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The
year 1607 was a significant year for Prince Khurram, the eldest
son of Emperor Jahangir and his father's favorite. He was a
young attractive prince familiar to luxury and enhancement. As
he made his way to the Meena bazaar, the private market attached
to the harem, he was bounded by a string of flattering friends,
all keen to catch his eye.
Arjumand Bano (Mumtaz Mahal) sat with her silks and glass beads
at her shop. She was the daughter of Asaf Khan, the brother of
the Emperor Jahangir's companion, Noorjahan. Gracefully
attractive, Khurram was drawn to her. He saw a piece of glass at
her stall and asked its worth. The next day Khurram bravely
presented his case before the Emperor looking for Arjumand's
hand in marriage. The Emperor raised his hand in agree, possibly
recalling his own love for Noorjahan. However, five years were
to pass before Khurram was to marry his favorite. For now, he
was married to Quandari Begum, a Persian princess, for biased
reasons. It was a grand wedding, as be suitable for an Emperor's
son. Jahangir and Khurram went in procession, bounded by
aristocracy, band and dancers, acrobats, strange animals in
cages, slaves and priests. Jahangir himself decorated Khurram
with the wedding wreath of pearls. On the bride, he bestowed
great honors.
After Jahangir's death, Khurram became Shah Jahan and Arjumand
Bano, Mumtaz Mahal. He built luxurious palaces for her, for
incidence, the Khas Mahal in Agra fort. As a compliment to a
beautiful woman and as a monument to strong love, the Taj
exposes its subtleties at relaxation. The rectangular base of
Taj Mahal is in itself symbolic of the numerous sides from which
to view a beautiful woman. The main gate is like a curtain to a
woman's face which should be lifted delicately, gently and
without swiftness on the wedding night. Shah Jahan certainly had
his pure and fine bride in mind when he designed the Taj Mahal.
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