Hinduism is the Only Dharma

Hinduism is the Only Dharma in this multiverse comprising of Science & Quantum Physics.

Josh Schrei helped me understand G-O-D (Generator-Operator-Destroyer) concept of the divine that is so pervasive in the Vedic tradition/experience. Quantum Theology by Diarmuid O'Murchu and Josh Schrei article compliments the spiritual implications of the new physics. Thanks so much Josh Schrei.

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Dhanyabad from Anil Kumar Mahajan


Saturday, November 26, 2011

Sarasawthy civilisation

What is Hinduism

Mystery of Mt Toba (Sundaland) explained through Puranas!

Mystery of Mt Toba (Sundaland) explained through Puranas!

The Hindu wisdom is always encapsulated so that it is preserved against mutilation and also makes itself revealed only to the seeker. This wisdom is three-fold, physical, divine and symbolic. There is a verse in Aithareya Upanishad that says that Devas want to be invisible, secretive, mysterious, indirect, hidden and so on. This is told in a single word "parOkshENa" ("parOksha priya iva hi dEvaa:" Ai Upa - 1-3 -14).

That is why we find most of the stories of Puranas and of deities indiscernible or even absurd at normal reading, metaphysical on deeper contemplation but revealing geological stories of man and creation when seen in the light of revelations of diverse fields of modern science. In this post I am bringing out the inner secret of Tripura Samhara by Lord Shiva that is now revealed in the findings of what is called "Sundaland".

Sundaland is a name given to a cluster of islands in South eats Asia. It consists of Malay peninsula, Java, Sumatra, Borneo and other surrounding areas. The recent developments in sea level research done by Glenn Milne and Graham Hancock have shown that these islands were not islands but were connected as a huge land mass some 22,000 years ago.

The sea level was lower than now by approximately 150 meters thereby offering a good expanse of land for mankind to thrive. This region is a centre of attraction for researchers because this is the "closest area" for early man from east Africa who moved out eastward around one lakh years ago.

The light shades around the continents show the extent of exposed landmass at an earlier time when sea level was low due to Ice Age. The red circle shows the 'Sundaland' which now looks fractured into islands. The migration of man as revealed in genetic studies show that mankind stayed on for thousands of years  somewhere in the Indian Ocean. Currently Indian Ocean, south off India shows no sign of landmass. But with the discovery of Sundaland, there is increased interest in finding out whether it offered habitation for early man.

Another important discovery is that an ancient volcano located in Sundaland erupted about 73,000 years ago causing a wide spread devastation of mankind and other life.

The red star on the left side of Sundaland was the location of Mt Toba, a Super Volcano that erupted then.
The scale of devastation was such that the volcanic ash spread as far as the Arabian sea covering most parts of South India by a few meters.

The red spot in the above picture is the location of Mt Toba and the blue spots are the regions where ash deposits have been identified. Due to the wind direction at the time of eruption, the ash had spread towards west of Indonesia.

Recent excavations in Jwalapuram, in Kurnool district of Andhra Pradesh showed that this village which had an human dwelling at that time (73,000 years ago) was covered with the ash of Mt Toba.

Genetic studies reveal that almost all of mankind vanished then but for a small group from which the current population of the globe has come up. These 2 revelations - a massive burst of a volcano and a small and specific cluster of mankind surviving that catastrophe are remarkably revealed in the Puranic narration of Tripura Samhara.

Before telling about that, I want to describe a few words and concepts that occur in the Puranas.

The Devas were beings who were inclined on divine path and lived in the region close to the north pole.
The Asuras were the beings who though good in many ways were harsh and materialistic. They lived in the region close to the South pole. They were huge in size too. Though this description looks out of place in today's world, we must know that the world was not the same in the past as it is now. The tilt of the earth keeps varying from 22 degrees to 25 degrees.  This, in addition to other  reasons had resulted in extreme conditions near polar region alternating between the north and the south.This is explained as Milankovitch cycle which can be read here:

Currently the earth is tilted at 23.44 degrees and is decreasing. As a result we are now in the middle of two Ice ages. When the tilt had gone to the extreme limit, either the North or the South-end would become suitable to support life. This shows that the Puranic narration on the location of Devas and Asuras is a practical one.

The gigantic size of the Asuras is also not a figment of imagination. There is something about gigantism in the  South Pole, the reasons for which Science has not yet found out. Recently many marine life forms of gigantic size have been found out in the Antartic ocean.

A gigantic worm on the floor of Antartica ocean. 

The other terms that I want to introduce to the readers are Meru and Naga or snake.

The Meru or the  peak of Meru mountain is the Northern pole. The South pole offers a basis or substratum which was borne by the Giant Tortoise(Vishnu as Kurma). The constant rotation of the axis of Meru causing day and night and changing the climate in the north and south is described as the churning done by Devas and Asuras. Samudra Manthan, as it is called is thus a geological incident written as a story in the Puranas.

The Meru is tied with the snake, Vasuki which is used for churning. It is actually a  personification of the mantle under the crust of the earth. As the earth keeps rotating continuously for eons, the underlying mantle is churned continuously. It erupts wherever there is a weak spot on the crust.Poisonous gases, molten minerals etc come out of the churning. The poisonous gases were de-harmed because Puranas say they are "drunk by Shiva, the Neela kanta" . The molten minerals get solidified in course of time and become valuable metals and gems. This is personified as"Lakshmi, the Goddess of wealth". But for this constant churning, we would not be getting wealth (lakshmi).

 A scene of Samudra Manthan seen at the floor of Atlantic ocean. 

With this background information on some basic concepts of the Puranas, we will proceed with Tripura Samhara.

Tripura means three sides or anything that is three. One can explain it at any level - physical, philosophical etc.
But after coming to know of the Sunda land and the eruption of Mt Toba, the story of Tripura Samhara shows a geological event.The names associated with Tripura samhara bear unique resemblance to the way a Super Volcano was maturing to erupt.

There was a Tarakasura who was killed by Karthikeya.
Tara means star.
Karthikeya is derived from a meaning 'fire' or 'cut'.
A star or star like glowing material was absorbed by Fire (Agni) is the import of this.

After the death of  Tarakasura, his three sons,
Tarakaksha, Vidyunmali and Makalaksha did penanceto become terrific fortresses.
Tarakaksha means star-eyed, Vidyunmali means one wreathed in lightening and Kamalaksha means lotus eyed (red in colour).
They formed 3 cities which were continuously rotating.
The cities were made of iron at the bottom, silver above that and gold on top.
They were fierce and kept rotating thereby tormenting the people.
They were called the Tripura  Asuras.

This description of the Tripura asuras (3 sided asuras) tallies with that of an active volcano.
The initial Volcano, Tarakasura had spewed fire (killed by Karthikeya).
But that was not the end of the Volcano.
It kept being active by being star like sparks (Tarakaksha), lightening (Vidyunmali) and red in color (kamalaksha).

The magma underneath had been so volatile that it is described as though the 3 layers of molten minerals of iron, silver and gold were rotating all the time.

The Devas and Danavas were present in that location, so say the Puranas
We know Asuras, but who are these Danavas?
Generally those in the southern hemisphere were called as Asuras. But there were other people also. One of them were called as Danavas. This is another concept of Puranas which is now proven by genetics.
There was an ancient progenitor of man  (Y-chromosome) and quite a few female progenitors (mt DNA). The current population of the earth have come from them.

In Puranic narration, Sage Kashyapa will appear wherever there is a need for creation of people.
Perhaps he signifies the ancient Y- chromosome.
If someone says that he does not know his Gotra, elders will ask them to adopt Kashyapa Gotra because all Gotras (Y- chromosomes?) have come from Kashyapa.
He was in the Deep South before 70,000 years ago,
near Kashmir around 40,000 ago and
after that his name comes associated with the region that has the Caspian sea.
Kashmir got its name from Kashyapa only.

This sage in the beginning of populating the world married 13 daughters of the Prajapathi (Father of people).
In ordinary understanding, people used to think lowly about this sage and other sages who married many women.
But all those stories are symbolic.
One of his wives was called as Danu. 
The children born to her were called as Danavas!
The lineage from them also were called as Danavas.
This shows that Danavas are coming in a specific maternal-lineage 
They are asuric in nature to some extent.

Popular Danavas are
Hiranya Kasipu,
his son Prahladha, 
Maha Bali, 
his son Banasura, 
Puloma (father in law of Indra and father of Indrani) 
Vrishaparva and 
Maya, the architect.

The Danavas including Maya was present at the time Tripura was fuming!
The torment caused by Tripura was unbearable that  the Devas asked Shiva to kill him.
He did so by using a single arrow.
The killing of Tripura by Shiva was described as Tripura samhara.
The exact process of killing is described in the Sangam Tamil text called Paripadal 
which is an exact description of the destruction caused by a Volcano.

Paripadal - 5 says
"naaga naaNaa malai villaaka
moovagai, aareyil Orazal ambin muLiya" 

(நாக நாணா மலை வில்லாக
மூவகை ஆரெயில் ஓரழல் அம்பின் முளிய)

Naaga - snake
naaNaa - as the string (of the bow)
malai - mountain
villaaka - as the bow
moovakai - 3 types
aareyil - walls (fortresses)
Orazal - a single streak of fire
ambin muLiya - at the end of an arrow - killed

That is,
Shiva killed Tripura with the mountain as the arrow and the snakes (mantle / magma) as the string, he blew the 3 fortresses of iron, silver and gold (molten material) by shooting a single arrow which has fire at its end.
The snakes - as we told before - personify the magma trying to come out.

This describes the sudden and powerful eruption of fire and mantle from inside the mountain (volcano) which resulted in the complete collapse of the volcano.

To depict it pictorially, here is the image of how a volcano looks when it bursts.

The same picture with the personification of a volcanic eruption with theBow, String and Arrow that Puranas describe in Tripura Samhara is given below.

