural model that will reconstruct the entire complex of the Taj Mahal, the River Jamna, and the imperial garden called Mahtab Bagh on the opposite side of the river. The model will enable visitors to understand that the Taj is unique not only because of the grandness of the tomb building but also because of the carefully planned creative design, the scale, and the multifunctional complexity of the entire compound. It will also draw attention to the Taj Mahal as a constituent part of the urban scheme of Agra.I envisage placing the model in the new Visitors ’ Center at the Taj Mahal, in the eastern and western courtyards of the khaw p? ras (? g. 9), today called, respectively, Fatehabad Gate Court and Fatehpuri Gate Court. The Taj Mahal Visitors’ Center is part of a new initiative for â€Å"the conservation and restoration†¦of the Taj Mahal and surrounding areas and a new site visitor management,† realized since 2001 in a partnership between the Indian government, represented by the Archaeological Survey of India, and the private sector—the Indian Hotels Company Ltd. that is, the Tata Group of Hotels. The project is monitored by the Taj Mahal Conservation Collaborative, directed by the conservation architect Rahul Mehrotra and by Amita Baig, and advised by a body of global experts of which I am part. 28 Fig. 7. Plan of the entire Taj Mahal complex with designations of the main buildings in Persian, late eighteenth or early nineteenth century, Museum fur Indische Kunst, Berlin, MIK 10060. the taj mahal: architecture, symbolism, and urban signi? cance 137 Fig. 8. Taj Mahal, bazaar and caravanserai complex (fig. : D), gate of the central chawk (square) leading to the northeastern caravanserai today called Katra Fulel (fig. 3: 16b). The area is now built in and over by the city quarter Taj Ganj; in the background can be seen the gate of the Taj Mahal garden, behind it part of the mausoleum, and to the right the Mihman Khana. (Photo: Ebba Koch, 1999) THE TAJ AS BUILT ARCHITECTURAL THEORY The reconstruction of the original complex of the Taj establishes the determinant role of the waterfront garden in its planning.The complex of the Taj Mahal not only explores the potential of the waterfront garden as an ideal funerary and a utilitarian worldly form, it also expresses canonically the architectural principles of the period. We have no texts to turn to because the Mughals had no written architectural theory, and one wonders to what extent they were affected by the ancient Shastric traditi on of building theory. The Sanskrit texts translated in an extensive program under Akbar did not include the outstanding Indian genre of art and architectural theory, the shilpa sh? stras and v? st? sh? tras, respectively; theorizing about art was not a Mughal literary preoccupation. True, it was hardly a major theme elsewhere in the Islamic world, but one would have expected the Mughals to become interested in the ancient Indian textual tradition of art theory, all the more since, like the Muslim dynasties in India before them, they continued to absorb Indian artistic conventions into their art and architecture, and even newly revived them. However, the fact that no texts exist does not mean that architectural theory was absent from Mughal thinking, especially in the time of Shah Jahan.My investigations have shown that theory was laid down in the architecture itself. As in painting—and I have tried to establish this for the historical images illustrating Shah Jahan’s history, the P? dsh? hn? ma29—the ruler’s buildings and formal gardens express these concepts so systematically that we can derive them from their form itself. The Taj is 138 ebba koch Fig. 9. Taj Mahal, view from the roof level of the gate towards southeast onto the khaw p? ra (quarter of attendants) now called Fatehabad Gate Courtyard (fig. 3: 10b) and the subsidiary tomb to the east of the jilawkh? na (fig. 3: 13b). Photo: Ebba Koch, 1995) â€Å"built architectural theory,† which can be read almost like a literary text once we have mastered the grammar and vocabulary of the architectural language. The buildings speak to us â€Å"with mute eloquence† (bazab? n b? zab? n? ), as Lahawri puts it. 30 We note here the purest expression of a consistent formal systematization characteristic of the entire art of Shah Jahan; it represents a distinctive and outstanding contribution speci? c to this period. The principles of Shahjahani architecture, which interact closely with one another, can be identi? ed as follows: 1. Geometrical planning. . Symmetry. Favored in particular is bilateral symmetry, for which we even have a term in contemporary descriptions of buildings, namely, qar? na,31 3. 4. 5. 6. 7. 8. an Arabic word that expresses the notion of pairing and counterparts but also of integration, thus ? tting conceptually into the ideas of universal harmony that played a great role in the imperial ideology of Shah Jahan. In a typical Shahjahani qar? na scheme, two symmetrical features, one mirroring the other, are arranged on both sides of a central, dominant feature. Hierarchy. This is the overriding principle, which governs all the others.Proportional formulas expressed in triadic divisions. Uniformity of shapes, ordered by hierarchical accents. Sensuous attention to detail. Selective use of naturalism. Symbolism. the taj mahal: architecture, symbolism, and urban signi? cance 139 Fig. 10. Agra Fort, courtyard now called Machchhi Bhawan, originally the â€Å"Ground Floor Courtyard of the Hall of Private Audiences† (Dawlat Khana-i Khass), south wing with marble baldachin for Shah Jahan’s throne, 1630s (Photo: Ebba Koch, 1980) A palace wing of the so-called Machchhi Bhawan (1630s) in the Agra fort illustrates these principles very clearly (? . 10). The wing consists of uniformly shaped arcades with a hierarchical accent in the center, in the form of the emperor’s marble baldachin. The central feature and the identical arcades on both sides express in a triadic division bilateral symmetry, or qar? na. The baldachin attains its hierarchical accentuation by the use of nobler material—namely, white marble—and with selective naturalism: it is formed of organic baluster columns, decorated with naturalistically sculpted acanthus leaves that also appear in stucco as decoration of the interior cupola.These elements are shaped with sensuous attention to detail and are in stark contrast to the plainer arcades of the wings. The organic plant forms of the baldachin symbolize the emperor, whose throne stood below it, as the generator of blossoming and wellbeing. 32 This is underlined by the pot with over? owing leaves out of which grows each of the four columns—a p? r? a ghata or p? r? a kalasha, in Indian architecture an ancient symbol of growth, fecundity, and prosperity (? g. 11). 33 This example is meant to suggest that the same principles govern the entire architecture of Shah Jahan— palaces, gardens, mosques, and mausoleums.They are, however, expressed most grandly and most consistently in the Taj Mahal, whose architecture epitomizes the Shahjahani system. THE PRINCIPLES OF SHAHJAHANI ARCHITECTURE AS EXPRESSED IN THE TAJ MAHAL First, a rational and strict geometry is ensured by the use of grid systems based on the Shahjahani gaz. Different modules are used for the garden and the subsidiary 140 ebba koch gate (darw? za) to the garden (? g. 3: 9), the fore court (jilawkh? na) (? g. 3: 11) and its southern gate (? g. 3: 15), the square (chawk) (? g. 3: 17), and the southern gate of the bazaar and caravanserai complex (? g. : 19). These elements are ? anked on both sides by pairs of identical buildings: the mosque (masjid) (? g. 3: 2) and the assembly hall (mihm? n kh? na) (? g. 3: 3), two garden wall pavilions (cim? rat), now called Naubat Khana (? g. 3: 7a, 7b), and, to accentuate the corners of the enclosure wall and the terrace step, three pairs of tower pavilions (burj) (? g. 3: 4a, 4b, 4c, 4d, 4e, 4f). The elements of the subsidiary unit (? g. 3: C, D) are arranged in the same mirror symmetry. Integrated into the overall qar? na symmetry are centrally planned elements, namely the four-part garden (b? gh) (? g. : B), the four-part bazaar-and-caravanserai complex (? g. 3: D), the miniature ch? rb? ghs of the subsidiary tombs (? g. 3: 13a, 13b); the individual buildings of the mausoleum (? g. 3: 1) and gate (? g. 3: 9) are raised ove r central plans (compare ? gs. 3 and 4). Each element plays an indispensable part in the composition; if just one part were missing, the balance of the entire composition would be destroyed. Bilateral symmetry dominated by a central accent has generally been recognized as an ordering principle of the architecture of rulers aiming at absolute power—a symbol of the ruling force that brings about balance and harmony.For Earl E. Rosenthal, this is expressed in the palace built into the Alhambra in Granada by Charles V in 1526 as a statement of the Christian Reconquista of Spain, â€Å"a striking symbol of the strati? cation of aristocratic society under centralized authority. †35 Third, triadic divisions bound together in proportional formulas determine the shape of plans, elevations, and architectural ornament of the Taj. A leitmotif is the tripartite composition consisting of a dominant feature in the center ? anked by two identical elements; the con? uration relates in turn to hierarchy as well as to qar? na symmetry (? gs. 1 and 12). Fourth is the hierarchical grading of material, forms, and color down to the minutest ornamental detail. Particular striking is hierarchical use of color: the only building in the whole complex faced entirely with white marble is the mausoleum. All the subsidiary structures of the Taj complex are faced with red sandstone; special features such as domes may be clad in white marble (? gs. 1, 2, 12). This hierarchic use of white marble and red sandstone is typical of impe- Fig. 11.Marble baluster column of the baldachin of Shah Jahan’s throne, topped with an acanthus capital and growing out of a pot with overflowing acanthus leaves, the Indian pur? a ghata. (Photo: Ebba Koch, 1979) complexes, and even individual buildings have their own grid. The unit of the garden and the riverfront terrace is based on a grid with a 23-gaz module, and the unit of the jilawkh? na and bazaar and caravanserai complex on a 17-gaz mo dule. In the planning of the mausoleum a 7-gaz module is used and in that of the gate a 3-gaz module. 