Question 1
The case of Taj Mahal and its popularity as the most recognized work of art is also explainable through this context. Taj Mahal is widely recognized as a symbol of love. The emperor Shah Jahan constructed this Tomb (Mausoleum) in memory of his late wife Mumtaz Mahal who died while giving birth to their 14th child. But unlike the Great Wall of China or the Pyramids of Egypt that too is overloaded with stories of griefs (such as the death of Pharaohs and thousands of slaves) there is something about Taj Mahal that makes it more appealing than everything else. The missing link is the backdrop of love and romance in the Taj Mahal version. Perhaps, love and romance are the most celebrated emotions even in the modern culture. Even after spending thousands of years into intellectual evolution, we, as humans, have not been able to forgo our affinity to romance. It is highly debatable whether this nearly 1 billion dollar artform in India is worth such highly celebrated popularity and devotion if the backstory (the love between the emperor and his wife) was not there. But once the story of Shah Jahan and his love for Mumtaz, that drove him into insanity and seclusion for over a year due to her death, is heard then the beauty of this white marble masterpiece becomes apparent. Taj Mahal is actually an masterpiece celebrating the concept of eternal love that extends beyond death and afterlife. The beauty of this monument can only be appreciated with such knowledge.
Question 2
Forbidden City served as the palace and home of emperors and also as their centre for making political decisions of the Ming dynasty all the way up to the end of Qing dynasty. The vast array of buildings and palaces that form the Forbidden City continued to serve as the major political centre of the empire of China until 1912. Various buildings and structures found in the Forbidden City served different purposes for Ming and Qing dynasties. For instance, the Hall of Supreme Harmony was used for ceremonies as well as for holding courts during the reign of Ming dynasty while the same structure was limited to usage in imperial weddings and coronations during the Qing dynasty (Barmé & Barmé, 2011).
The two courts of the Forbidden City depicts the separation that the Emperors had with the rest of the people. The inner court was limited to the use of emperor and his households with limited access to people running the state affairs. The outer court was used for ceremonial purposes but with extended access to important people that run state affairs. The large vast areas of lands that were restricted to the imperial rulers of the dynasties and their courtiers clearly indicate the type of administration that was prevalent in China. With the emperor and empress on top, their advisors and courtiers below, the administration was clearly limited to a very few people of the country. The common people were not allowed into the forbidden city that was the administrative center of the much larger Imperial City. The capitalistic nature that was forming in the hearts and minds of the Ming dynasty is evident from the luxurious build of the forbidden city and its inner circle.
Another structure that clearly symbolizes the ancient culture it belongs to is the Colosseum. It is usually known for its masterful build that could hold more than 70,000 spectators at a time. But what most people fail to assess is the importance of this structure in revealing the concepts and ideals of ancient Romans. The Colosseum is an amphitheatre where all sorts of performances were staged (such as contests between gladiators) during the Roman times. Romans believed in the celebration of life just as much as they enjoyed luxury. They also had an inclusive political ideal. The Colosseum was one of the centers used by the political regimes to interact with the commoners in a subtle way as to understand their pulse rather than include them actively in decision making. It is suffice to say that this monument indicates the social, spiritual, political ideas of the ancient Roman culture much like the Forbidden City and imperialistic China.
References
Barmé, G. R., & Barmé, G. (2011). THE FORBIDDEN CITY. Harvard University Press.
Schreiber, P., & Peter, S. (1999). A New Hypothesis on Dürer’s Enigmatic Polyhedron in His Copper Engraving “Melencolia I.” Historia Mathematica, 26(4), 369–377.