This Bow -string -arrow symbolism will look like a bursting volcano like this: 

Further description of the narration of the puranas say that as a result of that destruction,  there was ash everywhere. The ash was pale gray in colour. Shiva was completely drenched in that ash. He took up a handful of ash and smeared it on his forehead (the custom of wearing sacred ash started then). Not only that he started dancing! That dance was called as Tripura Samhara Dandava (the dance of destruction of Tripura)

This pose of Tripura samhara also fits in the description of the burst of a Volcano.
The leg has been raised straight upwards showing the path of the arrow from inside the earth
and shot upwards through the mouth of the volcano.

This dance of Shiva is described in the Tamil text, Silappadhikaram as the first among the 11 dance forms. This is called in Tamil as "Pandarangam".
Pandaram means white. 
Shiva was smeared in white ash after the destruction of the Tripura and then he started dancing on the ashes. That was the Pandarangam dance. This is depicted as Tripura smahara dance of Nataraja!

This description from Tamil texts clearly show that Tripiura samhara was indeed a Volcanic burst.
Shiva is associated with destruction.
The way the destruction had happened has been told as a symbolic story.
The Devas were happy about the destruction as the asuras were devastated.
But Maya Danava was present at that time!
He was a Shiva worshiper.
Seeing him trapped in the fire that ensued, Shiva saved him.
This shows the Danavas also escaped and continued their life.

Now let us look at corresponding clues to the location around Mt Toba.
(Toba sounds like a corrupt form of Tripura. Locals in that area might give us some leads on how that name Toba was pronounced in olden days) 

When Mt Toba erupted, the land looked like above. The red mark denotes the location of Mt Toba.

In the picture above we see so many locations of Sumatra having the name 'Pulau' which sounds similar to Puloma, the Danava who once inhabited this location according to the Puranas.
From where these names starting with Pulau come?

Now take a look at this picture.

There is a place called Tarakan in this region (Kalimanthan)
The red star shows the area of Tarakan  and the inserted picture shows Toba and Tarakan.
Tarakan has underground oil fields, thereby substantiating  our analysis that this location has for long experienced hot beds underneath.
In the story of Tripura samhara, we see Taraka or Tarakasura as the father who was destroyed by Karthikeya. 
The 3 Tripura asuras were the sons of Tarakasura.
In the picture above, there is a Taraka and also on the same line Mt Toba.
This seems to be the Father and the sons according to Puranic symbolism. 
The location of Tarakan now must be researched to know whether it was the location a volcano that burst in much older times. 

Tarakan is in a place called Kalimanthan.
Look at the name Kalimanthan, it means Kali's rotations or agitated dance.
In Tripura dandava, Kali, the better half of Shiva also joined the dance.

Look at this picture.

We can see the Puranic characters Maya, Indra etc connected with Tripura samhara.
There are many places in this region having Maya name attested somehow.
There is Maya Karimatha and a Mayo island!
There is Indramayu!
Bali island reminds of Bali danava.
This location had been occupied by danavas in Tripura samhara times.

In addition there is a Madura and Yamadena.

This would raise doubts whether this region was originally the
Tamil region of old Pandyas, the Then- Madurai.
No I dont think so.
Then-Madurai was lost due to sea-floods.
Shiva was the protector deity and a king of that land once.
But the Sundaland region suffered the wrath of Shiva and it bore the brunt of fire not water.

This makes us think that the Madurese came to occupy this part
after their Then-Madurai was devastated by a flood.
According to Sangam Tamil texts,
the Pandyan king along with the survivors landed in the then extended region of South India
in a place called Kapatapuram. 
It is probable that many of his subjects have either died or managed to survive in nearby islands.
One such group would have landed in Sumatra and started new life.
It is always a habit with people to call their new locations with their old place- names.

The Madurese carry resemblance to Tamil life described in Tamil texts,
such as making salt as their profession (called as Umanar in sangam text)

and conducting bull races!! 

Close to this place is a place called Yamadena, a word resembling the Vedic concept of Yama , the lord of death. The people here have a old stone-boat in which they do ancestor worship.

The broken stone -boat at Yamadena.

It looks that the people who escaped a great flood in a boat had reached this island.
The boat stood rock-strong that they escaped,
while others of their clan in other boats had drowned.
The people had done obeisances in their memory in a boat made of stone.

These 2 places, Madura and Yamadena seem to come from a people of later times
who escaped a flood.
Such a flood devastated Then Madurai about 7000 years ago.
But the rest of Sundaland bear the imprint of Tarakasura
as a Super volcano which caused havoc to the population.

The people who had escaped the havoc have managed to live in other areas nearby.
Though Indian Ocean seems to be devoid of land to support people,
it did have good many locations which were mostly top of the mountains
of 90 east ridge and the other long range on south of Arabian sea.
There were scattered regions where people could have stayed.

 The Mascarene region was a landmass as huge as Tamilnadu  that was above sea water some 7000 years ago.

The memory of Mt Toba was carried on for 1000s of years
which was personified as the destruction caused by Lord Shiva.
In my opinion, the people had started recognizing the stars of the sky and watching the patterns and relating them to events abour 70,000 years ago.
The name Tarakasura, though could have been coined later, was coined so to show that the knowledge of stars started at the time of Tripura (Mt Toba) 
The Tripura samhara was 'predicted' to happen on the day when Moon comes in conjunction with the star Pushya.

The study of stars must have started then and was gradually developed.
By the time people overcame the impact of the Volcano and started new life,
sages would have come into existence through contemplation and deep thought on sun and stars.
The period of Daksha comes later and he is identified as having 27 stars as daughters.
So that is the period of the actual birth of astrology.
The oldest name for astrology is 'Nakshatra darsana' (seeing the stars or the philosophy of stars)
and not Jyothisha.
The Hindu astrology is based on star positions and  the position of planets in the stars.
There is a puranaic narration of Daksha having his head replaced with the head of a ram.
That symbolizes the birth of the knowledge of the zodiac.
All these go far backwards in time, perhaps 40,000 years before present.

The contemplation on Nature by the people of that era resulted in the birth of Vedic Thought and the formulation of symbolisms for natural events such as Toba eruption.
The Sundaland existed then and people had moved back to occupy them.
They also carried their symbolisms and named the places as Pualu, Mayo, Taraka and so on.

Daksha's people suffered the wrath of Shiva (destruction) some time later in the form of a devastating fire. That was another period in the past which we will discuss in another post.

courtesy : http://jayasreesaranathan.blogspot.com/2011/11/sundaland-was-location-of-tripura.html

Monday, November 21, 2011

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-1)

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-1): Shah Jahan was a womanizer and a opium addict. The best thing he did in life wa renovation. He didnt have the brains or the intelligence...

Shah Jahan was a womanizer and a opium addict. The best thing he did in life wa renovation. He didnt have the brains or the intelligence to build something on the scale of the Taj. The Taj was a hindu temple dedicated to Shiva.Shah Jahan was good at renovation but not that good because it took him 20 years to renovate the temple.In short Shah Jahan was a epic failure and has nothing to his credit. To keep this a secret he maimed all the laborers who were involved in this renovation or killed them.

This Naqqar Khana alias Music House in the Taj Mahal garden is an incongruity if the Taj Mahal were an Islamic tomb. Close by on the right is the building which Muslims claim to be a mosque. The proximity of a mosque to the Music House is incongruous with Muslim tradition. In India, Muslims have a tradition of pelting stones on Hindu music processions passing over a mosque. Moreover a mausoleum needs silence. A dead person's repose is never to be disturbed. Who would then provide a band house for a dead Mumtaz? Contrarily Hindu temples and palaces have a music house because morning and evening Hindu chores begin to the sweet strains of sacred music.

Such are the rooms on the 1st floor of the marble structure of the Taj Mahal. The two staircases leading to this upper floor are kept locked and barred since Shahjahan's time. The floor and the marble walls of such upper floor rooms can be seen in the picture to have been stripped of its marble panels. Shahjahan used that uprooted marble from the upper floor for constructing graves and engraving the Koran because he did not know where from to procure marble matching the splendour of the rest of the Taj Mahal. He was also so stingy as not to want to spend much even on converting a robbed Hindu temple into an Islamic mausoleum.

Such are the magnificent marble-paved, shining, cool, white bright rooms of the Taj Mahal temple palace's marble ground floor. Even the lower third portion of the walls is covered with magnificent marble mosaic. The doorway at the left looks suspiciously closed with a stone slab. One can perambulate through these rooms around the central octagonal sanctorum, now occupied by Mumtaz's fake grave. The aperture, seen through of the central door, enabled perambulating devotees to keep their eyes fixed on the Shiva Linga in the central chamber. Hindu Shiva Lingas are consecrated in two chambers, one above the other. Therefore, Shahjahan had to raise two graves in the name of Mumtaz--one in the marble basement and the other on the ground floor to desecrate and hide both the Shiva emblems from public view. [The famous Shiva temple in Ujjain also has an underground chamber for one of its Shiva-lingams.]

The most evident of such structures is Taj Mahal--a structure supposedly devoted to carnal love by the "great" mughal king Shah Jahan to his favorite wife Mumtaz Mahal. Please keep in my mind that this is the same Shah Jahan who had a harem of 5,000 women and the same Shah Jahan who had a incestuous relationship with his daughter justifying it by saying, 'a gardener has every right to taste the fruit he has planted'! Is such a person even capable of imagining such a wondrous structure as the Taj Mahal let alone be the architect of it?

The answer is no. It cannot be. And it isn't as has been proven. The Taj Mahal is as much an Islamic structure, as is mathematics a Muslim discovery! The famous historian Shri P.N. Oak has proven that Taj Mahal is actually Tejo Mahalaya-- a shiv temple-palace. His work was published in 1965 in the book, Taj Mahal - The True Story. However, we have not heard much about it because it was banned by the corrupt and power crazed Congress government of Bharat who did not want to alienate their precious vote bank--the Muslims.

After reading Shri Oak's work, which provides more than adequate evidence to prove that Taj Mahal is indeed Tejo Mahalaya, one has to wonder if the government of Bharat has been full of traitors for the past 50 years! Because to ban such a book which states only the truth is surely a crime against our great nation of Bharat.