34 Second, there is perfect symmetrical planning with emphasis on bilateral symmetry (qar? a) along a central axis on which are placed the main features. The main axis running north-south is represented by the garden canal and the bazaar street in its extension. On it are set the dominant features: the mausoleum (raw ¬a) (? g. 3: 1), the pool (haw ¬) (? g. 3: 5), the the taj mahal: architecture, symbolism, and urban signi? cance 141 Fig. 12. Taj Mahal, Mihman Khana (Photo: Ebba Koch, 1996) rial Mughal architecture, but here it is explored with unparalleled sophistication. It represents the clearest link to pre-Islamic Indian Shastric concepts and expresses social strati? cation.The Mughals elaborated here an architectural praxis that already had been adopted by the early sultans of Delhi and that conforms to older Indian concepts laid down in the Shastric literature. The Vishnud harmottara, an authoritative compilation composed in Kashmir in about the eighth century, recommended white-colored stone for Brahmin buildings and red for those of the Kshatriyas, the warrior caste:36 â€Å"White, it would seem, is opposed to red as the purity of the Brahmin is opposed to the ruling power of the Kshatriya. † The synthesis of the two colors had an auspicious connotation. 7 By using white and red in their buildings, the Mughals represented themselves in the terms of the two highest levels of the Indian social system: architecturally speaking, they were the new Brahmins and the new Kshatryas of the age. Until Aurangzeb, the Mughal emperors were concerned to de? ne themselves as rulers in Indian as well as Muslim terms; the historian {Abd al-Qadir Bada}uni (d. 1004/1595–96), who was an orthodox Muslim and wrote a history of Akbar on his own account, criticized the emperor for letting himself be addressed as an incarnation â€Å"like Rama, Krishna, and ot her in? del kings. 38 Fifth is the uniformity of shapes, ordered by hierarchical accents: for instance, only one type of columnar support—the Shahjahani column—is used in the entire complex. It has a multifaceted shaft, a muqarnas capital, and a base formed of multicusped-arched panels39 and is always combined with a multicusped arch. The proportions and details of the columns may vary according to their position in the complex. In the galleries on both sides of the gate (? g. 3: 8a, 8b) they form monumental arcades (? g. 13, and cf. ?g. 10); on the roof level of the mausoleum similar arcades on a smaller scale are set in the back sides of the p? ht? qs (portals), and Shahjahani half-columns 142 ebba koch Fig. 13. Taj Mahal, galleries south of garden on both sides of the gate (fig. 3: 18), Shahjahani column with faceted shaft, muqarnas capital, and base formed of four multicusped panels, each enriched with a flowering plant in relief. (Photo: Ebba Koch, 1995) Fig. 14. Taj Mahal, roof level, pillar with paired Shahjahani half-columns of roof chhatr? (kiosk), behind the back side of the p? sht? q (porch) with gallery formed of Shahjahani columns and multicusped arches. (Photo: Ebba Koch, 1996) ?ank the pillars of the four marble chhatr? (kiosks) surrounding the main dome (? g. 14). This uniformity is true of the entire architectural vocabulary and its decoration; it applies to the paneling of the walls with shallow multicusped niches and cartouches, and to the treatment of vaults. One type of decorative facing is used for the main vaults and the half vaults of the mausoleum and gate (? gs. 15, 16)—a network developed from points arranged in concentric circles, which Shah Jahan’s authors described as q? lib k? r? , or mold work, because in the original plaster form of the vault the pattern was applied by means of molds (? g. 15).The design was transferred into marble in the central dome and half vaults of the p? sht? qs of the mausoleu m (? g. 16). Sixth, the principle of sensuous attention to detail is expressed most exemplarily in the ? owers of the mausoleum dado and in the exquisite pietra dura (literally, â€Å"hard stone†: gemstone inlay) decoration of the cenotaphs of Mumtaz Mahal and Shah Jahan and the screen that surrounds them (? gs. 17, 18, 20, 21). Seventh, in the Taj the selective use of naturalism emphasizes hierarchy. The most naturalistic decor appears in the chief building of the entire complex, the mausoleum (? s. 17, 18, 20, 21). Eighth, the sophisticated symbolism in the architec- the taj mahal: architecture, symbolism, and urban signi? cance 143 Fig. 15. Taj Mahal, garden gate, half vault of the southern p? sht? q showing plaster facing with q? lib k? r? , that is, a network forming kite-shaped compartments developed from stars arranged in concentric tiers. (Photo: Ebba Koch, 1996) Fig. 16. Taj Mahal, mausoleum, central dome with q? lib k? r? in marble relief. (Photo: Ebba Koch, 1996) 1 44 ebba koch brought to its ultimate monumentalized design; thus it was raised to a level above the sphere of mortals.The concept of the eschatological house also governs the elaborate program of the inscriptions, designed by Amanat Khan Shirazi. Z. A. Desai and Wayne Begley have shown that passages of the Qur}an selected for the inscriptions focus on themes of the Last Judgment, divine mercy, the reward of the faithful, and Paradise (? g. 19). 42 Such themes are entirely ? tting for the mausoleum in their evocation of the abode prepared for Mumtaz in Paradise. Begley, however, uses the evidence for another, less close-at-hand reading and sees in the Taj Mahal an architectural realization of an Islamic cosmological scheme—namely, the oncept of the Throne of God on the Day of Judgment, as envisaged and recorded in a diagram by the thirteenth-century Spanish mystic Ibn al-{Arabi in his Fut t al-Makkiyya (1238). 43 Why then, as Maria Eva Subtelny has pointed out, 44 is the famou s Throne verse (Qur}an 2:255) extolling God’s majesty45 absent from the inscriptional program of the Taj Mahal? Begley’s interpretation ignores not only that, but also the use of an established Agra garden plan for the layout of tural program expresses, as I have suggested, the concept of the mausoleum as earthly realization of the mansion of Mumtaz in the garden of Paradise.This is clearly formulated by Lahawri in the of? cial history of the emperor’s reign: †¦the exalted mausoleum, which imitates the gardens of Rizwan [the guardian of Paradise], and which gives an impression of Paradise (literally, the holy enclosures) (raw ¬a-i mu}all? ki az riy?  ¬-i Ri ¬w? n hik? yat kard wa az ha }ir[rat al-] quds nish? n dahad). 40 Mughal eulogistical references have a complexity of their own; while they may represent a purely literary convention, they can also have a direct bearing on the work of architecture or art that they praise.In order to arrive at their meaning, the metaphors used in such eulogies thus have to be carefully evaluated against the evidence brought forth by formal analysis. 41 In the Taj Mahal, every aspect of the architecture supports the concept of the paradisiacal mansion. It is expressed in the overall planning of the entire complex. The waterfront garden, a typical residential garden form of Agra, was realized in ideal forms and Fig. 17. Taj Mahal, p? sht? q of mausoleum, marble dados with rows of naturalistic flowers representing heavenly flowerbeds. (Photo: Ebba Koch, 1978) he taj mahal: architecture, symbolism, and urban signi? cance 145 Fig. 18. Taj Mahal, p? sht? q of the mausoleum, dado flowers of mixed botanical species, detail. (Photo: Ebba Koch, 1978) the mausoleum. 