Raudat Tahera — Attraction in Mumbai

Raudat Tahera (Arabic: روضة طاهرة‎ Rawḍat Ṭāhira) is the mausoleum of Syedna Taher Saifuddin and his son and successor Dr. Syedna Mohammed Burhanuddin, the 51st and 52nd Dāʿī al-Mutlaqs of the Dawoodi Bohra Ismaili Muslims.[1]

Syedna Taher Saifuddin led the Dawoodi Bohra community from 27 January 1915 to his death on 12 November 1965. He was succeeded by his son, Dr. Syedna Mohammed Burhanuddin, who led the community from 12 November 1965 to his death, 17 January 2014.

Exterior features

The marble used in the mausoleum was quarried from the Chosira and Ulodi quarries of the Makrana quarries in Rajasthan, India, from where marble for Taj Mahal was quarried. The mausoleum rests on 92 piles. The number 92 is significant in that it represents the Arabic isopsephical value of the name of Muhammad. The complete structure weighs 5000 tons. The mausoleum rises to a height of 108 feet (33 m), which is the Arabic isopsephical value of the word Ḥaqq. The dome is 52 feet (16 m) high as its crowning feature. A 12 feet (3.7 m) high gold finial stands sentinel over the dome. There are four smaller domes, one at each corner of the central dome, each with a gold finial to match its larger prototype, and perfect the setting against the azure sky. The dome and cornice are inspirations from the Juyushi Mosque, Cairo. The four walls of the mausoleum have a 4 feet (1.2 m) and 6 inches (15 cm) thick masonry wall, with 3 inches (7.6 cm) cladding on both sides, making its final thickness of 5 feet (1.5 m), which reflects the members of Ahl al-Bayt. The outer walls are decorated with the names of the Ahl al-Bayt and the Fatimid Imams as well as the Duʿāt Mutlaqīn in the Kufic script.

The four entrance doors to the shrine have been specially designed to match the entrance gate of Aqmar Mosque in Cairo built by Imam-Caliph Manṣūr al-Āmir bi Aḥkām Allāh. The entrances are adorned with four silver doors of Fatimid style and lead to the sanctum sanctorum of the tomb. There are five arches above each of these four doors.

The entrance facing west is called Raudat Tahera The entrance facing east is called Bab-e Hakimi, so named after his ancestor, Syedi Abdul Qadir Hakimuddin, whose mausoleum is in Burhanpur, Madhya Pradesh. The entrance facing south is called Bab-e Zaini, so named after the 45th Da'i al-Mutlaq, Syedna Tayyab Zainuddin, his great-grandfather, whose tomb is in Surat. The entrance facing north is called Bab-e Fakhri, so named after his ancestor, Syedi Fakhruddin Shaheed, whose mausoleum is in Galiyakot, Rajasthan.

Interior features

The mausoleum's four walls contain the complete text of the Qur'an The inner height of the mausoleum is 80 feet (24 m) above the plinth, the age of Syedna Taher Saifuddin at the time of his death. Similarly there are 80 corniches all around the mausoleum.

The inner dimensions of the tomb are 51 x 51 feet (16 m), symbolizing that he was the 51st Da'i al-Mutlaq.

In the center of the tomb is the grave of Syedna Taher Saifuddin, whose measurement is 28 square feet (2.6 m2); this number was chosen to coincide with the age at which he became the Dāʿī al-Mutlaq. Adjacent towards the right hand side of Syedna Taher Saifuddin's grave is Syedna Mohammed Burhanuddin's grave of equal measurement. What gives the tomb a unique place of honour amongst all the monuments in the world, is the inscription of the entire Quran within its four walls. Upon the instructions of Syedna Mohammed Burhanuddin, the 772 page golden handwritten Quran from which Syedna Taher Saifuddin used to recite daily, was photocopied and transcribed onto an equal number, that is 772 marble slabs of 3x2 feet each and pasted in the inner walls of the Raudat. As such, the entire Quran is engraved on the inner walls of Raudat Tahera and makes it the first, and the only monument in the world to have a complete religious book engraved within its...

Raudat Tahera, located in the heart of Bhendi Bazar, is a truly spiritual and peaceful place. This holy shrine, the resting place of the 51st Dai, Taher Saifuddin Maula, and the 52nd Dai, Mohammed Burhanuddin Maula, is a magnificent example of royal architecture. The entire complex has been recently renovated, and the white marble used in its construction adds to the beauty and serenity of the site. The peaceful ambiance makes it a perfect place for reflection and prayer.

The crowd management is excellent, ensuring a calm and organized environment for all visitors. The presence of the historic Saifee Masjid further enhances the sacredness of the site.

For those visiting, the spiritual experience is truly remarkable. You’ll feel a deep sense of connection and tranquility, almost as if surrounded by the verses of the Quran itself. It’s a place of blessings where Dawoodi Bohra people from all over the world come to pray and seek divine grace.

Though there’s some new construction around the area, the shrine itself remains a beautiful, historical landmark. Whether you are visiting for prayer, reflection, or simply to experience the calm, Raudat Tahera is a must-visit place in Mumbai. Highly recommended for anyone seeking peace and spiritual solace. I look forward to...

The marble for the mausoleum was quarried from the same grounds as that used for the Taj Mahal. Most spectacularly, the entire Quran has been inscribed in golden letters on the inside walls with each of the ‘Bismillah’ inscribed using diamonds, emeralds, rubies and other precious stones. The interior is austere and beautiful.

Yet, there is no record of any building complex during the last fourteen centuries which matches Raudat Tahera in its apparent simplicity and austerity and in its invisible exuberance of meaning and content; whose marble walls are engraved in gold with the complete text of the Quran. Built in the heart of this historical and commercial city, it is going to become a centre of pilgrimage for hundreds and thousands of hearts. And thousands more, dispersed all over the civilised world, stand together, vigilant of its sanctity and bear witness to its dignity; a monument which merits significance not merely as the mausoleum of a spiritual leader of a particular sect, but as a work of art and architectural design, raised heavenwards, and accomplished by the material and sentimental participation of thousands of our...