The most valuable evidence of all that Tejo Mahalaya is not an Islamic building is in the Badshahnama, which contains the history of the first twenty years of Shah Jahan's reign. The writer Abdul Hamid has stated that Taj Mahal is a temple-palace taken from Jaipur's Maharaja Jaisigh and the building was known as Raja Mansingh's palace. This by itself is enough proof to state that Tejo Mahalaya is a Hindu structure captured, plundered and converted to a mausoleum by Shah Jahan and his henchmen. But I have taken the liberty to provide you with 109 other proofs and logical points, which tell us that the structure known as the Taj Mahal is actually Tejo Mahalaya.

There is a similar story behind Every Islamic structure in Bharat. They are all converted Hindu structures. As I mentioned above, hundreds of thousands of temples in Bharat have been destroyed by the barbaric Muslim invaders and I shall dedicate several articles to these destroyed temples. However, the scope of this article is to prove to you beyond the shadow of any doubt that Taj Mahal is Tejo Mahalaya and should be recognized as such! Not as a monument to the dead Mumtaz Mahal--an insignificant sex object in the incestuous Shah Jahan's harem of 5,000.

Another very important proof that Taj Mahal is a Hindu structure is shown by figure 1 below. It depicts Aurangzeb's letter to Shah Jahan in Persian in which he has unintentionally revealed the true identity of the Taj Mahal as a Hindu Temple-Palace. Refer to proofs 20 and 66 stated below.

Aurangzeb's letter to his father Shah Jahan written in
Persian. (Source: Taj Mahal - The True Story, pg. 275)
Take the time to read the proofs stated below and know to what extent we have been lied to by our own leaders. These proofs have been provided by the help of Shri P.N. Oak.
For more information you can order the book, Taj Mahal - The True Story authored by Shri P.N. Oak. The ISBN number of the book is ISBN 0-9611614-4-2. The book is available through A. Ghosh (Publisher), 5720 W. Little York, # 216, Houston, Texas 77091.

(to be continued....)
Posted by desertROSE at Monday, May 16, 2011
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yogesh saxena said...
Civil Misc. Application No. 36818 of 2004
(Under Section 151 CPC)
Civil Misc. Writ Petition No. . 36818 of 2004
(Under Article 226 of constitution of India)
(District – Agra)

1. Institute of Rewriting Indian History Through its Founder President, P. N. Oak.
S/O Late Shri Nagesh Krishna Oak, R/O - Plot No. 10, Goodwill Society,
Aundh, Pune – 411007
2. P. N. Oak. S/O Late Shri Nagesh Krishna Oak, R/O - Plot No. 10, Goodwill
Society, Aundh, Pune - 411007 ,Founder President, Institute of Rewriting
Indian History, Aundh, Pune – 4110071-------------Petitioner


1. Union of India through Secretary,
Human Resources and Development (HRD),
Government of India, New Delhi.

2. Secretary, Tourism and Archeological Department, Govt. of India,
New Delhi

3. Director General,
Archaeological Survey of India,
Government of India, Janapath, New Delhi.---------Respondents

The Hon’ble the Chief Justice and his Lordships other companion Judges of the aforesaid Court.
The humble writ petition of the abovenamed petitioner MOST RESPECTFULLY SHOWETH AS UNDER;

1. That the full facts and circumstance of the case are given in accompanied writ petition, it is most respectively prayed that an ad-interiem-mandamus by appointing a facts finding committee for exposing the falsehood of the Arceaological department regarding the historical blunder committed by them in respect of their purported claim set-up in declaring Taj-Mahal, Red- fort Agra, Fatahpur –Sikiri and other ancient Hindu buildings/ monuments as Muslim monuments and truth may be disclosed to the public/citizens and students in subject of history regarding their true authorship prior to Mughal period in furtherance of their fundamental rights conferred to the Citizens under Article 19 (1) (a), 25 and 26 read with49 and 51-A(f) (h) of Constitution of India and Freedom Of Information Act, 2002.
2. That it is further prayed that an ad-interim-Mandamus directing the respondent authorities after due Scientific investigation and facts finding inquiry report, the respondents in particular the Archaeological Survey of India may Declare and Notify in terms of the true history, as the Taj Mahal was not built by Shahajahan and thereby directing the Archaeological Survey of India to remove the notices displayed by them in the Taj Mahal premises crediting Shahjahan as its creator and to futher desist from writing / publishing / proclaiming / propagating and teaching about Shahjahan being the author of Taj Mahal and stop and discontinue the free entry in Taj Mahal premises on Fridays in the week.
29 September 2011 23:09
yogesh saxena said...
3. That it is further prayed that an ad-interim mandamus directing the respondent authorities in particular Archaeological Survey of India 1)-to open the locks of upper and lower portions of the 4 storeyed red stone building of Taj Mahal having numbers of rooms, 2)-to remove all bricked up walls build later blocking such rooms therein, 3)-to investigate scientifically and certify that which of those or both cenotaphs are fake,4)-to look for a subterrance storey below the river bank ground level, 5)-to look into after removing the room-entrance directly beneath the basement cenotaph-chamber.6)- by removing the brick and lime barricade flocking the doorway, 7)-to look for important historical evidence such as idols and inscriptions hidden inside there by the Shahjahan’s orders as truth may not make us rich but the same will make us free from superstitions and false propoganda.
4. That it is further prayed that an ad-interim-mandamus may further be issued declaring the provisions of The Ancient And Historical Monuments And Archaeological Sites And Remains (Declaration Of National Importance) Act, 1951 to the extend of declaring the ancient and historical monuments and other and Archaeological Sites namely Taj Mahal. Fatehpur-sikiri, Agra Red Ford , Ethmadualla and other Monuments as built by Mugal invaders allegedly on the basis of report submitted by Then Governor General, Lord Auckland, and young lieutenant Alexander Cunningham conceived indigenous scheme of “Divide and Rule” and thereby misusing the archaeological studies, be declared as ultravires to Article 19 (1) (a), 25,26 49 And 51-A (f) (h)constitution of India and this Hon’ble Court may futher declare the provision of Ancient and Historical Monuments and Archaeological Sites and Remains (Declaration of National Importance) Act, 1951 (71 of 1951), The Ancient Monuments And Archaeological Sites And Remains Act, 1958 of declaring these ancient building/ monuments preserved with such false graeyards identity with out any scientific inquiry/ investigation as purported Mugal monuments / graveyards as unconstitutional and void.
29 September 2011 23:10

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-2)

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-2): THE PROOFS:- Name 1.The term Taj Mahal itself never occurs in any mogul court paper or chronicle ...

1.The term Taj Mahal itself never occurs in any mogul court paper or chronicle even in Aurangzeb's time. The attempt to explain it away as Taj-i-mahal is therefore, ridiculous.

2.The ending "Mahal" is never Muslim because in none of the Muslim countries around the world from Afghanistan to Algeria is there a building known as "Mahal".

3.The unusual explanation of the term Taj Mahal derives from Mumtaz Mahal, who is buried in it, is illogical in at least two respects viz., firstly her name was never Mumtaj Mahal but Mumtaz-ul-Zamani and secondly one cannot omit the first three letters "Mum" from a woman's name to derive the remainder as the name of the building.

4.Since the lady's name was Mumtaz (ending with 'Z') the name of the building derived from her should have been Taz Mahal, if at all, and not Taj (spelled with a 'J').

5.Several European visitors of Shah Jahan's time allude to the building, as Taj-e-Mahal is almost the correct tradition, age old Sanskrit name Tej-o-Mahalaya, signifying a Shiva temple. Contrarily Shah Jahan and Aurangzeb scrupulously avoid using the Sanskrit term and call it just a holy grave.

6.The tomb should be understood to signify Not A Building but only the grave or cenotaph inside it. This would help people to realize that all dead Muslim courtiers and royalty including Humayun, Akbar, Mumtaz, Etmad-ud-Daula and Safdarjang have been buried in capture Hindu mansions and temples.

7. Moreover, if the Taj is believed to be a burial place, how can the term Mahal, i.e., mansion apply to it?

8.Since the term Taj Mahal does not occur in mogul courts it is absurd to search for any mogul explanation for it. Both its components namely, 'Taj' and' Mahal' are of Sanskrit origin.

Temple Tradition
9.The term Taj Mahal is a corrupt form of the Sanskrit term TejoMahalay signifying a Shiva Temple. Agreshwar Mahadev i.e., The Lord of Agra was consecrated in it.

10.The tradition of removing the shoes before climbing the marble platform originates from pre Shah Jahan times when the Taj was a Shiva Temple. Had the Taj originated as a tomb, shoes need not have to be removed because shoes are a necessity in a cemetery.

11.Visitors may notice that the base slab of the cenotaph is the marble basement in plain white while its superstructure and the other three cenotaphs on the two floors are covered with inlaid creeper designs. This indicates that the marble pedestal of the Shiva idol is still in place and Mumtaz's cenotaphs are fake.

12.The pitchers carved inside the upper border of the marble lattice plus those mounted on it number 108-a number sacred in Hindu Temple tradition.

13.There are persons who are connected with the repair and the maintenance of the Taj who have seen the ancient sacred Shiva Linga and other idols sealed in the thick walls and in chambers in the secret, sealed red stone stories below the marble basement. The Archaeological Survey of India is keeping discretely, politely and diplomatically silent about it to the point of dereliction of its own duty to probe into hidden historical evidence.

14.In India there are 12 Jyotirlingas i.e., the outstanding Shiva Temples. The Tejomahalaya alias The Taj Mahal appears to be one of them known as Nagnatheshwar since its parapet is girdled with Naga, i.e., Cobra figures. Ever since Shah Jahan's capture of it the sacred temple has lost its Hindudom.

15.The famous Hindu treatise on architecture titled Vishwakarma Vastushastra mentions the Tej-Linga amongst the Shivalingas i.e., the stone emblems of Lord Shiva, the Hindu deity. Such a Tej Linga was consecrated in the Taj Mahal, hence the term Taj Mahal alias Tejo Mahalaya.