46 He also disregards another highly relevant aspect, that is, the ? oral decoration that forms an integral part of the building. In a direct appeal to our senses, the concept of the paradisiacal garden house is expressed in the delicate ? ow ers that appear on the dados, at the eye level of the beholder. They are carved in sensuous detail and represent naturalistic but not necessarily identi? ble botanical species47 that transform the lower walls of the mausoleum into ever-blooming paradisiacal ? owerbeds (? gs. 17, 18). The naturalistic decoration culminates in the interior, in the central ensemble of the cenotaphs of Mumtaz and Shah Jahan and the screen that surrounds them. These are covered with spectacular ? owers and plants inlaid with semi-precious stones, in commesso (composition) di pietre dure; the Mughals called the technique parch? n k? r? (literally: â€Å"driven-in work†) (? g. 20). The poet Abu Talib Kalim tells us that the painterly effects that could be obtained with parch? k? r? made it possible to create the desired naturalistic ? owers, permanent and thus superior images of their counterparts in nature: On each stone a hundred colors, paintings, and ornaments Have become apparent through the ch isel’s blade. Fig. 19. Taj Mahal, interior of the central hall, south arch. End of the inscription of Qur}an 39:53–54, with the colophon of the calligrapher, reading â€Å"Finished with His [God’s] help; written by the humble faqir Amanat Khan al-Shirazi, in the year one thousand and forty-eight Hijri [1638–39], and the twelfth of His Majesty’s auspicious accession. (Photo: Ebba Koch, 2001) 146 ebba koch Fig. 20. Cenotaphs of Mumtaz Mahal (1632) and Shah Jahan (1666) in the main tomb hall. (Photo: Ebba Koch, 1981) Fig. 21. Cenotaph of Shah Jahan in the lower tomb chamber (â€Å"crypt†). Detail of poppies and yellow flowers set in cartouches, inlaid with semi-precious stones in pietra dura/parch? n k? r? technique. (Photo: Ebba Koch, 2002) the taj mahal: architecture, symbolism, and urban signi? cance The chisel has become the pen of Mani48 Painting so many pictures upon the translucent marble (? b-i marmar). †¦.Pictures become manifest from every stone; In its mirror behold the image of a flower garden. They have inlaid flowers of stone in the marble: What they lack in smell they make up with color. Those red and yellow flowers that dispel the heart’s grief, are completely out of carnelian and amber. †¦. When of such stones the surface of a tomb is made, The deceased will [want to] clasp the flower pictures to her heart. 49 147 and to provide a lasting memorial to his fame. Strict formal principles served to express within each work of art and each building the hierarchy and timeless order of Shahjahani rule.With their successful appeal to our senses, the seductive aesthetics make the message the more persuasive. It is the fusion of the intellectual and the sensuous that has made the Taj Mahal such a successful monument up to the present day. Lastly, the close connection between form and meaning in Shahjahani art makes it a methodological exemplar of general art-historical relevance; it reminds us tha t formal analysis should not be in opposition to a contextual approach but rather a starting point for art as history.Institute fur Kunstgeschichte University of Vienna NOTES Author’s note: A visiting fellowship from the Aga Khan Program for Islamic Architecture at Harvard University in autumn 2002 enabled me to work on the manuscript of Taj Mahal, and to present my ? ndings in a lecture in the Aga Khan Program Lecture Series on Nov. 14, 2003, which forms the basis of this article. I thank Gulru Necipoqlu, David Roxburgh, Jeffery Spurr, Andras Riedlmayer, and Sunil Sharma for their interest in my research and their help during my stay in Cambridge.For supporting my project of the documentation and analysis of the Taj Mahal, I wish to thank the Jubilaumsfonds der Osterreichischen Nationalbank, the Bundesministerium fur Unterricht und Kulturelle Angelegenheiten, Austria, and Mr. E. Alkazi. 1. W. E. Begley, â€Å"The Myth of the Taj Mahal and a New Theory of its Symbolic Meanin g,† The Art Bulletin 61 (1979): 7– 37. Begley’s interpretation of the building as a replica of the Throne of God became widely known, probably because of its eccentricity and also because there was no proposed alternative; it even made its way into the popular travel guide literature: see Lonely Planet: India, 8th ed. Hawthorne: Victoria, Australia, 1999), 392. 2. The Complete Taj Mahal and the Riverfront Gardens of Agra (London: Thames and Hudson, forthcoming 2006). 3. Mu? ammad Am? n Qazw? n? , P? dsh? hn? ma, British Library Asia, Paci? c, and Africa Collections (henceforth BL APAC), Or. 173, fol. 234b (librarian’s refoliation 235b), my translation; cf. the translation of this passage in W. E. Begley and Z. A. Desai, Taj Mahal: The Illumined Tomb: An Anthology of Seventeenth-Century Mughal and European Documentary Sources (Cambridge, MA: Aga Khan Program for Islamic Architecture and Seattle: University of Washington Press, ca. 989), 42. 4. {Abd al-Yam? d L? hawr? , The B? dsh? hn? mah (Persian text), ed. M. Kab? r al-D? n A? mad and M. {Abd al-Ra m (Calcutta: Asiatic Society of Bengal, 1865–72) vol. 1, pt. 1, 403, my trans. ; cf. the trans. of this passage in Begley and Desai, Taj Mahal: The Illumined Tomb, 43. 5. I thank Dr. S. M. Yunus Jaffery for his continuing assistance in reading and translating Mughal source material. On both cenotaphs of Shah Jahan, which were placed next to those of Mumtaz after his death in 1666, the decoration with paradisiacal ? owers was given preference even over inscriptions.Inscriptions had decorated the sarcophagus-like element of both cenotaphs of Mumtaz, the one in the lower and the other in the upper tomb chamber, and full ? owering plants appear only on the platform of her upper cenotaph. But both of Shah Jahan’s cenotaphs are covered all over with ? owers (? gs. 20, 21); the only epigraphy appears in the form of a brief historical epitaph at the south end of each cenotaph. The w eight given to ? oral decoration is in tune, on the one hand, with the overall concept of the mausoleum as paradisiacal garden house, but the exclusively ? oral decoration of the emperor’s cenotaphs makes a more speci? statement, relating, even after his death, to the use of ? ora in his court settings to express imperial propaganda. The court poets and writers tell us that Shah Jahan was â€Å"the spring of the ? ower garden of justice and generosity,†50 the renewer (mujaddid) under whose rule â€Å"Hindustan has become the rose garden of the earth, and his reign†¦has become the spring season of the age in which the days and nights are young. †51 CONCLUSION From our investigations, the reign of Shah Jahan emerges as a time when the visual arts were most consistently and systematically explored as a means of promulgating imperial ideology.The written texts and the arts were seen as equally necessary means to represent the ruler and his state for a wider pub lic 148 6. ebba koch My ? eld research provides the material for a constantly expanding archive, which today comprises several hundred architectural drawings prepared mainly by Richard A. Barraud and ca. 50,000 photographs taken by myself. E. W. Smith, The Moghul Architecture of Fathpur-Sikri, Archaeological Survey of India: New Imperial Series (henceforth ASINIS) 18, 4 vols. (1894–98, repr.Delhi: Caxton Publications, 1985); idem, Akbar’s Tomb, Sikandarah near Agra, Described and Illustrated, ASINIS 35 (Allahabad: Superintendent Government Press, United Provinces, 1909). In the second Indian edition (New Delhi: Oxford University Press, 2002), 98–101. The most useful studies are Muhammad Abdulla Chaghtai, Le Tadj Mahal d’Agra (Brussels, 1938); R. A. Jairazbhoy, â€Å"The Taj Mahal in the Context of East and West: A Study in Comparative Method,† Journal of the Warburg and Courtauld Institutes 24 (1961): 59–88; Dieter Brandenburg, Der Taj Mahal in Agra (Berlin, 1969); R.Nath, The Immortal Taj Mahal (Bombay, 1972); and Lisa Golombek, â€Å"From Tamerlane to the Taj Mahal,† in Islamic Art and Architecture: In Honor of Katharina Otto-Dorn, ed. A. Daneshvari, Islamic Art and Architecture, 1 (Malibu, 1981), 43–50. Muhammad Moin-ud-din, The History of the Taj (Agra, 1905), recorded for the ? rst time the inscriptions of the Taj; his pioneering effort was superseded by Begley and Desai, Taj Mahal: The Illumined Tomb. For excellent photographs by Jean Nou, see Amina Okada and M. C.Joshi, Taj Mahal (New York, London, and Paris: Abbeville Press, 1993): unfortunately the illustrations are only partly identi? ed. For further literature on the Taj Mahal, see Ebba Koch, â€Å"T? dj Ma? all,† Encyclopaedia of Islam, 2nd ed. (henceforth EI2) (Leiden: Brill, 1960–2004), vol. 10, 58–60, and idem, Complete Taj Mahal. Koch, â€Å"T? dj Ma? all,† ? g. 4 presents my new overall plan of the complex for the ? rst time. A brief assessment based on this survey is idem, â€Å"The Taj Mahal,† in The Seventy Architectural Wonders of Our World, ed. Neil Parkyn (London: Thames and Hudson, 2002), 57–61.We measured the buildings with metal and plastic tapes and with a laser measuring instrument called Disto Basic, made by Leica. Based on our survey, Richard Barraud did the scale drawings by hand; I took the photographs with a Nikon FS Photomic. All plans and photographs illustrating this article are part of this survey. A selection is published in Koch, â€Å"Taj Mahal,† 60. Jaques Derrida, â€Å"Structure, Sign, and Play,† Writing and Difference, trans. A. Bass (Chicago, 1978). The width of the complex at the southern, jilawkh? na, end measures 300. 84 m; at the riverfront it is 300 m. This is explained by Richard A.Barraud in his pioneering study â€Å"The Modular Planning of the Taj Mahal,† based on our measurements and illustrated with three drawings, in Koch, Complete Taj Mahal. Barraud refutes Begley’s assumption that the planning of the Taj can be reconstructed by putting a decimal grid over the whole complex and explaining away the features that do not ? t into it. See Begley and Desai, Taj Mahal: The Illumined Tomb, ? gs. 13–15, and W. E. Begley, â€Å"The Garden of the Taj Mahal: A Case Study of Mughal Architectural Planning and Symbolism,† in Mughal Gardens: Sources, Places, Representations, and Prospects, ed. J. L. Wescoat, Jr. and J.WolschkeBulmahn (Washington, DC, 1996). In earlier publications I have given differing measurements of the complex. In Koch, â€Å"T? dj Ma? all,† 58, a misprint occurred in the rendering of the gaz equivalents of the preserved part, which are indicated as 690 x 313 gaz instead of 696 x 374 gaz. In my essay in Seventy Architectural Wonders, 61, the overall length of the complex is given as 897. 