When people from far-flung places come shoulder to shoulder with the local masses in Agra, their gaze remains fixated on a single sight, that of the renowned 'tear-drop on the cheeks of time', the Taj Mahal. Thereon, they take a local rickshaw and find themselves at the fortified entrance of the Agra Fort, the palace that served as the residence of the early Mughals. And then, surely, comes the turn of the tomb of I'timād-ud-Daulah, also visible from the Musamman Burj of Agra Fort—the space where Shahjahan would remain in Aurangzeb's captivity, famously whiling away time, staring at the Taj Mahal where his dead wife lay buried. But who is this I'timād-ud-Daulah who enjoys a unique tomb (dome-less tombs are a unique Mughal feature garnered only on a select few) in Agra? Why does the tomb matter? Who built it? Outlook Traveller take a trip down the mediaeval lane and goes beneath centuries of dust and silence to find some answers.

　　Seeds Of The Past

　　The story began in 1576 with Mirza Ghiyas Beg who, born into a family of poets and high officials in Tehran, suffered disfavour and betrayal, and fled Iran, finding himself henpecked. He travelled across the desert along with his pregnant wife, Ismat Begum, and three children and eventually arrived in what is now modern India, then ruled by Emperor Akbar. As a noble from Tehran, Mirza Beg was well received by the benevolent Emperor and was instantly enrolled in his service.

　　Among Beg's children was a young daughter, Mehrun-Nissa, meaning "sun among women." In the coming years, Akbar's son Salim (later Jehangir) fell in love with Mehrun-Nissa, who would later come to be known as Nur Jahan ("Light of the World"). When Salim came of age and assumed power on the throne, he married Mehrun-Nissa in 1611 and appointed Mirza Ghiyas Beg as his Prime Minister. Things were all sunshine and roses for the Mughal Empire during that time, and within a few years, Mirza Beg was honoured with the title of I'timād-ud-Daulah ("Pillar of the State") by Emperor Jehangir in recognition of his service as a high-ranking official and trusted advisor in the Mughal court.

　　Malika-e-Hindustan: Nur Jahan

　　When one delves into medieval history, one becomes aware that while social reforms and consolidation are synonymous with Akbar's reign and architecture with Shah Jahan's, it was art and literature that defined Jehangir's era. However, Jehangir's notoriety is never far behind and his penchant for hunting, alcohol and opium is well-known. Given to such libertine hobbies, Jehangir remained away from the symbolic throne for the most part of his reign, travelling his empire, leaving Nur Jahan to administrative responsibilities. Now, defying the common Western faith that a woman behind a purdah ("veil") is virtually cut-off from the world, Nur Jahan ventured to rule Hindustan from behind the harem ("a private space"). Her influence was such that she is considered to have been the virtual power behind the throne by a many great historians.

　　Nur Jahan solidified her power by strategically placing her family in key positions as well as having a tough command on the goings-on of the harem. She further secured her influence by orchestrating the marriage of her niece, Mumtaz Mahal, to Prince Khurram (later Shah Jahan).

　　The Construction Of Itimad-Ud-Daulah

　　In the long history of the Mughals, several monuments have been constructed by women, though arguably none quite like the tomb of I'timād-ud-Daulah, designed and built by Nur Jahan.

　　Though called the "Baby Taj", this tomb predates the Taj Mahal. It was a significant shift from the preexisting Mughal idiom of architecture, moving from the robust red sandstone structures of Akbar's reign to the delicate white marble edifices epitomised by the Taj Mahal.

　　The tomb not only showcases Nur Jahan's Persian sensibilities—Persian architecture, being heavily influenced by geometric precision, ornamental floral motifs, and symmetrical gardens—but also a brilliance of white marble and intricate inlay work that would later be perfected. Beyond its architectural significance, the mausoleum stands as a symbol of Nur Jahan's influence and her contributions to Mughal art and culture. As one of the few women in history to commission such a monumental structure, Nur Jahan's role in its creation underscores her political acumen and deep personal devotion.