16.Agra city, in which the Taj Mahal is located, is an ancient center of Shiva worship. Its orthodox residents have through ages continued the tradition of worshipping at five Shiva shrines before taking the last meal every night especially during the month of Shravan. During the last few centuries the residents of Agra had to be content with worshipping at only four prominent Shiva temples viz., Balkeshwar, Prithvinath, Manakameshwar and Rajarajeshwar. They had lost track of the fifth Shiva deity, which their forefathers worshipped. Apparently the fifth was Agreshwar Mahadev Nagnatheshwar i.e., The Lord Great God of Agra, The Deity of the King of Cobras, consecrated in the Tejomahalay alias Taj Mahal.

17.The people who dominate the Agra region are Jats. Their name of Shiva is Tejaji. The Jat special issue of The Illustrated Weekly of India (June 28,1971) mentions that the Jats have the Teja Mandirs i.e., Teja Temples. This is because Teja-Linga is among the several names of the Shiva Lingas. From this it is apparent that the Taj-Mahal is Tejo-Mahalaya, The Great Abode of Tej.

Documentary Evidence
18.Shahjahan's own court chronicle, the Badshahnama, admits (page 403, vol 1) that a grand mansion of unique splendor, capped with a dome (Imaarat-a-Alishan wa Gumbaze) was taken from the Jaipur Maharaja Jaisigh for Mumtaz's burial, and the building was known as Raja Mansingh's palace.

19. The plaque put the archeology department outside the Taj Mahal describes the edifice as a mausoleum built by Shah Jahan for his wife Mumtaz Mahal, over 22 years from 1631 to 1653 That plaque is a specimen of historical bungling. Firstly, the plaque sites no authority for its claim. Secondly the lady's name was Mumtaz-ulZamani and not Mumtazmahal. Thirdly, the period of 22 years is taken from some mumbo jumbo noting by an unreliable French visitor Tavernier, to the exclusion of all Muslim versions, which is an absurdity.

20. Prince Aurangzeb's letter (Refer to Figure 1 above) to his father, emperor Shah Jahan, is recorded in at least three chronicles titled Aadaab-e-Alamgiri, Yadgarnama, and the Muruqqa-i-Akbarabadi (edited by Said Ahmed, Agra, 1931, page 43, footnote 2). In that letter Aurangzeb records in 1652 A.D itself that the several buildings in the fancied burial place of Mumtaz were seven storeyed and were so old that they were all leaking, while the dome had developed a crack on the northern side. Aurangzeb, therefore, ordered immediate repairs to the buildings at his own expense while recommending to the emperor that more elaborate repairs be carried out later. This is the proof that during Shah Jahan's reign itself that the Taj complex was so old as to need immediate repairs.

21. The ex-Maharaja of Jaipur retains in his secret personal KapadDwara collection two orders from Shah Jahan dated Dec 18, 1633 (bearing modern nos. R.176 and 177) requestioning the Taj building complex. That was so blatant a usurpation that the then ruler of Jaipur was ashamed to make the document public.

22. The Rajasthan State archives at Bikaner preserve three other firmans addressed by Shah Jahan to the Jaipur's ruler Jaisingh ordering the latter to supply marble (for Mumtaz's grave and koranic grafts) from his Makranna quarris, and stone cutters. Jaisingh was apparently so enraged at the blatant seizure of the Taj Mahal that he refused to oblige Shah Jahan by providing marble for grafting koranic engravings and fake cenotaphs for further desecration of the Taj Mahal. Jaisingh looked at Shah Jahan's demand for marble and stone cutters, as an insult added to injury. Therefore, he refused to send any marble and instead detained the stone cutters in his protective custody.

23. The three firmans demanding marble were sent to Jaisingh within about two years of Mumtaz's death. Had Shah Jahan really built the Taj Mahal over a period of 22 years, the marble would have needed only after 15 or 20 years not immediately after Mumtaz's death.

24. Moreover, the three mention neither the Taj Mahal, nor Mumtaz, nor the burial. The cost and the quantity of the stone also are not mentioned. This proves that an insignificant quantity of marble was needed just for some superficial tinkering and tampering with the Taj Mahal. Even otherwise Shah Jahan could never hope to build a fabulous Taj Mahal by abject dependence for marble on a non-cooperative Jaisingh.

European Visitors' Accounts
25. Tavernier, a French jeweller has recorded in his travel memoirs that Shah Jahan purposely buried Mumtaz near the Taz-i-Makan (i.e., `The Taj building') where foreigners used to come as they do even today so that the world may admire. He also adds that the cost of the scaffolding was more than that of the entire work. The work that Shah Jahan commissioned in the Tejomahalaya Shiva temple was plundering at the costly fixtures inside it, uprooting the Shiva idols, planting the cenotaphs in their place on two stories, inscribing the koran along the arches and walling up six of the seven stories of the Taj. It was this plunder; desecrating and plundering of the rooms which took 22 years.

26. Peter Mundy, an English visitor to Agra recorded in 1632 (within only a year of Mumtaz's death) that `the places of note in and around Agra, included Taj-e-Mahal's tomb, gardens and bazaars'. He, therefore, confirms that that the Taj Mahal had been a noteworthy building even before Shah Jahan. 27. De Laet, a Dutch official has listed Mansingh's palace about a mile from Agra fort, as an outstanding building of pre shah Jahan's time. Shah Jahan's court chronicle, the Badshahnama records, Mumtaz's burial in the same Mansingh's palace.

28. Bernier, a contemporary French visitor has noted that non Muslim's were barred entry into the basement (at the time when Shah Jahan requisitioned Mansingh's palace) which contained a dazzling light. Obviously, he referred to the silver doors, gold railing, the gem studded lattice and strings of pearl hanging over Shiva's idol. Shah Jahan commandeered the building to grab all the wealth, making Mumtaz's death a convenient pretext.

29. Johan Albert Mandelslo, who describes life in agra in 1638 (only 7 years after mumtaz's death) in detail (in his Voyages and Travels to West-Indies, published by John Starkey and John Basset, London), makes no mention of the Taj Mahal being under construction though it is commonly erringly asserted or assumed that the Taj was being built from 1631 to 1653.

Sanskrit Inscription
30. A Sanskrit inscription too supports the conclusion that the Taj originated as a Shiva temple. Wrongly termed as the Bateshwar inscription (currently preserved on the top floor of the Lucknow museum), it refers to the raising of a "crystal white Shiva temple so alluring that Lord Shiva once enshrined in it decided never to return to Mount Kailash his usual abode". That inscription dated 1155 A.D. was removed from the Taj Mahal garden at Shah Jahan's orders. Historians and Archaeologists have blundered in terming the inspiration the Bateshwar inscription when the record doesn't say that it was found by Bateshwar. It ought, in fact, to be called The Tejomahalaya inscription because it was originally installed in the Taj garden before it was uprooted and cast away at Shah Jahan's command.

A clue to the tampering by Shah Jahan is found on pages 216-217, vol. 4, of Archaeological Survey of India Reports (published 1874) stating that a "great square black ballistic pillar which, with the base and capital of another pillar....now in the grounds of Agra, ...it is well known, once stood in the garden of Taj Mahal".

Missing Elephants
31. Far from the building of the Taj, Shah Jahan disfigured it with black koranic lettering and heavily robbed it of its Sanskrit inscription, several idols and two huge stone elephants extending their trunks in a welcome arch over the gateway where visitors these days buy entry tickets. An Englishman, Thomas Twinning, records (pg.191 of his book "Travels in India A Hundred Years ago") that in November 1794 "I arrived at the high walls which enclose the Taj-e-Mahal and its circumjacent buildings. I here got out of the palanquin and.....mounted a short flight of steps leading to a beautiful portal which formed the center of this side of the Court Of Elephants as the great area was called."

Koranic Patches
32. The Taj Mahal is scrawled over with 14 chapters of the Koran but nowhere is there even the slightest or the remotest allusion in that Islamic overwriting to Shah Jahan's authorship of the Taj. Had Shah Jahan been the builder he would have said so in so many words before beginning to quote Koran.

33. That Shah Jahan, far from building the marble Taj, only disfigured it with black lettering is mentioned by the inscriber Amanat Khan Shirazi himself in an inscription on the building. A close scrutiny of the Koranic lettering reveals that they are grafts patched up with bits of variegated stone on an ancient Shiva temple.

Carbon 14 Test
34. A wooden piece from the riverside doorway of the Taj subjected to the carbon 14 test by an American Laboratory and initiated by Professors at Pratt School of Architecture, New York, has revealed that the door to be 300 years older than Shah Jahan, since the doors of the Taj, broken open by Muslim invaders repeatedly from the 11th century onwards, had to b replaced from time to time. The Taj edifice is much more older. It belongs to 1155 A.D, i.e., almost 500 years anterior to Shah Jahan.

Architectural Evidence
35. Well known Western authorities on architecture like E.B. Havell, Mrs. Kenoyer and Sir W.W. Hunterhave gone on record to say that the Taj Mahal is built in the Hindu temple style. Havell points out the ground plan of the ancient Hindu Chandi Seva Temple in Java is identical with that of the Taj.

36. A central dome with cupolas at its Four Corners is a universal feature of Hindu temples.

37. The four marble pillars at the plinth corners are of the Hindu style. They are used as lamp towers during night and watch towers during the day. Such towers serve to demarcate the holy precincts. Hindu wedding altars and the altar set up for God Satyanarayan worship has pillars raised at the Four Corners.

38. The octagonal shape of the Taj Mahal has a special Hindu significance because Hindus alone have special names for the eight directions, and celestial guards assigned to them. The pinnacle points to the heaven while the foundation signifies to the nether world. Hindu forts, cities, palaces and temples generally have an octagonal layout or some octagonal features so that together with the pinnacle and the foundation they cover all the ten directions in which the king or God holds sway, according to Hindu belief.