3 x 300 m, because we took it from the outer face of the southernmost g ate, which projects 1. 20 m from the enclosure wall. From this comes the overall length of 1114 gaz cited in Koch, â€Å"T? dj Ma? all,† 58, which differs from the one given here as 1112. gaz. Ebba Koch, â€Å"The Mughal Waterfront Garden,† in Gardens in the Time of the Great Muslim Empires: Theory and Design, Supplements to Muqarnas, 7, ed. Attilio Petruccioli (Leiden, New York, and Cologne: Brill, 1997), 140–60, repr. in Ebba Koch, Mughal Art and Imperial Ideology (New Delhi: Oxford University Press, 2001), 183–202. Cat. no. 126. The plan is painted on cloth and measures 294 x 272 cm. I have studied it since the mid-1980s and discussed it in several publications: see Ebba Koch, â€Å"The Zahara Bagh (Bagh-i Jahanara) at Agra,† Environmental Design 2 (1986): 30– 37; idem, â€Å"The Mughal Waterfront Garden† in M.C. Beach, Ebba Koch, and Wheeler Thackston, King of the World: The Padshahnama: An Imperial Mughal Manuscript from the Roya l Library, Windsor Castle (London: Azimuth Editions and Washington, DC: Arthur M. Sackler Gallery, Smithsonian Institution, 1997), cat. no. 29, 185–87 and cat. no. 45, 209–10, ? g. 132. I thank Dr. B. M. Jawalia, Keeper of Manuscripts, for assisting me in reading the inscriptions of the plan in July 1985 and Feb. 1986, and Dr. A? ok Kumar Das, then Director of the Maharaja Sawai Man Singh II Museum, Jaipur, for the permission to study and to publish it. As no. 45 on the line drawing of ? g. I have added a further complex, which represents the Chhatri of Jaswant Singh (d. probably 1678), a well-preserved funerary complex that does not appear on the Jaipur map. L? lah S? l Chand, Tafr? h al-{im? r? t, compiled for James Stephen Lushington, Acting Collector and Magistrate of Agra, 1825–26, BL APAC, Pers. Or. 6371. I have used the copy prepared in 1836–37 for James Davidson, Sessions Judge, Agra, BL APAC, Pers. ms. 2450. Koch, â€Å"Zahara Bagh (Bagh-i Jahan ara). † For a full discussion of the Agra riverfront scheme, see Koch, Taj Mahal, chap. 1. L? hawr? , B? dsh? hn? ma, vol. 2, 322–31; and Mu? ammad O? li?Kanb? , {Amal-i O? li? , 3 vols. (Lahore, 1967–72) vol. 2, 315– 20; both trans. Begley and Desai in Taj Mahal: The Illumined Tomb, 65–82. On Mughal historiography, see the new study by Stephan Conermann, Historiographie als Sinnstiftung: Indopersische Geschichtsschreibung wahrend der Mogulzeit (932–1118/ 1516–1707) (Wiesbaden: Reichert Verlag, 2002), 422 (on L? hawr? ) and 125, 395–96, and passim (on Kanb? ). In his painstaking assessment, Conermann regrettably does not consider art and architecture as sources of history, as I have pleaded for in the introduction to Mughal Art and Imperial Ideology, xxiii–xxvii.The ? rst dated plan of the entire complex is by the British landscape artists Thomas and William Daniell, who had it prepared in Agra in 1789 and published in th eir Two Views of the Taje Mahel at the City of Agra in Hindostan Taken in 1789 (London, 1801). A similar plan, but painted on cloth, is in the 7. 8. 9. 15. 16. 17. 10. 18. 11. 19. 20. 21. 12 . 13. 14. 22. the taj mahal: architecture, symbolism, and urban signi? cance Museum of the Taj Mahal (acc. no. 22), in the pavilion set in the western wall of the garden; another plan of this type, 280 x 85 cm, is in the Museum fur Indische Kunst, Berlin, no. I 10 060.It has been published in Pratapaditya Pal, Janice Leoshko, Joseph M. Dye III, and Stephen Markel, Romance of the Taj Mahal, exhibition catalogue (London: Thames and Hudson and Los Angeles: Los Angeles County Museum of Art, 1989), 55, ? g. 41. The plans differ in the areas of the jil? wkhana and the caravansarais. L? hawr? , B? dsh? hn? ma, vol. 2, 329–30; Kanb? , {Amal-i O? li? , vol. 2, 319–20. See also Begley and Desai, Taj Mahal: The Illumined Tomb, 75, 81. For the term, see below. For d? n wa-duny? , see L. Gardet , â€Å"D? n,† EI2, vol. 2, 293–96, in particular 295. Jean-Baptiste Tavernier, Travels in India, 2 vols. English trans. V. Ball, 2nd ed. ed. William Crooke (London: Oxford University Press, 1925; repr. New Delhi: Oriental Books Reprint Corporation, 1977), vol. 1, p. 90. See, e. g. , L? hawr? , B? dsh? hn? ma, vol. 1, pt. 1, 155. The aims of the venture have been laid down in Taj Mahal Agra Site Management Plan, brought out by the Taj Mahal Conservation Collaborative together with the Archaeological Survey of India (March 2003); for my mission statement, delivered on Sept. 28, 2001, at the end of the ? rst advisors’ meeting on the conservation of the Taj Mahal (Sept. 25–28, 2001), see 5–6; for the model, see 66–67 and 70, ? g. 12.Ebba Koch, â€Å"The Principles of Shah-Jahani Painting,† in Beach, Koch, and Thackston, King of the World, 131–43; repr. in Ebba Koch, Mughal Art and Imperial Ideology, 130–62. L? hawr? , B? ds h? hn? ma, vol. 1, pt. 1, 149. See, e. g. , L? hawr? , B? dsh? hn? ma, vol. 2, 327 with regard to the Taj Mahal, namely, the placement of the Mihman Khana and mosque to both sides of the mausoleum. This concept of rulership is explained in more detail below. On the adoption of the p? r? a ghata in Mughal architecture, see R. Nath, History of Decorative Art in Mughal Architecture (Delhi, Varanasi, and Patna: Motilal Banarsidass, 1976), 6– 10.Barraud, â€Å"Modular Planning of the Taj Mahal,† in Koch, Complete Taj Mahal. E. E. Rosenthal, The Palace of Charles V in Granada (Princeton: Princeton University Press, 1985), 249–50. See Priyabala Shah, trans. , Shri Vishnudharmottara, a Text of Ancient Indian Arts (Ahmedabad: The New Order Book Co. , n. d. [1990]), 268, 271. Brenda E. F. Beck, â€Å"Colour and Heat in South Indian Ritual,† Man: The Journal of the Royal Anthropological Institute, n. s. , 4: 553–72; the quoted passage is on 559. Beck investig ates the use of the two colors, red and white, in South Indian ritual; her ? ndings tally with the recommendations of the Vishnudharmotara. Abd al-Q? dir Bad? }? n? , Muntakhab al-Taw? r? kh, English trans. (vol. 2) W. H. Lowe, 2nd ed. (Bengal: Asiatic Society, 1924; repr. Delhi: Idarah-i-Adabiyat-i-Delli, 1973), 336. For Akbar representing himself on Indian terms, see Ebba Koch, â€Å"The 149 39. 40. 41. 23. 24. 25. 26. 42. 27. 28. 43. 44. 45. 46. 29. 30. 31. 32. 33. 47. 34. 35. 36. 48. 49. 37. 50. 38. 51. Intellectual and Artistic Climate at Akbar’s Court,† in John Seyller, The Adventures of Hamza: A Monument of Early Mughal Painting (London: Azimuth Editions and Washington, DC: Smithsonian Institution, 2002), 18–31.Koch, Mughal Architecture, 93. L? hawr? , B? dsh? hn? ma, vol. 2, 323; trans. E. Koch; cf. trans. of Begley and Desai in Taj Mahal: The Illumined Tomb, 66. E. Koch, introduction to Mughal Art and Imperial Ideology, xxiii–xxiv; see also idem, â€Å"Diwan-i {Amm and Chihil Sutun: The Audience Halls of Shah Jahan,† Muqarnas 11 (1994): 143–65, in particular 149–52, repr. in Mughal Art and Imperial Ideology, 229–54, in particular 242–43. For a compilation and translation of the inscriptions, see Begley and Desai, Taj Mahal: The Illumined Tomb, 195–244; for a discussion of their meaning, see W. E.Begley, â€Å"Amanat Khan and the Calligraphy on the Taj Mahal,† Kunst des Orients 12 (1978–79): 5–39; W. E. Begley, â€Å"The Myth of the Taj Mahal and a New Theory of Its Symbolic Meaning,† The Art Bulletin 61 (1979): 7–37. Begley, â€Å"Myth of the Taj Mahal,† in particular 25–27. Personal communication, Toronto, Dec. 5, 2002. For the frequent use of the Throne Verse in epigraphical programs, see E. D. Cruikshank Dodd, â€Å"The Image of the Word: Notes on the Religious Iconography of Islam,† Berytus 18 (1969): 35–61, 59; S. S . Blair, Islamic Inscriptions (New York: New York University Press, 1998), 69, 198, 214.I pointed this out in Mughal Architecture, 99; and in â€Å"The Mughal Waterfront Garden,† 143–44, repr. in Mughal Art and Imperial Ideology, 196; but I could not convince Laura Parodi, â€Å"‘The Distilled Essence of the Timurid Spirit’: Some Observations on the Taj Mahal,† East and West 50, 1–4 (Dec. 2000): 535–42, in particular 539, where she considered my interpretation of the â€Å"ideal paradisiacal garden for the deceased† as â€Å"reductive† and preferred Begley’s Throne of God hypothesis. I have come back to the issue in the introduction to Mughal Art and Imperial Ideology, xxiv.Both Begley and Parodi overlook the fact that, however spectacular their realization, the themes of Shahjahani art were conventional, as be? tting a ruler aspiring to classical equilibrium. Robert Skelton ? rst drew attention to the ambivalence of these ? oral creations in â€Å"A Decorative Motif in Mughal Art,† in Aspects of Indian Art: Papers Presented in a Symposium at the Los Angeles County Museum of Art, Oct. 1970, ed. Pratapaditya Pal (Leiden: E. J. Brill, 1972), 147–52. The founder of the Manicheans, and in Persian lore the ultimate painter. Ab? lib Kal? , P? dsh? hn? ma, Persian ms. , BL APAC, Ethe 1570, fol. 164a margin; my translation differs somewhat from that of Begley and Desai, Taj Mahal: The Illumined Tomb, 83. I thank Sunil Sharma for his advice. Bah? r-i gulist? n-i {adl u karam: Y? jj? Mu? ammad J? n Quds? , Zafarn? ma-i Sh? h Jah? n, BL APAC, Persian ms. Ethe 1552, fol. 129a. Kanb? , {Amal-i O? li? , vol. 3, 24; see also Ebba Koch, â€Å"Mughal Palace Gardens from Babur to Shah Jahan (1526–1648),† Muqarnas 14 (1997): 143–65, quotes on 159; repr. in Mughal Art and Imperial Ideology, 203–28, quotes on 227.