　　The Architecture Of The Tomb

　　As you step through the grand entrance, the tomb of I'timād-ud-Daulah—elegantly set within a sprawling charbagh ("four lawns")—unfolds like an apparition in white marble, softened by the warm embrace of red sandstone. The symmetry is striking; the garden, quartered by water channels that glisten under the soft sunlight, seems to breathe in perfect harmony with the surrounding architecture. The main gate on the eastern side is where the rub is. As you walk along the pathways, flanked by shallow channels once brimming with flowing water, a vision plays out in front of your eyes: how they must have once shimmered under moonlight, reflecting the intricately carved pavilions. To the north and south, ornamental gateways rise while the western pleasure pavilion—multi-tiered and open to the river—offers a striking panorama of the Yamuna, a reminder of how this tomb was designed not only for eternal rest but for tranquil contemplation.

　　As you ascend, you notice the delicate star-pattern inlay on the platform, a subtle yet striking contrast against the gleaming white marble above. Four octagonal towers, adorned with exquisite jalis ("grilled windows") and crowned with domed chhatris, mark the corners. Each minaret is lined with cusped arches and topped with lotus-petal motifs and kalasha ("urn") finials. The tomb itself, unlike its grand successor—the Taj Mahal—eschews the grand Mughal dome for a flat square baradari ("pavilion"), its ogee-curved roof crowned with delicate chhajjas ("overhanging roofs") and latticed balustrades.

　　The intricate inlays—semi-precious stones forming geometric designs, delicate arabesques, and stylised floral patterns—bring forth a richness that speaks of Persian artistry perfected under Nur Jahan’s watch. Here, wine vases and cypress trees, guldastas ("bouquets") and honeysuckle motifs blend seamlessly, inspired perhaps by the meticulous plant studies of Ustad Mansur Naqqash, the celebrated court painter of the time.

　　Inside, the tomb feels hushed, the weight of history pressing in like a soft whisper. The central chamber houses the cenotaphs of Mirza Ghiyas Beg and Asmat Begum, their final resting places at the heart of the structure. The surrounding chambers, each interconnected, hold the tombs of Nur Jahan’s other kin—reminders of the powerful dynasty that shaped an empire. The walls are alive with delicate carvings, incised and in relief, resembling fine ivory embroidery. Above, intricate stucco paintings adorn the ceilings, their faded hues hinting at the vibrancy they once held. And there, etched into the panels, the sacred verses of the Quran whisper eternal prayers for the departed.

　　Even as one stands in this quiet sanctum, one can hardly help but marvel at the artistic ambition of the woman behind it all—Nur Jahan. This tomb is not just a mausoleum; it is an assertion of elegance, power, and the heights Persian-inspired Mughal craftsmanship could reach. Later, Shah Jahan would take these elements—this marriage of inlay and marble, of symmetry and serenity—and create the Taj Mahal. But here, in this intimate masterpiece, one can still sense the personal touch of an ambitious queen who once ruled behind the veil, whose legacy is written not just in stone of this breathtaking sanctuary.

　　The Last Elegy

　　When I'timād-ud-Daulah died, Jehangir appointed her brother, Asaf Khan, the Wazir. This shuffle of power sent a ripple in the handcrafted world of Nur Jahan; she wanted one of her daughters to marry Prince Khurram, or Shahjahan, and be her successor as the Malika-e-Hindustan. In the succession of power, as Jehangir kept growing weaker by day, the Wazir Asaf Khan enjoyed a head start ensuring that his daughter, Mumtaz Mahal, is married to Shahjahan. Thus, once Jehangir died in 1627, Asaf Khan shrewdly consolidated power and neutralised opposition. Nur Jahan was put under house arrest by her brother on the orders of new Emperor Shah Jahan and spent the remainder of her life confined in Lahore with her young widowed daughter. It was during this period that she oversaw the completion of her father's mausoleum in Agra.

　　Nur Jahan died on 17 December 1645, and is buried near the tomb of Jehangir in Lahore, which again she built herself. Upon her tomb is inscribed the epitaph that says:

　　Bar mazar-i-ma ghareeban, nay chiraage nay gule,

　　Nay par-e-parvana sozad, nay sada-e-bulbule

　　("On the grave of this poor stranger, let there be neither lamp nor rose.

　　Let neither moth’s wing burn nor nightingale sing.")

　　The Information

　　Address: Moti Bagh, Agra, Uttar Pradesh 282006

　　Timings: 6 am to 6 pm

　　Entry Fee: INR 30 for Indian nationals and INR 310 for foreign nationals