39. The Taj Mahal has a trident pinnacle over the dome. A full scale of the trident pinnacle is inlaid in the red stone courtyard to the east of the Taj. The central shaft of the trident depicts a Kalash (sacred pot) holding two bent mango leaves and a coconut. This is a sacred Hindu motif. Identical pinnacles have been seen over Hindu and Buddhist temples in the Himalayan region. Tridents are also depicted against a red lotus background at the apex of the stately marble arched entrances on all four sides of the Taj. People fondly but mistakenly believed all these centuries that the Taj pinnacle depicts an Islamic crescent and star was a lighting conductor installed by the British rulers in India. Contrarily, the pinnacle is a marvel of Hindu metallurgy since the pinnacle made of non-rusting alloy, is also perhaps a lightning deflector. That the pinnacle of the replica is drawn in the eastern courtyard is significant because the east is of special importance to the Hindus, as the direction in which the sun rises. The pinnacle on the dome has the word `Allah' on it after capture. The pinnacle figure on the ground does not have the word Allah.

40. The two buildings which face the marble Taj from the east and west are identical in design, size and shape and yet the eastern building is explained away by Islamic tradition, as a community hall while the western building is claimed to be a mosque. How could buildings meant for radically different purposes be identical? This proves that the western building was put to use as a mosque after seizure of the Taj property by Shah Jahan. Curiously enough the building being explained away as a mosque has no minaret. They form a pair at reception pavilions of the Tejomahalaya temple palace. 41. A few yards away from the same flank is the Nakkar Khana alias Drum House which is an intolerable incongruity for Islam. The proximity of the Drum House indicates that the western annex was not originally a mosque. Contrarily a drum house is a necessity in a Hindu temple or palace because Hindu chores, in the morning and evening, begin to the sweet strains of music.

42. The embossed patterns on the marble exterior of the cenotaph chamber wall are foliage of the conch shell design and the Hindu letter OM. The octagonally laid marble lattices inside the cenotaph chamber depict pink lotuses on their top railing. The Lotus, the conch and the OM are the sacred motifs associated with the Hindu deities and temples.

43. The spot occupied by Mumtaz's cenotaph was formerly occupied by the Hindu Teja Linga a lithic representation of Lord Shiva. Around it are five perambulatory passages. Perambulation could be done around the marble lattice or through the spacious marble chambers surrounding the cenotaph chamber, and in the open over the marble platform. It is also customary for the Hindus to have apertures along the perambulatory passage, overlooking the deity. Such apertures exist in the perambulatories in the Taj Mahal.

44. The sanctum sanctorum in the Taj has silver doors and gold railings as Hindu temples have. It also had nets of pearl and gems stuffed in the marble lattices. It was the lure of this wealth, which made Shah Jahan commandeer the Taj from a helpless vassal Jaisingh, the then ruler of Jaipur.

45. Peter Mundy, an Englishman records (in 1632, within a year of Mumtaz's death) having seen a gem studded gold railing around her tomb. Had the Taj been under construction for 22 years, a costly gold railing would not have been noticed by Peter mundy within a year of Mumtaz's death. Such costly fixtures are installed in a building only after it is ready for use. This indicates that Mumtaz's cenotaph was grafted in place of the Shivalinga in the center of the gold railings. Subsequently the gold railings, silver doors, nets of pearls, gem fillings etc. were all carried away to Shah Jahan's treasury. The seizure of the Taj thus constituted an act of highhanded Mughal robbery causing a big row between Shah Jahan and Jaisingh.

46. In the marble flooring around Mumtaz's cenotaph may be seen tiny mosaic patches. Those patches indicate the spots where the support for the gold railings were embedded in the floor. They indicate a rectangular fencing.

47. Above Mumtaz's cenotaph hangs a chain by which now hangs a lamp. Before capture by Shah Jahan the chain used to hold a water pitcher from which water used to drip on the Shivalinga. 48. It is this earlier Hindu tradition in the Taj Mahal which gave the Islamic myth of Shah Jahan's love tear dropping on Mumtaz's tomb on the full moon day of the winter eve.

Treasury Well
49. Between the so-called mosque and the drum house is a multistoried octagonal well with a flight of stairs reaching down to the water level. This is a traditional treasury well in Hindu temple palaces. Treasure chests used to be kept in the lower apartments while treasury personnel had their offices in the upper chambers. The circular stairs made it difficult for intruders to reach down to the treasury or to escape with it undetected or unpursued. In case the premises had to be surrendered to a besieging enemy the treasure could be pushed into the well to remain hidden from the conqueror and remain safe for salvaging if the place was reconquered. Such an elaborate multistoried well is superfluous for a mere mausoleum. Such a grand, gigantic well is unnecessary for a tomb.

Burial Date Unknown
50. Had Shah Jahan really built the Taj Mahal as a wonder mausoleum, history would have recorded a specific date on which she was ceremoniously buried in the Taj Mahal. No such date is ever mentioned. This important missing detail decisively exposes the falsity of the Taj Mahal legend.

51. Even the year of Mumtaz's death is unknown. It is variously speculated to be 1629, 1630, 1631 or 1632. Had she deserved a fabulous burial, as is claimed, the date of her death had not been a matter of much speculation. In a harem teeming with 5000 women it was difficult to keep track of dates of death. Apparently the date of Mumtaz's death was so insignificant an event, as not to merit any special notice. Who would then build a Taj for her burial?

Baseless Love Stories
52. Stories of Shah Jahan's exclusive infatuation for Mumtaz's are concoctions. They have no basis in history nor has any book ever written on their fancied love affairs. Those stories have been invented as an afterthought to make Shah Jahan's authorship of the Taj look plausible.

53. The cost of the Taj is nowhere recorded in Shah Jahan's court papers because Shah Jahan never built the Taj Mahal. That is why wild estimates of the cost by gullible writers have ranged from 4 million to 91.7 million rupees.

Period of Construction
54. Likewise the period of construction has been guessed to be anywhere between 10 years and 22 years. There would have not been any scope for guesswork had the building construction been on record in the court papers.

55. The designer of the Taj Mahal is also variously mentioned as Essa Effendy, a Persian or Turk, or Ahmed Mehendis or a Frenchman, Austin deBordeaux, or Geronimo Veroneo, an Italian, or Shah Jahan himself.

Records Don't Exist
56. Twenty thousand laborers are supposed to have worked for 22 years during Shah Jahan's reign in building the Taj Mahal. Had this been true, there should have been available in Shah Jahan's court papers design drawings, heaps of labor muster rolls, daily expenditure sheets, bills and receipts of material ordered, and commissioning orders. There is not even a scrap of paper of this kind.

57. It is, therefore, court flatterers, blundering historians, somnolent archeologists, fiction writers, senile poets, careless tourists officials and erring guides who are responsible for hustling the world into believing in Shah Jahan's mythical authorship of the Taj.

58. Description of the gardens around the Taj of Shah Jahan's time mention Ketaki, Jai, Jui, Champa, Maulashree, Harshringar and Bel. All these are plants whose flowers or leaves are used in the worship of Hindu deities. Bel leaves are exclusively used in Lord Shiva's worship. A graveyard is planted only with shady trees because the idea of using fruit and flower from plants in a cemetery is abhorrent to human conscience. The presence of Bel and other flower plants in the Taj garden is proof of its having been a Shiva temple before seizure by Shah Jahan.

59. Hindu temples are often built on river banks and sea beaches. The Taj is one such built on the bank of the Yamuna river an ideal location for a Shiva temple.

60. Prophet Mohammed has ordained that the burial spot of a Muslim should be inconspicuous and must not be marked by even a single tombstone. In flagrant violation of this, the Tajamhal has one grave in the basement and another in the first floor chamber both ascribed to Mumtaz. Those two cenotaphs were in fact erected by Shah Jahan to bury the two tier Shivalingas that were consecrated in the Taj. It is customary for Hindus to install two Shivalingas one over the other in two stories as may be seen in the Mahankaleshwar temple in Ujjain and the Somnath temple raised by Ahilyabai in Somnath Pattan.

61. The Taj Mahal has identical entrance arches on all four sides. This is a typical Hindu building style known as Chaturmukhi, i.e., four faced.

The Hindu Dome
62. The Taj Mahal has a reverberating dome. Such a dome is an absurdity for a tomb, which must ensure peace and silence. Contrarily reverberating domes are a necessity in Hindu temples because they create an ecstatic dinmultiplying and magnifying the sound of bells, drums and pipes accompanying the worship of Hindu deities.

63. The Taj Mahal dome bears a lotus cap. Original Islamic domes have a bald top as is exemplified by the Pakistan Embassy in Chanakyapuri, New Delhi, and the domes in the Pakistan's newly built capital Islamabad.

64. The Taj Mahal entrance faces south. Had the Taj been an Islamic building it should have faced the west.

Tomb is the Grave, not the Building
65. A widespread misunderstanding has resulted in mistaking the building for the grave. Invading Islam raised graves in captured buildings in every country it overran. Therefore, hereafter people must learn not to confound the building with the grave mounds, which are grafts in conquered buildings. This is true of the Taj Mahal too. One may therefore admit (for argument's sake) that Mumtaz lies buried inside the Taj. But that should not be construed to mean that the Taj was raised over Mumtaz's grave.

66. The Taj is a seven storied building. Prince Aurangzeb also mentions this in his letter to Shah Jahan (Refer to the Figure 1 above). The marble edifice comprises four stories including the lone, tall circular hall inside the top, and the lone chamber in the basement. In between are two floors each containing 12 to 15 palatial rooms. Below the marble plinth reaching down to the river at the rear are two more stories in red stone. They may be seen from the river bank. The seventh storey must be below the ground (river) level since every ancient Hindu building had a subterranean storey.

67. Immediately bellow the marble plinth on the river flank are 22 rooms in red stone with their ventilators all walled up by Shah Jahan. Those rooms, made uninhibitably by Shah Jahan, are kept locked by Archaeology Department of India. The lay visitor is kept in the dark about them. Those 22 rooms still bear ancient Hindu paint on their walls and ceilings. On their side is a nearly 33 feet long corridor. There are two doorframes one at either end of the corridor. But those doors are intriguingly sealed with brick and lime.

68. Apparently those doorways originally sealed by Shah Jahan have been since unsealed and again walled up several times. In 1934 a resident of Delhi took a peep inside from an opening in the upper part of the doorway. To his dismay he saw huge hall inside. It contained many statues huddled around a central beheaded image of Lord Shiva. It could be that, in there, are Sanskrit inscriptions too. All the seven stories of the Taj Mahal need to be unsealed and scoured to ascertain what evidence they may be hiding in the form of Hindu images, Sanskrit inscriptions, scriptures, coins and utensils.