Nowadays corporate governance

Nowadays corporate governance is seen as the key of attracting investors. Capital flow seems directed towards the companies, which practice fair and transparent ways of governing their organizations. With the changing global business scenario the need of understanding and effective practice of fair and technologically advance corporate governance has also increased. In my speech I will first explain the notion of Corporate Governance. ICAEW (2002) has explained corporate governance in a very effective and comprehensive manner as â€Å" Corporate governance is commonly referred to as a system by which organizations are directed and controlled. It is the process by which company objectives are established, achieved and monitored. Corporate governance is concerned with the relationships and responsibilities between the board, management, shareholders and other relevant stakeholders within a legal and regulatory framework.† Sir Adrian Cadbury (1992) defined corporate governance as ‘the whole system of controls, both financial and otherwise, by which a company is directed and controlled’. There are no hard and fast rules for corporate governance, which can be prescribed for all the countries. These rules can be different for different countries according to their needs and cultural settings. According to ICAEW (2002) with all the contrasts present in the rules and regulations of different countries emphasis is given to generic corporate governance principles of responsibility, accountability, transparency and fairness. Responsibility of directors who approve the strategic direction of the organization within a framework of prudent controls and who employ, monitor and reward management. Accountability of the board to shareholders who have the right to receive information on the financial stewardship of their investment and exercise power to reward or remove the directors entrusted to run the company. Transparency of clear information with which meaningful analysis of a company and its actions can be made. The disclosure of financial and operational information and internal processes of management oversight and control enable outsiders to understand the organization. Fairness that all shareholders are treated equally and have the opportunity for redress for violation of their rights. According to Meigs et al. (1999) this information meets the needs of users of the information-investors. Creditors, managers, and so on-and support many kinds of financial decision performance evaluation and capital allocation, among others. (P.07) Corporations resolutely focus on maximizing profits and a ‘legal obligation to act in the best interests of their shareholders. By and large, this excludes acting ethically or socially responsibly†¦Ã¢â‚¬â„¢(Slapper and Tombs, 1999). (Shah, 2002) states that some Trans-national corporations make more in sales than the GDPs (Gross Domestic Product) of many countries. In fact, of the 100 hundred wealthiest bodies, 51 percent are owned by corporations. While this can be seen as a success story from some viewpoints, others suggest that these and other large corporations are largely unaccountable for the many social and environmental problems that they leave in their wake, and that their size means that their effects are considerable. It is not that every single corporation is inherently bad or greedy, but commonly, the very large, multinational corporations who naturally have vested interests in international development and trade policies (like any group) are able to deploy enormous financial resources in an attempt to get favorable outcomes. The political power that is therefore held by such a small number of people impacts the planet significantly. As a result a few of these corporations make up some of the most influential sources of political and economic power. Naturally, with such influence it is not clear   ‘who’ the regulator is. And as Clarkson’s (1999) earlier quote suggests money and power, in corporate activity, are paired. And where profit supersedes safety and power supersedes regulation there stands the conflict of interests, for the victims of corporate crime. These are for the most part neither wealthy nor powerful although, when they are liability is certainly applied copiously. For example in the case of Enron the former chief accounting officer, Richard Causey was indicted on charges of ‘ fraud, conspiracy, insider trading, lying to auditors and money laundering for allegedly knowing about or participating in a series of schemes to fool investors into believing Enron was financially healthy’ (findlaw.com). The ‘victims’ in this case were the investors who were identifiable and influential. Violations, which impact on financial systems, are subject to more scrupulous legislative administration, compared with social infringements (snider 1991 cited in Slapper and Tombs 1999:89). Increased attention to corporate crime would mean relating to large companies as ‘criminals’ (Slapper and Tombs, 1999). An issue, (Sullivan, 1995 cited in Clarkson, 1998) renders impossible on the basis that ‘crimes can only be committed by human, moral agents’. Media attention will focus on financial aspects of corporate crime due to its impact on a political scale and the sensational-factor that is the ‘respectable’ figures committing crime as well a the belief/knowledge that ‘scandal sells’. Scandal, is common reference for this financial aspect but noting the influence of language Slapper and Tombs (1999) note that this sets a’ scale’ for perceptions, rendering it uncommon/unusual. Another scale, which has been set in the last few decades, is the increasing complains of the least risk disclosure by the companies in their annual reports and financial statements. This is also accompanied by the misuse of the accounting techniques by the executive officers and managers of the corporations. As in case of Enron the technique of off balance sheet reporting was used in negative manner. Investors are often aware of the risks they take and in itself, off-balance-sheet financing is no vice. Companies can use it in perfectly legitimate ways that carry little risk to shareholders. The trouble is that while more companies are relying on off-balance-sheet methods to finance their operations, investors are usually unaware that a company with a clean balance sheet may be loaded with debt — until it is too late. (Morgenson, 2001) A change is required in the regulations. The accounting firm should not perform the consulting and auditing services both. The Companies should be required by the Government to increase their degrees of disclosure. The top-level management should be held more responsible by tightening up the regulations. They should also be held responsible in case of any frauds and regulatory violations of their subordinates. This in turn will give rise to the sense of responsibility in the people related at all levels. (Hanson, 2002) References Cadbury Sir Adrian, (1992). Report of the Committee on the Financial Aspects of Corporate Governance, Gee & Co Ltd., UK Clarkson, Max (Editor), The Corporation and Its Stakeholders: Classic and Contemporary Readings, University of Toronto Press, 1998. ICAEW, (2002). What is Corporate Governance? Institute of   Chartered Accountants in England and Wales, Retrieved 30/10/2007 from Hanson, K., (2002). Lessons from the Enron Scandal, interview about Enron by Atsushi Nakayama, a reporter for the Japanese newspaper Nikkei, March 5, 2002, Retrieved 30/10/2007 from http://www.scu.edu/ethics/publications/ethicalperspectives/enronlessons.html ICAEW, (2002). Corporate governance developments in the UK, Institute of  Ã‚  Ã‚   Chartered Accountants in England and Wales, Retrieved 30/10/2007 from Meigs, Robert F., Williams, Jan, R., Haka, Susan F. & Bettner, Mark S., (1999). Accounting: The Basis for Business Decisions, Eleventh Edition, Irwin Mc Graw-Hill, p. 07 Moregenson, G., (2001). Are New Woes Lurking in Financial Nether World? The Associated Press, December 23, 2001, Retrieved 30/10/2007 from http://pages.stern.nyu.edu/~adamodar/New_Home_Page/articles/isthisdebt.htm Slapper, G.,   & Tombs, S., Longman, (1999). Getting Away with Murder, Corporate Crime, Reviewed by Chris Moore, Issue 47, May 2000 Shah, A., (2002). Corporations and the Environment, Page Last Updated Saturday, May 25, 2002, Retrieved 30/10/2007 from               

