Craftsmen

The Taj Mahal was not designed by a single person. The project demanded talent from many people.
The names of many of the builders who participated in the construction of the Taj Mahal in different capacities have come down through various sources.
The Persian or Turkish architect, Ustad Isa and Isa Muhammad Effendi, trained by the Ottoman architect Koca Mimar Sinan Agha are frequently credited with a key role in the architectural design of the complex,[10][11] but in fact there is little evidence to support this tradition.
'Puru' from Benarus, Persia (Iran), has been mentioned supervising architect in Persian language texts (e.g. see ISBN 964-7483-39-2).
The main dome was designed by Ismail Khan from the Ottoman Empire,[12] considered to be the premier designer of hemispheres and builder of domes of that age.
Qazim Khan, a native of Lahore, cast the solid gold finial that crowned the Turkish master's dome.
Chiranjilal, a lapidary from Delhi, was chosen as the chief sculptor and mosaicist.
Amanat Khan from Persian Shiraz, Iran was the chief calligrapher (this fact is attested on the Taj Mahal gateway itself, where his name has been inscribed at the end of the inscription).
Muhammad Hanif was the supervisor of masons.
Mir Abdul Karim and Mukkarimat Khan of Shiraz, Iran handled finances and the management of daily production.
The creative team included sculptors from Bukhara, calligraphers from Syria and Persia, inlayers from southern India, stonecutters from Baluchistan, a specialist in building turrets, another who carved only marble flowers — thirty-seven men in all formed the creative nucleus. To this core was added a labour force of twenty thousand workers recruited from across northern India.
Particularly during the the British Raj, some commentators suggested that the Taj Mahal was the work of European artisans. As early as 1640, a Spanish friar who visited Agra wrote that Geronimo Veroneo, an Italian adventurer in Shah Jahan's court, was primarily responsible for the design. There is no reliable evidence to back up such assertions. E.B. Havell, the principal British scholar of Indian art in the later Raj, dismissed this theory as inconsistent with the methods employed by the designers. His conclusions were further supported by the research of Muhammad Abdullah Chaghtai, who concluded that some of these theories may have been based on the misapprehension that "Ustad Isa", so often credited with the Taj's design, must have been a Christian because he bore the name "Isa" (Jesus). In fact this is a common Muslim name as well. Furthermore there is no source earlier than the 19th century which mentions an "Ustad Isa" in connection with the Taj Mahal . Chaghtai thought it more likely that the chief architect was Ustad Ahmad, the designer of Shahjahanabad, but admitted that this could not be conclusively proved from existing sources.[13]