69. Apart from Hindu images hidden in the sealed stories it is also learnt that Hindu images are also stored in the massive walls of the Taj. Between 1959 and 1962 when Mr. S.R. Rao was the Archaeological Superintendent in Agra, he happened to notice a deep and wide crack in the wall of the central octagonal chamber of the Taj. When a part of the wall was dismantled to study the crack out popped two or three marble images. The matter was hushed up and the images were reburied where they had been embedded at Shah Jahan's behest. Confirmation of this has been obtained from several sources. It was only when I began my investigation into the antecedents of the Taj I came across the above information, which had remained a forgotten secret. What better proof is needed of the Temple origin of the Taj Mahal? Its walls and sealed chambers still hide in Hindu idols that were consecrated in it before Shah Jahan's seizure of the Taj.

Pre-Shah Jahan References to the Taj
70. Apparently the Taj as a central palace seems to have a checkered history. The Taj was perhaps desecrated and looted by every Muslim invader from Mohammed Ghazni onwards but passing into Hindu hands off and on, the sanctity of the Taj as a Shiva temple continued to be revived after every Muslim onslaught. Shah Jahan was the last Muslim to desecrate the Taj Mahal alias Tejomahalay. 71. Vincent Smith records in his book titled `Akbar the Great Mughal' that `Babur's turbulent life came to an end in his garden palace in Agra in 1630'. That palace was none other than the Taj Mahal.

72. Babur's daughter Gulbadan Begum in her chronicle titled Humayun Nama refers to the Taj as the Mystic House.

73. Babur himself refers to the Taj in his memoirs as the palace captured by Ibrahim Lodi containing a central octagonal chamber and having pillars on the four sides. All these historical references allude to the Taj 100 years before Shah Jahan.

74. The Taj Mahal precincts extend to several hundred yards in all directions. Across the river are ruins of the annexes of the Taj, the bathing ghats and a jetty for the ferryboat. In the Victoria gardens outside covered with creepers is the long spur of the ancient outer wall ending in an octagonal red stone tower. Such extensive grounds all magnificently done up, are a superfluity for a grave.

75. Had the Taj been specially built to bury Mumtaz, it should not have been cluttered with other graves. But the Taj premises contain several graves at least in its eastern and southern pavilions. 76. In the southern flank, on the other side of the Taj ganj gate are buried in identical pavilions queens Sarhandi Begum, and Fatehpuri Begum and a maid Satunnisa Khanum. Such parity burial can be justified only if the queens had been demoted or the maid promoted. But since Shah Jahan had commandeered (not built) the Taj, he reduced it general to a Muslim cemetery as was the habit of all his Islamic predecessors, and buried a queen in a vacant pavilion and a maid in another identical pavilion.

77. Shah Jahan was married to several other women before and after Mumtaz. She, therefore, deserved no special consideration in having a wonder mausoleum built for her.

78. Mumtaz was a commoner by birth and so she did not qualify for a fairyland burial.

79. Mumtaz died in Burhanpur, which is about 600 miles from Agra. Her grave there is intact. Therefore, the cenotaphs raised in stories of the Taj in her name seem to be fakes hiding in Hindu Shiva emblems.

80. Shah Jahan seems to have simulated Mumtaz's burial in Agra to find a pretext to surround the temple palace with his fierce and fanatic troops and remove all the costly fixtures in his treasury. This finds confirmation in the vague noting in the Badshahnama which says that the Mumtaz's (exhumed) body was brought to Agra from Burhanpur and buried `next year'. An official term would not use a nebulous term unless it is to hide some thing.

81. A pertinent consideration is that a Shah Jahan who did not build any palaces for Mumtaz while she was alive, would not build a fabulous mausoleum for a corpse which was no longer kicking or clicking.

82. Another factor is that Mumtaz died within two or three years of Shah Jahan becoming an emperor. Could he amass so much superfluous wealth in that short span as to squander it on a wonder mausoleum? 83. While Shah Jahan's special attachment to Mumtaz is nowhere recorded in history his amorous affairs with many other ladies from maids to mannequins including his own daughter Jahanara, find special attention in accounts of Shah Jahan's reign. Would Shah Jahan shower his hard-earned wealth on Mumtaz's corpse?

84. Shah Jahan was a stingy, usurious monarch. He came to throne murdering all his rivals. He was not therefore, the doting spendthrift that he is made out to be.

85. A Shah Jahan disconsolate on Mumtaz's death is suddenly credited with a resolve to build the Taj. This is a psychological incongruity. Grief is a disabling, incapacitating emotion.

86. An infatuated Shah Jahan is supposed to have raised the Taj over the dead Mumtaz, but carnal, physical sexual love is again an incapacitating emotion. A womanizer is ipso facto incapable of any constructive activity. When carnal love becomes uncontrollable the person either murders somebody or commits suicide. He cannot raise a Taj Mahal. A building like the Taj invariably originates in an ennobling emotion like devotion to God, to one's mother and mother country or power and glory.

87. Early in the year 1973, chance digging in the garden in front of the Taj revealed another set of fountains about six feet below the present fountains. This proved two things. Firstly, the subterranean fountains were there before Shah Jahan laid the surface fountains. And secondly that those fountains are aligned to the Taj that edifice too is of pre Shah Jahan origin. Apparently the garden and its fountains had sunk from annual monsoon flooding and lack of maintenance for centuries during the Islamic rule.

88. The stately rooms on the upper floor of the Taj Mahal have been striped of their marble mosaic by Shah Jahan to obtain matching marble for raising fake tombstones inside the Taj premises at several places. Contrasting with the rich finished marble ground floor rooms the striping of the marble mosaic covering the lower half of the walls and flooring of the upper storey have given those rooms a naked, robbed look. Since no visitors are allowed entry to the upper storey this despoliation by Shah Jahan has remained a well-guarded secret. There is no reason why Shah Jahan's loot of the upper floor marble should continue to be hidden from the public even after 200 years of termination of Mughal rule.

89. Bernier, the French traveler has recorded that no non-Muslim was allowed entry into the secret nether chambers of the Taj because there are some dazzling fixtures there. Had those been installed by Shah Jahan they should have been shown the public as a matter of pride. But since it was commandeered Hindu wealth, which Shah Jahan wanted to remove to his treasury, he didn't want the public to know about it.

90. The approach to Taj is dotted with hillocks raised with earth dugout from foundation trenches. The hillocks served as outer defenses of the Taj building complex. Raising such hillocks from foundation earth, is a common Hindu device of hoary origin. Nearby Bharatpur provides a graphic parallel. Peter Mundy has recorded that Shah Jahan employed thousands of laborers to level some of those hillocks. This is a graphic proof of the Taj Mahal existing before Shah Jahan.

91. At the backside of the river bank is a Hindu crematorium, several palaces, Shiva temples and bathings of ancient origin. Had Shah Jahan built the Taj Mahal, he would have destroyed the Hindu features.

92. The story that Shah Jahan wanted to build a Black marble Taj across the river, is another motivated myth. The ruins dotting the other side of the river are those of Hindu structures demolished during Muslim invasions and not the plinth of another Taj Mahal. Shah Jahan who did not even build the white Taj Mahal would hardly ever think of building a black marble Taj. He was so miserly that he forced laborers to work gratis even in the superficial tampering necessary to make a Hindu temple serve as a Muslim tomb.

93. The marble that Shah Jahan used for grafting Koranic lettering in the Taj is of a pale white shade while the rest of the Taj is built of a marble with rich yellow tint. This disparity is proof of the Koranic extracts being a superimposition. 94. Though imaginative attempts have been made by some historians to foist some fictitious name on history as the designer of the Taj others more imaginative have credited Sha Jahan himself with superb architectural proficiency and artistic talent which could easily conceive and plan the Taj even in acute bereavement. Such people betray gross ignorance of history in as much as Sha Jahan was a cruel tyrant, a great womanizer and a drug and drink addict.

95. Fanciful accounts about Shah Jahan commissioning the Taj are all confused. Some asserted that Shah Jahan ordered building drawing from all over the world and chose one from among them. Others assert that a man at hand was ordered to design a mausoleum and his design was approved. Had any of those versions been true Shah Jahan's court papers should have had thousands of drawings concerning the Taj. But there is not even a single drawing. This is yet another clinching proof that Shah Jahan did not commission the Taj.

96. The Taj Mahal is surrounded by huge mansions, which indicate that several battles have been waged around the Taj several times.

97. At the southeast corner of the Taj is an ancient royal cattle house. Cows attached to the Tejomahalay temple used to reared there. A cowshed is an incongruity in an Islamic tomb.

98. Over the western flank of the Taj are several stately red stone annexes. These are superfluous for a mausoleum.

99. The entire Taj complex comprises of 400 to 500 rooms. Residential accommodation on such a stupendous scale is unthinkable in a mausoleum. 100. The neighboring Taj ganj township's massive protective wall also encloses the Taj Mahal temple palace complex. This is a clear indication that the Tejomahalay temple palace was part and parcel of the township. A street of that township leads straight into the Taj Mahal. The Taj ganj gate is aligned in a perfect straight line to the octagonal red stone garden gate and the stately entrance arch of the Taj Mahal. The Taj ganj gate besides being central to the Taj temple complex, is also put on a pedestal. The comparatively by which the visitors enter the Taj complex is a comparatively minor gateway. It has become the entry gate for most visitors today because the railway station and the bus station are on that side.

101. The Taj Mahal has pleasure pavilions, which a tomb would never have.

102. A tiny mirror glass in a gallery of the Red Fort in Agra reflects the Taj mahal. Shah Jahan is said to have spent his last eight years of life as a prisoner in that gallery peering at the reflected Taj Mahal and sighing in the name of Mumtaz. This myth is a blend of many falsehoods. Firstly, old Sha Jahan was held prisoner by his son Aurangzeb in the basement storey in the Fort and not in an open, fashionable upper storey. Secondly, the glass piece was fixed in the 1930's by Insha Allah Khan, a peon of the archaeology dept. just to illustrate to the visitors how in ancient times the entire apartment used to scintillate with tiny mirror pieces reflecting the Tejomahalay temple a thousand fold. Thirdly, a old decrepit Shah Jahan with pain in his joints and cataract in his eyes, would not spend his day craning his neck at an awkward angle to peer into a tiny glass piece with bedimmed eyesight when he could as well his face around and have full, direct view of the Taj Mahal itself. But the general public is so gullible as to gulp all such prattle of wily, unscrupulous guides.