Essential Equipments in the Healthcare of Patients Essay

Essential Equipments in the Healthcare of Patients - Essay Example According to the paper the type of questionnaire to be used showed consist of direct questions relevant to the study topic. The questionnaire is supposed to clearly tally views and bring about a reasonable argument at the end of the study period. The study should be able to capture a multitude of observation and present results that can be use even in future analysis as it examine trends that are used to predict the future this is in respect to patients and their spiritual beliefs as well as perceptions.This study discusses that some of the people the author of the report interviewed were not comfortable with the questions that the reporter asked them. Patients who are ignorant and do not have any ideas on the importance of spiritual beliefs are supposed to be included in the study as it stipulates the challenges facing patients in relation to spiritual beliefs. The challenges encountered in my study in this case include: lack of knowledge in the benefits of keeping a spiritual histo ry. Lack of adequate time in the analysis was an issue. Finally, misunderstanding of questions in the study. The result of these challenges is, the data provided is not 100% of actual truth. Majority of the people, roughly 96%, felt the importance of spiritual health. The lack of experience and knowledge in spiritual history was one of the major barriers to the study.  Spiritual assessment tools are essential equipments in the healthcare of patients. They help to cope with stress and illness as they are used in their recognition.

Future and Innovation (report) Essay Example | Topics and Well Written Essays - 2000 words

Future and Innovation (report) - Essay Example Although the machine was a good idea, it has faced various challenges in its development and adaptation as a tool for maintaining hygiene, where doing the task by hand would be too taxing. This paper will then discuss how inventions like that of human washing machine come about, and the factors that influence their acceptance in the market. Future and Innovation: Human Washing Machines Introduction Innovation is the bringing about of a new idea, in order to solve an existing problem or the introduction of a new methodology for performing a particular task. The world is a made up of dynamic environments, thus a perfectly productive way of completing a specific task faces the danger of becoming an unsatisfactory means of accomplishing the same (Merton 1968). With advances in technology, previously mundane tasks like that of cleaning one’s body have become highly technical. This means the process of removing dirt from one’s body can be integrated with embedded computer sys tems that would monitor the process to ensure that, for example, water is heated to just the right temperature. The skin is shampooed to the set lather amount and the task is repeated until a particular threshold is reached. The Avant's Santelubain 999 is one such machine that is created by Japanese manufacturers. The market is already flooded with personal care products, which range from those that are used to maintain the integrity of organs, for example sun blocking creams, to those that enhance the appearance and functioning properties of the body, like toothpastes. However, there has been a shortage of machinery that could ensure that these products are applied accurately and consistently. Although man is an imaginative creature, she is also prone to getting tired when the task demands repetitiveness. That is why; machines of robotic nature are good solution undertakers of such repetitive tasks (Wejnert 2002). The features of a human washing machine, the Avant's Santelubain 999 are examined here, and in examining it, it is illustrated that how innovation inevitably takes place as a result of a need to fulfill a common human need for hygiene maintenance. This paper will discuss the features of the human washing machine as concerning its ability to enhance the process of cleaning one’s body. Technical gadget reports provided the technical description of the human washing machine and have formed the basis of examining the human washing machine for viability as a practical piece of equipment. This paper discusses the new dimension that a human washing machine will bring in the personal care industry. Problem The Avant's Santelubain 999 draws its inspiration from the Star Trek movies, which intimated a world where human beings are enclosed in capsules that serve various functions that range from teleporting, sleeping, hygiene and communication. The human washing machine is a perfect example of how innovations heavily borrow from fictional, fantasy works and as a result realize them in reality. The washing machine is illustrative of the fact about how the line between the future and the present is increasingly becoming blurred by advances in innovations. The human washing machine was a result of radical innovation. The development of the Avant's Santelubain 999 machine can be put in context by considering its aspects when compared to the models of innovation that were put forward by one of the pioneers of industrial innovation:

Literature Review Saudi Stock Market Research Paper

Literature Review Saudi Stock Market - Research Paper Example Corporate firms can raise funds from the market since it is dominated by retailers. The high the volume of trade – which is directly proportional to the number of retail traders – provides high liquidity in the market. To consider a stock market to be effective the market must reflect the consumption of relevant data. In other words, the market must be a reflection of existing data including the performance and governance of the country where the market exists (Onour, 2009). The Saudi stock market was formalized in the early 1980’s (Onour, 2009). Since then the Saudi Market has undergone several changes in accommodate new trading methods. The changes that have been witnessed include changes in the regulatory framework (Onour, 2009) and the trading methods with the introduction of electronic trading. On this paper the researcher will review past literature on the performance of the Saudi Stock Market, comparing and contrasting the performance of the market to other stock markets finally, drawing conclusions and recommendations of how to strengthen the markets performance. Key factors that are affecting the performance of the Market will also be covered in brief. The market growth in capitalization, however, has been steady most attributable to the need to invest in the money being made from the oil industry. Oil Prices and stock markets have been studied in depth by Rault & Arouri (2009). Rault & Arouri have established a linkage between performance of the stock market and oil price shocks. They cite that proper study of oil price shocks can help investors invest in the GCC countries including Saudi Arabia profitably. The Saudi stock market consists of diverse group of companies focused on the strong domestic economy rather than the international prices of oil (Jadwa Investment, 2010). Nonetheless, investors are exposed to the oil sector

Analysis of the Film Reader Research Paper Example | Topics and Well Written Essays - 2000 words

Analysis of the Film Reader - Research Paper Example The circumstances which surround this affair are what make the situation more complex. The affair lasts for a while but when things begin to get complicated – like the boy becoming more demanding, and the mutual emotional attachment getting deeper, etc. – the woman decides to end the relationship abruptly, not knowing that this would have a deep impact on the boy’s life later on. The woman disappears from the boy’s life and he feels betrayed, but guilty for driving her away, partly blaming himself for allowing their special relationship to just slip away. The story, simply put, is divided into 3 parts – the lead character’s youth, young adulthood, and adulthood. It builds up with flashbacks interspersed in about two-thirds of the film. This is how the viewer is acquainted with the man who is now a lawyer, who was once the boy who figured in the sizzling affair years before. Somehow, at first, it is quite confusing to see the lead character, Michael Berg, looking out the window and then staring at a boy riding the tram. The eye-to-eye connection pointed to the linkage between the older man and his past, and how he cherished the memories he had as a young man. The complexity in the relationship comes out several years later, when, as a law student at Harvard, Michael gets to see the older woman he had a short-lived affair with – Hanna Schmitz – among the defendants in a case who was charged with the deaths of 300 prisoner Jews burned to death in a church. As the case unfolds, Michael gets to deduce the reason Hanna had wanted him to read for her during the time they were together – it was because of her illiteracy. Hanna’s companions connived against her and pointed to her as the one in charge when the case took place, and although she was merely one of the guards, they said it was her who made the report about the incident.

