The Raudat Tahera is an expression of love and faith with which the
Dawoodi Bohra community is endowed, under the mentoric guidance of His
Holiness Dr. Syedna Mohammed Burhanuddin(TUS).
Fatimi
art is reflected in the design that exudes an atmosphere of piety and
purity. Marble, which lends poetry to a mere slab or majesty to a
sheer wall, was the natural selection of material for this inspiring
monument. The marble was quarried from the same quarries where marble
for the Taj was quarried, i.e Chosira and Ulodi quarries at Makrana in
Rajasthan.
The
roza rises to a height of 108 feet in all the splendour of chaste
marble, with a 52 feet high dome as its crowning feature. A 12-feet
high gold finial stands sentinel over the dome. The total height of
the monument, including the 12 feet high gold covered finial & the
4 feet deep floor,is 108 feet which is the numeric value('adad') of
the word 'haq'(right). The 92-feet high Mausoleum rests on 92 piles,
the number 92 being significant in that it represents the numerical
calculation of the holy name, Mohammed(SAW). The inner height of the
mausoleum is 80 feet above the plinth, the age of the late Syedna(AQ)
at life's end. Similarly there are 80 corniches all around the
mausoleum. The inner dimensions of the mausoleum (51 feet x 51 feet)
are equally symbolic as they signify his position as the 51st
representative and Viceregent of the Fatemi Imam(AS).
Four
smaller domes, one at each corner of the central dome, each with a
gold finial to match its prototype, perfect the setting against the
azure sky. The dome and cornice are inspirations from Jame Juyushi.The
four outer walls are embellished, just below the cornice, the names of
Avliya Ullam (SA), Fatemi Imams(AS) and Doat Mutlaqeen(RA) are
inscribed in Kufi script.
The
four entrances to the mausoleum have been similarly designed to match
the entrance gate of the Al-Aqmar Masjid in Cairo. The entrances are
adorned with four silver doors and welcome the visitor to the inner
sanctuary of the mausoleum. Right in the center lies the tomb of the
late Syedna(AQ), at which his followers perform Ziarat in an endless
stream.
What
gives the monument a unique place of honour is the inscription of the
entire Quraan Majeed in gold on 772 marble slabs each of the size of 3
feet x 2 feet in size constituting the inner wall upto a height of 32
feet. One hundred and thirteen Bismillahs are also inlaid in precious
stones like diamonds, pearls, rubies, emeralds and coral 'mirzaan' to
adorn the inscribed Holy Quraan. There are also excerpts from the
writings of the Late Syedna which demonstrate his interpretation of
the scriptures and which inspire the visitor to a higher plane of
thinking and nobler way of life, towards which Islam, the faith taught
by Prophet Mohammed(SAW) beckons.
A
glittering crystal chandelier, weighing one ton, suspended from the
center of the dome, sheds its brilliance upon the tomb and seems to
cast a divine light upon the hallowed precincts, while the four
circular corner fittings and twenty four wall brackets all lend their
light to the the radiance within the Mausoleum.
Gold,
crystal and marble have been used in the mosque and mausoleum not out
of pomp and extravagance, but out of love for the creator of the
Universe, and a filial devotion to the 51st Dai(AQ), a humble votary
in the cause of Islam, and a true interpreter of the Prophets
teachings.
The
rosette at the apex of the dome proclaims "Innalaha Yumsekus
Samaa Vaate Val Ardaan Tazoola Vala-in Zaalataa In Amsakahuma Min
Ahadin Min Baadehi" meaning "Allah holds the sky and earth
together which noone else can" along its periphery, and the holy
names of Mohammed (SAW) and Ali(SA) in the center, while the
inscription on each pendentive reads "Laa Yamassohoo Illal
Motahharoon" meaning none but the pure shall hold the Holy Quran".
The
Raudat Tahera and the Fatimi masjid are a resplendent example of the
Fatimi Heritage and constitute an important part of India's varied
architectural heritage. The design is a shining example of the
marvellous blend of Islamic art - that prevailed in Egypt and the Arab
lands during the 10th to the 12th centuries A.D. - with the modern
Indian art and artisanship. The Raudat Tahera is the outstanding
contribution of the Dawoodi Bohras in India, to the unique synthesis
of the best features of two of the greatest eastern civilizations.
This cultural fusion visible in the Fatimi Heritage was conceived by
the present Al-Dai-Al-Mutlaq Dr.Syedna Mohammed Burhanuddin(TUS)