103. That the Taj Mahal dome has hundreds of iron rings sticking out of its exterior is a feature rarely noticed. These are made to hold Hindu earthen oil lamps for temple illumination.

104. Those putting implicit faith in Shah Jahan authorship of the Taj have been imagining Shah Jahan-Mumtaz to be a soft hearted romantic pair like Romeo and Juliet. But contemporary accounts speak of Shah Jahan as a hard hearted ruler who was constantly egged on to acts of tyranny and cruelty, by Mumtaz.

105. School and College history carry the myth that Shah Jahan reign was a golden period in which there was peace and plenty and that Shah Jahan commissioned many buildings and patronized literature. This is pure fabrication. Shah Jahan did not commission even a single building as we have illustrated by a detailed analysis of the Taj Mahal legend. Shah Jahan had to enrage in 48 military campaigns during a reign of nearly 30 years which proves that his was not an era of peace and plenty.

106. The interior of the dome rising over Mumtaz's cenotaph has a representation of Sun and cobras drawn in gold. Hindu warriors trace their origin to the Sun. For an Islamic mausoleum the Sun is redundant. Cobras are always associated with Lord Shiva.

Forged Documents
107. The Muslim caretakers of the tomb in the Taj Mahal used to possess a document, which they styled as Tarikh-i-Tajmahal. Historian H.G. Keene has branded it as a document of doubtful authenticity. Keene was uncannily right since we have seen that Shah Jahan not being the creator of the Taj Mahal any document, which credits Shah Jahan with the Taj Mahal, must be an outright forgery. Even that forged document is reported to have been smuggled out of Pakistan. Besides such forged documents there are whole chronicles on the Taj which are pure concoctions.

108. There is lot of sophistry and casuistry or at least confused thinking associated with the Taj even in the minds of professional historians, archaeologists and architects. At the outset they assert that the Taj is entirely Muslim in design. But when it is pointed out that its lotus capped dome and the four corner pillars etc. are all entirely Hindu those worthies shift ground and argue that that was probably because the workmen were Hindu and were to introduce their own patterns. Both these arguments are wrong because Muslim accounts claim the designers to be Muslim, and the workers invariably carry out the employer's dictates.

The Taj is only a typical illustration of how all historic buildings and townships from Kashmir to Cape Comorin though of Hindu origin have been ascribed to this or that Muslim ruler or courtier.
It is hoped that people the world over who study Indian history will awaken to this new finding and revise their erstwhile beliefs.

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-2)

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-2): THE PROOFS:- Name 1.The term Taj Mahal itself never occurs in any mogul court paper or chronicle ...

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-3)

desertROSE Post: Taj Mahal: An Epic Manipulated (Part-3): Photographic Evidences An aerial view of the Taj Mahal alias Tejo Mahalaya, ancient Hindu temple complex in Agra. For the last 300 years...

Taj Mahal: An Epic Manipulated (Part-3)
Photographic Evidences

An aerial view of the Taj Mahal alias Tejo Mahalaya, ancient Hindu temple complex in Agra. For the last 300 years the world has been fooled to believe that this stupendous edifice was built by the 5th generation Mogul emperor Shahjahan to commemorate one of his dead wives--Mumtaz. The two flanking buildings although identical, only the one in the rear is known as a mosque.
The Taj Mahal has seven stories. Five of them lie sealed and barred concealing rich evidence. The marble building in the centre is flanked by two symmetrical ones. The one in the foreground is the eastern one. The one in the background is being represented as a mosque because it is to the west. They should not have been identical if only one was to be a mosque. In the courtyard at the foot of the eastern building is inlaid a full scale replica of the trident pinnacle [found at the top of the dome]. The tiny tower at the left near the western building, encloses a huge octagonal multi-storied well.

This is the massive octagonal well with palatial apartments along its seven stories. A royal staircase descends right down to the water level indicated by the tiny white patch showing the sun's reflection.
This was the traditional treasury well of the Hindu temple palace. Treasure chests used to be stacked in the lower stories. Accountants, cashiers and treasurers sat in the upper stories. Cheques called handies used to be issued from here. On being besieged, if the building had to be surrendered to the enemy, the treasure used to be pushed into the water for salvage later after recapture. For real research, water should be pumped out of this well to reveal the evidence that lies at the bottom. This well is inside a tower near the so-called mosque to the west of the marble Taj. Had the Taj been a mausoleum this octagonal multistoried well would have been superfluous.

A frontal view of the Taj Mahal alias Tejo Mahalaya in Agra. It is octagonal because the Hindus believe in 10 directions. The pinnacle pointing to the heaven and the foundation to the nether world, plus the eight surface directions make the 10 directions. Divinity and royalty are believed to hold sway in all those 10 directions. Hence in Hindu tradition, buildings connected with royalty and divinity must have some octagonal features or the buildings themselves should be octagonal. The two flanking cupolas (two others to the rear are not seen in this photo) are also identical. The towers at the four plinth corners served as watch towers during the day, and to hold lights at night. Hindu wedding altars and Satyanarayan worship altars invariably have such towers at corners. [Many other Hindu temples, such as those at Khajurao, also can be found to have four towers or temples, one at each corner of the temple foundation.] The lotus flower cap on the head of the dome is a Hindu feature. Muslim domes are bald. This marble edifice has four stories. Inside the dome is an 83 ft. high hall. The Taj has a double dome. The dome one sees from inside ends like an inverted pan on the terrace. The dome seen from outside is a cover on the inner dome. Therefore, in between them is an 83 ft. hall. This may be considered as one storey. Underneath may be seen the first storey arches and the ground floor rooms. In the basement, visitors are shown one room. All these constitute the four storeys in the marble edifice. Below the marble structure are two stories in red stone reaching down to the river level. The 7thstorey must be below the river level because every ancient Hindu historic building did have a basement. Thus, the Taj is a seven-storied structure.

The dome of the Taj Mahal bearing a trident pinnacle made of a non-rusting eight-metal Hindu alloy. The pinnacle served as a lightning deflector too. This pinnacle has been blindly assumed by many to be an Islamic crescent and star, or a lightning conductor installed by the British. This is a measure of the careless manner in which Indian history has been studied till now. Visually identifiable things like this pinnacle too have been misinterpreted with impunity. The flower top of the dome, below the pinnacle, is an unmistakable Hindu sign. A full scale figure of this pinnacle is inlaid in the eastern courtyard.

A close up of the upper portion of the pinnacle of the Taj Mahal, photographed from the parapet beneath the dome. The Hindu horizontal crescent and the coconut top together look like a trident from the garden level. Islamic crescents are always oblique. Moreover they are almost always complete circles leaving a little opening for a star. This Hindu pinnacle had all these centuries been misinterpreted as an Islamic crescent and star or a lightning conductor installed by the British. The word "Allah" etched here by Shahjahan is absent in the courtyard replica. The coconut, the bent mango leaves under it and the supporting Kalash (water pot) are exclusive Hindu motifs.

The full scale figure of the pinnacle on the dome has been inlaid on the red stone courtyard of the Taj Mahal. One may see it to the east at the foot of the riverside arch of the flanking building wrongly dubbed as Jamiat Khana (community hall) by Muslim usurpers. Such floor sketches in courtyards are a common Hindu trait. In Fatehpur Sikri it is the backgammon board which is sketched on a central courtyard. The coconut top and the bent mango leaves underneath, resting on a kalash (i.e. a water pot) is a sacred Hindu motif. Hindu shrines in the Himalayan foothills have identical pinnacles [especially noticed at Kedarnath, a prominent Shiva temple]. The eastern location of the sketch is also typically Hindu. The length measures almost 32 ft.

The apex of the lofty entrance arch on all four sides of the Taj Mahal bears this red lotus and white trident--indicating that the building originated as a Hindu temple. The Koranic lettering forming the middle strip was grafted after Shahjahan seized the building from Jaipur state's Hindu ruler.

 This is a riverside view of the Taj Mahal. The four storied marble structure above has under it these two stories reaching down to the river level. The 22 rooms shown in other photos are behind that line of arches seen in the middle. Each arch is flanked by Hindu lotus discs in white marble. Just above the ground level is the plinth. In the left corner of the plinth is a doorway indicating inside the plinth are many rooms sealed by Shahjahan. One could step out to the river bank from the door at the left. The 7th storey is surmised to be under the plinth below the ground because every ancient Hindu mansion had a basement. Excavation to reach the basement chamber should start under this door.

Most people content to see Mumtaz's grave inside the Taj fail to go to the rear riverside. This is the riverside view. From here one may notice that the four-storied marble structure on top has below it two more stories in red stone. Note the window aperture in the arch at the left. That indicates that there are rooms inside. Inside the row of arches in the upper part of the wall are 22 rooms. In addition to the four stories in marble, this one shows red stone arches in the 5th storey. The 6th storey lies in the plinth in the lower portion of the photo. In another photo a doorway would be seen in the left corner of the plinth, indicating the presence of apartments inside, from where one could emerge on the river for a bath.

These corridors at the approach of the Taj Mahal are typically Hindu. They may be seen in any ancient Hindu capital. Note the two octagonal tower cupolas at the right and left top. Only Hindus have special names for the eight directions and celestial guards assigned to each. Any octagonal feature in historic buildings should convince the visitor of their Hindu origin. Guards, palanquin bearers and other attendants resided in hundreds of rooms along numerous such corridors when the Taj Mahal was a Hindu temple palace. Thus the Taj was more magnificent and majestic before it was reduced to a sombre Islamic cemetery.