Cinematic Arts Personal Statement Example | Topics and Well Written Essays - 1000 words

Cinematic Arts - Personal Statement Example A critical analysis of my resume indicates an extremely disciplined, focused and organized mind, firstly as an operational specialist in the U.S. Navy and later as an administrative assistant to Arnold Schwarzenegger. In the U.S. Navy, I was responsible for the computer-assisted authorizations and instructions upon which the lives of Navy pilots depended. This was a high degree of responsibility and required great attention to detail and precision of communication. It also required me to quickly comprehend complex situations under stress and to explain clearly and quickly the logic of my decisions to aircraft personnel. In addition in instances where weather conditions could suddenly alter flight plans, I had to demonstrate the flexibility of thinking. My interest in media was nurtured within the political sphere both before and after working for the U.S. Navy. In the Department of Labor, I was most interested to conduct research on media outlets and to understand how the flow of information works between a government office and the broadcast media. I gained an insight into what is categorized as confidential information and what information is freely available, giving me a feel for information that might be "missing" when I read political articles in the newspapers. Working closely to briefs from Governor Arnold Schwarzenegger, I created publicity materials within a marketing plan, giving me greater confidence and understanding in the critical assessment of written documents and the message they convey. I provided the background information for press conferences from newspaper cuttings and in so doing had to understand the views of many different journalists and to have sensitivity for how subjects might be reported.2) Career Objectives All of the experience I have had win political offices has given me a great interest in understanding fields related to politics and business and how they interact with the media. I can see myself working in fields related to broadcast and film coverage, so one possibility, for example, would be public relations within military organizations e.g. the public affairs office of the U.S. Navy.One of my greatest ambitions is to be able to produce broadcast political shows on national T.V. that give people insight into the political issues of our time. In this I feel a PhD in Critical Studies at the School of Cinematic Arts will assist me greatly.My favorite media reading is the Washington Post and Hollywood Reporter, and I enjoy watching both Western and Chinese films from political blockbusters and thrillers (e.g. Oliver Stone's JFK) to martial art movies (e.g. John Woo) and those based on Chinese literature such as Red Cliff (dir: John Woo) and Crouching Tiger , Hidden Dragon (dir: Ang Lee). I feel my background to date is very solid in demonstrating critical analysis skills during my time as a U.S. Navy Operational Specialist, political communication skills through my time liaising with the media in the offices of Gov. Schwarzenegger, and business analysis and organizational skills learnt through my current Masters in Business administration and management.

Research Assignment Example | Topics and Well Written Essays - 1500 words

Research - Assignment Example The main problem, which was the reason of the study, was that of lack of such factual evidence through past studies on the facts of the health conditions within a society. The main aim that the study had was estimating the health burden that Germany as a country bore caused by the morbidity as well as mortality associated with obesity and related complications as seen from the perspective of the society. Besides, the study focused on estimating the deaths that occurred within Germany in 2002 being related to obesity as well as the overweight related complications. Moreover, the study was to establish the costs incurred in the country from such deaths that would result and this would be gotten from inpatient records, out patient records. Rehabilitation as well as non-medical costs were also on the check as direct costs while indirect costs were evaluated from sick offs, and early retirement costs among others. The research study format fails to cite distinctly the questions guiding the study as well as the hypothesis under which the study was conducted. This therefore leaves the reader with the liberty of evaluating the study report with presumed line of argument as not guided by clear-cut hypothesis and or questions. The data that was collected from the office of statistics in Germany (German Federal Statistics) and therefore survey method was used as the most appropriate tool for collecting data (Konnopka, Bo ¨demann & Ko ¨nig, 2011). The use of the survey to collect the data from the secondary sources was effective as the study was to use primary data for the year 2002 where collecting the data through other tools would not be possible. Besides, the adoption of the tool was necessitated by the nature of the research as being quantitative and hence factual empirical data for the analysis was necessary. The analysis of the data involved

The Significance of Organizational Structure Assignment

The Significance of Organizational Structure - Assignment Example The values of the employees must likewise be aligned with those that the organization is trying to promote. All these characteristics are evident in how the FMC Aberdeen facility manages its daily affairs. Judging from how the employees effectively interact with each other and with the members of the management, one can easily that the FMC Aberdeen facility has effectively established a strong organizational culture. There are various factors to consider when trying to restructure an organization. These same factors are likewise important considerations when one makes an attempt to redefine the culture that prevails in the organization. With regards to Kenneth Dailey's efforts to parallel FMC Green River's organization with that of FMC Aberdeen, he bears in mind that doing so will not be easy. For one, the prevailing structure in the facility that he manages has been in place since the facility opened. Moreover, restructuring the organization will require major changes in various aspects of how the FMC Green River facility is run. However, such a task is not impossible to complete. There are certain steps that must be taken to ensure the successful restructuring of the FMC Green River organization.One of the strategies that Dailey must consider implementing is the greater involvement of employees in all stages of decision-making. This strategy is effective and valuable for several reasons. For o ne, when employees participate in various stages of the process, they feel that they are more valuable to the company. By doing so, the management will be able to increase the job satisfaction of employees. Various studies have proven that when employees are highly involved in the organization, they are more motivated to perform and thus, they become more productive. Furthermore, increasing employee involvement is a vital strategy to consider because employees usually know more about the processes in the company. Their input is vital to the creation of various organizational strategies. They are the ones who have hands-on experience in the company. As such, their input is valuable to the planning and implementation of various decisions regarding the operations of the company.Another important strategy that Dailey must consider is the improvement of communications between employees and management. As previously stated, employees can provide valuable ideas with regards to company oper ations. Likewise, more open communication channels will facilitate the exchange of information between employees and management. If an organization is to retain a strong culture, communication between its members must not, in any way, be hindered. Everyone must feel as if they are valued in the organization. As such, they must be provided equal access to voicing out their thoughts and ideas.

