Please paraphrase this passage: In addition to the great garden of the Taj Mahal ,the interior decorative art of the Taj Mahal is also focused by the public, including the array of calligraphy, abstract forms, and plant motifs that adorn the walls, ceilings, and floors of the monument.

Calligraphy is one of the most prominent forms of decorative art in the Taj Mahal, with passages from the Qur’an used throughout the structure as both spiritual and aesthetic elements. These inscriptions range from simple phrases such as “God is Great” (Allahu Akbar) and “There is no God but God” (La ilaha illallah) to more complex verses from the Qur’an that celebrate the beauty of Paradise and the virtue of love. For example, on the southern wall of the tomb chamber, there is an inscription that reads: “He who created death and life, so that He may test which of you is best in deed, and He is the All-Powerful, the All-Forgiving”

The calligraphic inscriptions encapsulates the central theme of the Taj Mahal as a monument to love and the transience of human existence, reminding the viewer that life is but a fleeting opportunity to do good deeds and win the favor of God. The calligraphic inscriptions are also a testament to the exquisite skill of the Mughal artisans, who were able to create such intricate and delicate designs using only simple tools and materials.

In addition to calligraphy, abstract forms are another key feature of the interior decorative art of the Taj Mahal. These abstract forms take many different shapes and sizes, ranging from simple geometric patterns to more complex motifs that evoke the natural world. One of the most prominent abstract forms is the herringbone inlay, which consists of interlocking zigzag patterns that form a kind of optical illusion. The herringbone pattern is used extensively in the interior decoration of the Taj Mahal, from the floors and walkways to the walls and ceilings, and creates a sense of movement and depth that is both mesmerizing and calming.

Other abstract forms found in the Taj Mahal include designs that resemble stars, flowers, and other plant motifs. These motifs are often delicately interwoven with calligraphy, creating intricate compositions that are both visually stunning and symbolic of the Mughal fascination with the natural world. Some of the most noteworthy examples of plant motifs in the Taj Mahal include designs featuring the lotus flower, a sacred symbol in both Hindu and Buddhist traditions that represents purity and enlightenment. These motifs can be found in various locations throughout the structure, from the intricate inlays on the innermost walls of the tomb chamber to the decorative motifs on the marble screens that surround the cenotaphs of Mumtaz Mahal and Shah Jahan.

Floral imagery is presented in two main forms in the Taj Mahal: stone inlays (pietra dura) and bas relief sculpture (dados) carved in the marble. Both forms of floral imagery are a mixture of stylized and naturalistic depictions, featuring a range of plant species that includes bellflower, chrysanthemum, columbine, crown imperial, daffodil, gloriosa, honeysuckle, various lilies, lotus, pomegranate, poppy, primrose, tulip, and windflower, among others. The stone inlays use colored stones inset in the white marble of the structure, while the interior decorations include inlays of precious and semi-precious gemstones.

One of the most striking examples of floral imagery in the Taj Mahal is the bas relief dado that runs along the lower part of the walls of the tomb chamber. These dados typically show plants in flower growing in a mound of soil or as flowering stems in urns, with plants depicted somewhat naturalistically but with mirror symmetry and executed with considerable freedom resulting in depictions that are botanically imprecise. Some plants have flowers of different kinds, and many of the dados are repeated in different locations. There is strong evidence that the dados were influenced by Western images as a result of Mughal contacts with Europeans, with evidence of Jesuit missionaries buying engravings by Flemish artists that were exhibited, collected and copied, and one engraving by the Flemish artist Claes Jansz bearing a remarkable similarity to the dado that appears in eight corners of the tomb chamber.