This Naqqar Khana alias Music House in the Taj Mahal garden is an incongruity if the Taj Mahal were an Islamic tomb. Close by on the right is the building which Muslims claim to be a mosque. The proximity of a mosque to the Music House is incongruous with Muslim tradition. In India, Muslims have a tradition of pelting stones on Hindu music processions passing over a mosque. Moreover a mausoleum needs silence. A dead person's repose is never to be disturbed. Who would then provide a band house for a dead Mumtaz? Contrarily Hindu temples and palaces have a music house because morning and evening Hindu chores begin to the sweet strains of sacred music.

Such are the rooms on the 1st floor of the marble structure of the Taj Mahal. The two staircases leading to this upper floor are kept locked and barred since Shahjahan's time. The floor and the marble walls of such upper floor rooms can be seen in the picture to have been stripped of its marble panels. Shahjahan used that uprooted marble from the upper floor for constructing graves and engraving the Koran because he did not know wherefrom to procure marble matching the splendour of the rest of the Taj Mahal. He was also so stingy as not to want to spend much even on converting a robbed Hindu temple into an Islamic mausoleum.

Such are the magnificent marble-paved, shining, cool, white bright rooms of the Taj Mahal temple palace's marble ground floor. Even the lower third portion of the walls is covered with magnificent marble mosaic. The doorway at the left looks suspiciously closed with a stone slab. One can perambulate through these rooms around the central octagonal sanctorum, now occupied by Mumtaz's fake grave. The aperture, seen through of the central door, enabled perambulating devotees to keep their eyes fixed on the Shiva Linga in the central chamber. Hindu Shiva Lingas are consecrated in two chambers, one above the other. Therefore, Shahjahan had to raise two graves in the name of Mumtaz--one in the marble basement and the other on the ground floor to desecrate and hide both the Shiva emblems from public view. [The famous Shiva temple in Ujjain also has an underground chamber for one of its Shiva-lingams.]

This is the Dhatura flower essential for Hindu Shiva worship. The flower is depicted in the shape of the sacred, esoteric Hindu incantation 'OM.' Embossed designs of this blooming 'OM' are drawn over the exterior of the octagonal central sanctorum of Shiva where now a fake grave in Mumtaz's has been planted. While perambulating around the central chamber one may see such 'OM' designs.

This staircase and another symmetrical one at the other end lead down to the storey beneath the marble platform. Visitors may go to the back of the marble plinth at the eastern or western end and descend down the staircase because it is open to the sky. But at the foot the archaeology department has set up an iron door which it keeps locked. Yet one may peep inside from the iron gate in the upper part of the door. Shahjahan had sealed even these two staircases. It was the British who opened them. But from Shahjahan's time the stories below and above the marble ground floor have been barred to visitors. We are still following Mogul dictates though long free from Mogul rule.

On the inner flank of the 22 locked rooms (in the secret storey in red stone below the marble platform) is this corridor about 12 ft. broad and 300 ft. long. Note the scallop design at the base of the plinth supporting the arches. This is the Hindu decoration which enables one to identify even a bare plinth.

One of the 22 rooms in the secret storey underneath the marble plinth of the Taj Mahal. Many such features of the Taj remain unknown to the public so long as they see it only as a tomb. If the public knew how much it is missing in the Taj Mahal it will insist that the government unseal its many stories. Two doorways at either end of this corridor in the right side wall leading to inner apartments have been sealed by Shahjahan. If those doorways are opened, important evidence concealed inside by Shahjahan may come to light.

A corner of one of the 22 rooms in the secret storey immediately below the marble platform of the Taj Mahal. Note the strips of Hindu paint on the wall. The ventilator at the left, meant for air and light from the riverside, has been crudely walled up by Shahjahan. He did not bother even to plaster them. Had Shahjahan built the Taj as a mausoleum what was the purpose of the 22 rooms? And why are they kept locked and hidden from the public?

 One of the 22 locked rooms in the secret storey beneath the marble platform of the Taj Mahal. Strips of ancient Hindu paint are seen on the wall flanking the doorway. The niches above had paintings of Hindu idols, obviously rubbed off by Muslim desecraters. The rooms may be seen door within door in a row. If the public knew that the Taj Mahal is a structure hiding hundreds of rooms, they would insist on seeing the whole of it. At present they only peep into the grave chamber and walk away.

This esoteric Hindu design is painted on the ceiling of some of the 22 locked rooms in the secret storey below the marble platform of the Taj Mahal in Agra. Had Shahjahan built the Taj Mahal he would not have kept such elaborately painted rooms sealed and barred to the public. Even now one can enter these rooms only if one can influence the archaeology department to remove the locks.

A huge ventilator of one of the 22 rooms in a secret storey of the Taj, is seen here crudely sealed with unplastered bricks by Shahjahan. History has been so perverted and inverted that alien Muslims like Shahjahan who spoiled, damaged, desecrated and destroyed historic Hindu buildings, are being falsely paraded as great builders.

One of the 22 riverside rooms in a secret storey of the Taj Mahal, unknown to the public. Shahjahan, far from building the shining marble Taj, wantonly disfigured it. Here he has crudely walled up a doorway. Such imperial Mogul vandalism lies hidden from the public. This room is in the red stone storey immediately below the marble platform. Indian history has been turned topsy turvy in lauding destroyers as great builders.

Many such doorways of chambers in secret stories underneath the Taj Mahal have been sealed with brick and lime. Concealed inside could be valuable evidence such as Sanskrit inscriptions, Hindu idols, the original Hindu model of the Taj, the desecrated Shiva Linga, Hindu scriptures and temple equipment. Besides such sealed chambers there are many which are kept locked by the Government. The Public must raise its voice to have these opened or it should institute legal proceedings. Shree P. N. Sharma of Green Park, New Delhi who peeped through an aperture in these chambers in 1934 A.D. saw a pillared hall with images carved on the pillars.

Burharpur is a very ancient historic city on the Central Railway between Khandwa and Bhusawal junctions. Burhanpur and the nearby Asirgarh (fort) used to provide hospitality to Hindu royals proceeding north or south on pilgrimage, weddings or military expeditions. Barhanpur has many magnificent mansions which are currently being described as mosques and tombs of alien Islamic invaders. This building is one such ancient Hindu royal palace captured by the Moghuls. Mumtaz died here during her 14th delivery around 1630 A.D. while she and Shahjahan were camping here. She is said to be buried in a Hindu pavilion in front of this palace.

Mumtaz is supposed to be buried in this garden pavilion of the ancient Hindu palace (Ahu Mahal) 600 miles from Agra, in Burhanpur. Another version says that Mumtaz's corpse was kept here exposed to sun, rain, and wild beasts for six months. The date of her death, the date of her removal from Burhanpur to Agra, and the date of her assumed burial in the Taj Mahal are all unknown because the entire Taj Mahal-Mumtaz legend is a concoction from the beginning to end. [Mumtaz was only one of several hundred wives and women that Shahjahan kept in his harem.]

In a detail on the gate, we can see two elephant’s trunks, one on either side of the design, which would indicate Ganesh.

Inverted water-pots on top. Their number is always odd, 11 in this case, typical of the Vedic system. Notice also the cobra design in pairs below the gallery. Koranic inscriptions were a graffiti added by Shahjahan.

Wall decorations as we see here are typical Rajput style. There is also a balcony at first floor level.

Note the Trident within the lotus form at the apex. Both of which are Vedic references, the trident being connected with Lord Shiva.

The Veranda on the west side of the Entrance Gate. It was probably for public assemblies, discussions, teaching or chanting of Mantras.

Now you can see the "3" figure of the OM design within the carved marble flower, a definite Vedic design.

Conch shell decorations in marble carving next to the ventilation grill.

We are now outside the Cenotaph Chamber. Note how the steps in plain marble break up the designs on the plinth wall. This means that they are not original.

The Cenotaph chamber with marble screen. The point is why have an octagonal screen around two graves? It is more likely to have been an area of where sacred activities once took place.

 The Cenotaph chamber with marble screen. The point is why have an octagonal screen around two graves? It is more likely to have been an area of where sacred activities once took place.

Replica of the pinnacle design of the top of the main dome as found in the garden.

An early photo of Taj from the riverside clearly showing 2 levels of hidden basements. Vincent Smith published this photo in his book "History of Fine Art in India and Ceylon", in 1911. The earliest we find such photo was in 1844 in Sleeman’s book – "Rambles and Recollections of an Indian Official". And yet no historian has ever been curious to go inside these basements.

Blue print of the Taj Mahal showing cross-section of Central Edifice in a book by J Fergusson in 1855. It clearly shows the hidden basements.

Here you can see, not far from the plinth of the Taj, the stairway that goes down to the 22 rooms. It is surrounded by the red sandstone railing.

Entrance to lower basement floor that is now bricked up.

The timber door before it was sealed up with bricks. In 1974 American Professor Marvin Mills took a sample from this door for Carbon dating and concluded that the Taj Mahal pre-dates Shahjahan. After this revelation, the Government of India removed the timber doors and the openings were bricked up, as shown in the previous photo.

Here is a typical tower (Burj) that is in familiar Rajput style, not Islamic in any way.

Stones for anchoring boats. On the North side of the Taj Mahal, there is a platform 3 ft 6 inches wide and it runs for the entire length. The platform also has embedded into it several stone rings for anchoring boats. In the photo we can see two such stones, one in the lower right front corner, the other further up the stream. This shows that the building was planned for facilitating boats for river transportation for the residents in the Taj. Again, these are not something you would need for a quiet or even vacant grave site. ALSO NOTE THE DESIGN.

Here is a copy of a page of the Badshahnama, the history of Shah Jahan, the so-called builder of the Taj Mahal. This is from the Government of India's National Archives, and available from the instituional libraries dealing with the medieval history of India.
This is supposed to have been written by the emperor's chronicler, the Mullah Abdul Hamid Lahori. It describes the site of the Taj Mahal as being full of majestic and lush gardens just south of the city (Agra). It goes on to say that the palace of Raja Mansingh, which was owned by his grandson Raja Jaisingh, was selected as the place for the burial of the queen Mumtaz. This means, of course, that Shah Jahan never built the Taj Mahal but only acquired it from the previous owner, who was Jaisingh.

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