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Exterior

The mausoleum building is the central structure of the entire complex. It is a white marble structure standing on a 6-metre (20 ft) high square plinth with sides measuring 95.5 metres (313 ft) in length. The base structure is a large multi-chambered cube with chamfered corners forming an eight-sided structure that is approximately 57.3 metres (188 ft) long on each of the four long sides.

The building has four identical sides with iwans (arch-shaped doorways), topped by a large dome and finial. Each side of the iwan is framed with a 33-metre (108 ft) high pishtaq (vaulted archway) with two similarly shaped arched balconies stacked on either side. This motif of archways is replicated on a smaller scale on the chamfered corner areas, making the design completely symmetrical. At the southern side of the platform, facing the garden, there are two flights of stairs on either side which are partly covered and provide the only access from ground level up to the mausoleum building.

The predominant feature of the mausoleum is the 23-metre (75 ft) high marble dome that surmounts the tomb. The onion shaped dome sits on a 12-metre (39 ft) high cylindrical drum with an inner diameter of 18.4 metres (60 ft). The dome is slightly asymmetrical and is topped by a 9.6-metre (31 ft) high gilded finial. The intermediate zone between the drum and the dome is supplanted by a ornamental moulding with a twisted rope design.

The main dome is surrounded by four smaller domes or chattris placed at its corners, which replicate the onion shape of the main dome. The smaller domes are supported by columns which stand on the top of the main structure and help bring light to the interior of the building. Tall spires called guldastas extend from edges of walls which serve as decorative elements. The main and the smaller domes are decorated with a design resembling a lotus flower. The domes are topped by decorative finials which uses Persian and Indian design elements. The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward.

Four minarets flank the tomb building, one at each corner of the plinth facing the chamfered corners. The four minarets, which are each more than 40 metres (130 ft) tall, are symmetrically arranged on the corners facing the chamfered corners of the main building. Each minaret is composed of three almost equal parts with balconies at the intersection of the portions. The towers are also surmounted by smaller chattris and incorporate the same design elements as the main dome with a finial. Steps lead to the top of the tower with rectangular openings below the domes providing light and air on the top. The minarets were designed similar to traditional elements of a mosque, which are used by the muezzin to call for prayer. The minarets were constructed slightly oriented towards the outside of the plinth so that in the event of collapse, the material from the towers would tend to fall away from the tomb.

The external surfaces of the building are decorated with a number of delicate relief art adorned with various precious and semi-previous stones. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. The white marble dados consist of ornamental bas relief depictions of nature and plant based elements. The marble has been polished to emphasise the exquisite detailing of the carvings and the frames and archway spandrels are decorated with pietra dura inlays of stylised geometric pattern of vines, flowers and fruits.

The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Contrasting colors have been used to create a complex array of different geometric patterns across the mortared areas of the buildings. The floors and walkways are laid with tiles or blocks with contrasting colors and consisting of various tessellation patterns. The plinth is differentiated from the paved surface of the main platform by a interlocking pattern of octagonal white marble pieces set into four pointed stars made of red sandstone, surrounded by a border. The building has many lattice windows or jalis with interlocking hexagonal patterns.

The gateway arches are bordered by Arabic calligraphy with passages from the Qur'an. Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written with slightly larger script to reduce the skewing effect when viewed from below. The calligraphy on the southern gate roughly translates to "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy on the buildings were believed to have been created in 1609 by Abdul Haq, who was conferred the title of "Amanat Khan" by Shah Jahan. At the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi".