This beautiful marble tomb is dedicated to Mirza Ghias Beg, the father of Mughal empress Nur Jahan. He was accorded the title of Itimad-ud-Daulah (pillar of the state) during his time at the Mughal court. The empress is believed to have commissioned the construction of the mausoleum in his memory between 1622 and 1628 AD.
The story goes that Mirza Ghias Beg was a poor Persian merchant who was on his way to India with his wife when she gave birth to a girl. Since the family was stricken with poverty, the parents decided to abandon the child, but were eventually forced to return to her after hearing her helpless cries. As it turned out, she was a bringer of good fortune to her family – they soon found a caravan that took them to the court of emperor Akbar. As the years passed, Beg rose to become a minister in the Mughal court, as well as a trusted treasurer. He continued to rise in the court even after Akbar’s demise, under the rein of emperor Jehangir, who bestowed him with the title of Itimad-ud-Daulah and eventually married his daughter.
Located on the banks of River Yamuna, the structure exhibits strong Persian architectural influences, and is built entirely using white marble, inlaid with semi-precious stones. Local lore says that this edifice was considered by many a precursor for the Taj Mahal. This is why it is sometimes referred to as ‘Baby Taj’. The marble lattice screens, known as jaalis, lend to it a softer, more delicate air as compared to the red sandstone mausoleums that preceded it in the region. This is also the first Mughal structure to have used pietra dura work, as well as the first tomb to be built on the banks of River Yamuna. Chini-ka-Rauza and Mehtab Bagh are very close by, and a quick round up of all three spots can be done within a few hours.
History
The tomb of Itimad-ud- Daulah resembles a silver jewel box in marble. Mirza Ghiyas Beg or Itimad-ud- Daulah was the lord treasurer in the court of Jahangir. It was after his daughter Nur Jahan married Jahangir that Mirza Ghiyas Beg was made the lord treasurer of Jahangir's empire. Nur Jahan had developed a coterie of men around her. She had assumed responsibility in the court. The network of loyal men helped to strengthen her position in administrative affairs. Nur Jahan took advantage of the intoxication and extravagance of the aged king and she gradually became more powerful. Mirza Ghiyas Beg played a significant role in the Nur Jahan Junta as the treasurer. Mirza Ghiyas Beg was a poor merchant who lived in Persia. He was the trusted treasurer in Akbar's court. He rose to become the chief minister during Jahangir's reign.
He was given the epithet Itimad-ud-Daula, or the pillar of the state. His daughter Meherun-nisa was a peerless beauty. She later came to be known as Nur Jahan. The Mughal emperor Jahangir was enslaved by her beauty. Nur Jahan played a significant role in Jahangir's court with her father's support. When Itimad-ud-Daulah died in 1622, Nur Jahan decided to build a mausoleum in the loving memory of her father. Itimad-ud-Daulah was buried in a tomb that resembles a jewel box and set in a garden. This p4eaceful and serene garden located on the banks of the Yamuna was to be a precursor to the Taj Mahal built later extensively.
Architecture
The tomb itself is one of the best examples of architecture of the region. Said to be one of the most important influences behind the architecture of the Taj Mahal, the Tomb of Itimad Ud Daulah is one of the finest examples of a specific genre of mausoleum architecture called a Tomb in a Garden.
The construction is such that the tomb resembles a jewel-box set in the midst of a garden. Tranquil and lush green, the garden where the tomb is constructed is set on the banks of the river Yamuna. Famous for being the first tomb in the entirety of India to be built entirely of white marble, the Tomb of Itimad Ud Daulah is a must see for all visitors visiting the historic city of Agra.
A perfect example of Islamic architecture, the tomb is characterized by arched entrances, octagonal shaped towers or minarets, use of exquisitely carved floral patterns, intricate marble-screen work and inlay work. However, added to this is the influence of the locality that manifests itself in the absence of a dome and the presence of a closed kiosk on top of this building as well as the use of chhatris (small}domed canopies, supported by pillars) atop the four towers (minarets) instead of proper domes, which is more reflective of the Islamic style of architecture.