Psychoanalysis and the Treatment of Drug Addiction Essay Example for Free

Psychoanalysis and the Treatment of Drug Addiction Essay Drug addiction persists to present major challenge to serving psychoanalysts. There are different techniques used to treat drug addiction however this paper mainly discusses psychoanalysis as a mode of treatment for drug addiction. Even though media hype regarding the issue of drug addiction has augmented in the last few years, there has not been sufficient stress on different methods used to deal with it. Therapists, educationist, and the common public require information on the subject of treatment methods and means that are accessible to them. Gradually more, experienced psychoanalysts are getting employed in drug addiction programs (Hosie, West, Mackey, 1997). In order to be successful, they should be aware of different methods used in drug addiction treatment and try to incorporate them into their daily practice and job. People who are in the field of drug addiction treatment, nonetheless, must try to have clear idea about using different methods of treatment (Schonfeld Morosko, 1997). Among the various modalities used to treat drug addiction are the twelve-step program of Alcoholics Anonymous (AA), professional counselling and psychiatric care, family systems therapy, and therapeutic community treatment. In the past, these approaches have often been at odds with one another (Minkoff, 1995). Some of the debates have involved whether drug addiction is a disease in and of itself or is reflective of some underlying psychopathology. The proponents of the disease model have included AA (1995) supporters, who have tended to focus on abstinence as a way of controlling the disease. Adherents to the psychopathology model have mainly been mental health professionals who have advocated psychiatric and professional counselling treatment. Yeager, DiGiuseppe, Olsen, Lewis, and Alberti (1997) noted that therapeutic community treatment has become increasingly popular because traditional and more individually oriented psychiatric modalities have not been very effective. They echoed the argument made by Vaillant (1975) that clients suffering from drug addiction need milieu and group involvement with their peers. External control, containment, and structure from milieu-oriented treatment are needed before meaningful psychotherapy can begin. Stanton and Todd (2000) agreed that peer influence can play a role in less serious drug addiction problems however that long-term drug addiction generally has its origins in adolescence and that serious drug abuse is predominantly a family phenomenon (p. 8). They argued that family therapy is therefore the logical treatment of choice. Psychoanalysis And Drug Addiction To be exact, severe drug addiction is considered as being motivated by contradictory and unsettled relational kinematicsthat drawn from the premature systematizing relations in a individuals lives. As far as drug addiction is concerned, the terms of this disagreement discover solid look in distinguishing actions of using drugs that provide to spread it with the help of the mutual results of reinforcement and disguise. The objective of treatment is for patient and psychoanalyst to uncover the constituents of the relational ties that are embedded in the drug use, to reformulate these forces in figurative expressions, and tore-check them in the kinematics of the change, next to prospects for latest exchange. Seen this way, the treatment requirements of drug users can finely be convened by psychoanalysis, improved by other methods essential for dealing with addiction. In the past drug addiction has been shut out from psychoanalysis and this method of treatment, clearly in its insinuation, might appear merely to validate that standing. Doing psychoanalysis treatment of drug users, comparing with other treatment methods, educates awareness on these desire states and uses replacement as a remedial instrument. No matter what the stress of the theory or character of the foundation, every analysis of addictive disorder that represent on entity associations tacitly contribute to a common principle: that the action of drug use comes into view as a result of desire. Whilst created by a lot of dependent variables, an operation of severe drug use, if intra-psychically inspected, at all times corresponds to an attempt to bring about inner alteration, or outside reaction, in a exacting, approved method. Almond (1997) has described desire as â€Å"a personal condition—a feeling of total control or power—that the person endeavours to bring about with his action and/or fantasy† (p. 3). By these stipulations, an action of excessive drug use signifies a fundamental, desire condition and is a means to implement it, whether with regard to effects desired in the self or others in the outside world. Rik Loose discussed in his book â€Å"The Subject of Addiction† that psychoanalysis and addiction are counterparts of the world of science and techniques. Therefore, since, the logical dialogue centers on the issue and the drug user’s relationship to his reason of desire. In an intelligent approach, Rik Loose depicts the reason of globalization that requires our times and counters to it as a organization governed by desire and ideals. (Loose, 2002) Psychoanalysts who work with drug users know that the act of drug use is an indicative result of a procedure of previous changes. The language of diversity, acknowledged as a modern construction for intellect, allows us to spot the drug user as careworn into specific states of mind— comprising of particular influence, feelings regarding the person himself and others, feelings concerning the world—that augment the desires and cravings that are confined and apparently recognized in typical action of drug use. One might also say that, for a given drug consumer, the action of using the drug provides to intrepidly set the limits of a basic state of oneself. In fact, the preliminary investigative mission with the drug user comprises of extricating the user from attraction with the drug in order to divert the user in its place in the self-state that portends it. Astonishingly, the standing of desire in the addiction is for the most part uncared for in drug treatment. Drug users in this kind of situations are frequently encouraged to talk to other recuperating fellows when they believe themselves to be caught up in desire to take in drug. (Loose, 2002) This suggestion— regularly wielded by twelve-step companionship also, in the shape of a status offer to talk to one’s supporter every time sensing the urge to take drug—is evidently well planned (and, no doubt, useful at times). On the other hand this type of counselling is sightless to the internal truth of the state of desire that not just impels substance users presumptuous in their use of drugs, nevertheless in addition throw away understanding of other individuals in their lives to the periphery of their brain. Moreover, still as conventional treatment programs dedicate significant consideration to the issue of reversion— enlightening drug users in relation to surroundings stimuli and inner feelings (e. g. depression, loneliness) that could encourage desires to use drugs—they pay no attention to the desire aver that the course of reversion usually serve to perform. Due to this rationale, psychoanalysis has a lot to proffer the severe drug user: whilst the majority of drug treatments look forward to putting an end to drug addicting behaviour, the psychoanalytic attempt would take in this objective and stretch further to investigate the desire state that uncovers end result in drug use and in other prototypes of actions in his or her life. In effect, the methodical approach would be to treat the person’s drug use nevertheless look for to disengage such a symptomatic outburst from the original self-state, which has required to be conserved for its background and significance to the person and, for that basis, deserve consideration (Bromberg, 1998). â€Å"transformation come in an analysis,† Winnicott (1960) wrote, â€Å"when the traumatic factors enter the psycho-analytic material in the patient’s own way, and within the patient’s desire† (p. 37). This regulatory statement can also be functional to remedial work with drug users, whose desire intend, usually set free â€Å"out there,† requirement to be completely greeted into the methodical exchange. In fact, it is from the point of view of the functioning coalition— nevertheless effectively realizes with a drug user—that the analyst may sense another exchange transpiring in the transference. In it, the analyst is excluded from all events eventuating in the patient’s drug use and is left to feel helpless. Not only is the patient’s move to a state of emotional cut-off a marker of desire, so is the analyst’s helpless state. (Loose, 2002) For it is these feelings of helplessness in the analyst that point to the history of pain or trauma in the patient that may have showed the way to the user’s need for desire to start with, and to such severity. Nonetheless, certain new trends in investigative way and the significance of a relational viewpoint in understanding drug use, the ability of psychoanalysts, amplified by understanding of addiction, can be of utmost advantage to them. That is why a relational model of psychoanalytically based treatment has significance for severe drugs users. This statement may seem surprising on two accounts: psychoanalysis has often been considered useless for active drug users, and drug users have often been judged unsuitable for psychoanalysis. (Loose, 2002) Both assumptions are false, though accepted as truths in the mental health and drug addiction treatment worlds. Recent changes that have taken place in the understanding of the psychoanalytic process make relationally informed psychoanalysis an ideal therapeutic venue for drug users. These shifts in psychoanalysis have reversed its previous lack of fit for drug addiction. Any Psychoanalyst who has spent time working with drug users has heard, first-hand, accounts of the disrepute of psychoanalysis from the standpoint of addicted patients. (Loose, 2002) The traditional analytic stance that emphasized observation smacked of passivity to drug users, and the priority given to aetiology over symptoms often left patients’ drinking and drug use unattended to. However contemporary psychoanalysis has shifted its style of investigation; as Mitchell (1997) stated, it has moved away from reliance on interpretation and insight as the primary tools for achieving therapeutic change. Rather, psychoanalysis today places emphasis on an analyst’s ability to enter into a patient’s dynamics, mobilized in transference–counter transference form; together with the patient to arrive at an understanding of these experiences; and, in the process, to find new forms of relating for the patient to trust, in the place of old, constraining patterns (Mitchell, 1997; Bromberg, 1998). In short, today’s psychoanalyst is every bit an engaged participant. How does this development serve the substance-using patient? The drug user tends to be a do-er and act-er, and, on technical grounds alone, needs an active approach to feel meaningfully engaged, even adequately â€Å"gripped† by the therapeutic process. However, on another level, it is precisely the drug user’s recourse to action to express conflicting relational needs that is the target of treatment. (Loose, 2002) Reliance on action is a cornerstone of the drug user’s characterologic makeup (Wurmser, 1977, 1978). It is typically this reliance that has earned him disfavour with psychoanalysts, whose work depends so on reflection and delay. Action serves many purposes for the drug user, however it is usually its defensive function that has been highlighted by theorists. In this view, as articulated by Wurmser, action gives the drug user a powerful alternative to, or, more accurately, means of flight from, painful affects and inadequate tools of symbolic expression. Drug users are notable for limitations in their symbolic functioning: Wurmser termed their difficulties â€Å"hypo-symbolization,† describing deficits that range from a specific inability to recognize and label feelings to a more sweeping failure to engage in fantasy or exploration of their inner lives at all. In such a view, again elaborated by Wurmser, action serves as a special form of externalization, offering the person its magical, problem solving properties and the appearance of narcissistic control. However if, instead of emphasizing its defensive role, we view action as the vehicle drug users have for communicating un-symbolized experience, then it is to their actions we must look for the initial outlines of their conflicts. Drug use is then far from unwelcome in undertaking analytic treatment of a person taking drugs. It is the signature act of such a patient and, as such, contains the components of his unconscious and as yet un-symbolized life; it is the starting point of treatment. The intended course of that treatment would then be for analyst and patient to begin to uncover the relational deadlock embedded in the drug use. (Loose, 2002) Their aim is to discover that deadlock anew in the kinematicsof the transference, often at first still involving instances of drug use, and eventually to locate it within the organizing relationships of the patient’s early life, ultimately replayed and addressed free of reference to drugs, within the experience of the treatment relationship. In other words, the aim of therapeutic action would be to track, and deconstruct, the symptom from its extra-psychic form, concretized in drug use, to its intra-psychic life in the patient’s object relations (Boesky, 2000). It is here that the needs of the person consuming drug and the current state of psychoanalytic practice converge. Enactments, whereby patients draw their analysts into jointly realizing fantasized aspects of their object relations, play a recognized role in analytic practice today. Though theorists of various schools differ in their understanding of enactments, view of the analyst’s role, and sense of their therapeutic value, there is general agreement in the field that enactments are inevitable manifestations of transference–counter-transference forces at work in the analytic process (Ellman and Moskowitz, 1998). In relational theory, in particular, enactments are regarded not only as unavoidable, however also as the central medium of the work. They are the means through which patient and analyst are afforded the opportunity to revive old relational patterns jointly, as well as to reopen them to observation, understanding, and possibilities for change within the analytic relationship (Mitchell, 1997; Bromberg, 1998). By placing enactment at the heart of analytic work, relational practitioners have opened the door of psychoanalysis to substance using patients. This is so for several reasons: first, enactments provide drug users with a mode of communication tailor made to their needs to actualize, rather than reflect on, inner experience (Boesky, 2000). More important, enactments are a conduit for experience whose transitional properties uniquely serve the drug user—offering not only a bridge between the patient’s symptomatic behaviour outside the consulting room to his conduct within the treatment, however also, more generally, a bridge between action and meaning, drug and object, act of drug use and underlying relational needs. In theory and approach, then, the relational model provides the basis for the desired course of treatment for drug users. To be sure, no treatment of drug addiction could be effective by attending to the relational underpinnings of drug use alone. Severe drug use is a dangerous and potentially life-threatening problem; however derived, it nonetheless is sustained by the powerful pharmacological effects of drugs and the operation of the laws of conditioning on people’s behaviour. (Loose, 2002) Any Psychoanalyst working with a person taking drug must have a working knowledge of a range of ancillary treatment modalities commonly needed during the course of their treatment. Such approaches include use of cognitive-behavioural interventions, referrals to residential or intensive outpatient programs, support for participation in 12-step programs, use of toxicology tests, and use of pharmaco-therapies designed to counteract or inhibit drug effects (for example, disulfiram for alcoholics, naltrexone for opiate addicts). Purely speaking, then, any treatment of active drug user is, by force, integrative in practice, if, ultimately, psychoanalytic in design. However, if appropriately used, such supplementary therapies do not necessarily compromise the analytic task; in fact, it is my argument that the particular tools summoned during the course of any one patient’s treatment are—like his drug use—uniquely customized to fit his relational needs and are therefore best understood within a psychoanalytic framework.