కలల పసిడి మేడ తగదింటి నడుమ గోడ ఓయీ
తెలుగువాడ పద అదే వెలుగువాడ మన
కలల పసిడి మేడ తగదింటి నడుమ గోడ అన్నా
కష్టాల్లెన్నో ఓర్చి ఓర్చి గుండె మండి కినుక
రేచి అన్నా కష్టాల్లెన్నో ఓర్చి ఓర్చి గుండె
మండి కినుక రేచి సత్యాగ్రహ్రణం చేసి
ఒక తండ్రిని దారబోసి దాయదుల వెన్ను
వంచి సొంతగడ్డ సమార్జించి తెలుగు
జాతి పరువు పెంచి సమైఖ్యతను నిర్వచించి ఇపుడు
రాష్ట్ర పటం చించి చించి , ఏమున్నది
... ఏమున్నది ... ఏమున్నది ... ఏమున్నది ఓయ్
తెలుగువాడ పద అదే వెలుగువాడ మన
కలల పసిడి మేడ తగదింటి నడుమ గోడ ఓయ్
తెలుగువాడ పద అదే వెలుగువాడ మన
కలల పసిడి మేడ తగదింటి నడుమ గోడ ఇటురా
ఓ సోదరుడా ఓ నా చెలికాడా ఇటురా
ఓ సోదరుడా ఓ నా చెలికాడా మనదే
ఈ పెద్ద చెట్టు, ఈ చల్లని నీడ మనదే
ఈ పెద్ద చెట్టు, ఈ చల్లని నీడ ఆంధ్ర
సీమ, తెలంగాణ ఒక్కొకటొక ఊడ ప్రతి
ఊరు ప్రతి పల్లే తెలుగు చెట్టు కాడ పట్టిచ్హావనుకో
ఇపుడు వేరుపాటు చీడ ఇంకేమున్నది ... ఏమున్నది
... ఏమున్నది ... ఏమున్నది ఓయ్
తెలుగువాడ పద అదే వెలుగువాడ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hindu Rituals and Routines
The Tajmahal is Tejomahalay
A Hindu Temple
By P.N.Oak
Probably there is no one who has been duped at least once in a life
time. But can the whole world can be duped? This may seem impossible. But
in the matter of indian and world history the world can be duped in many
respects for hundreds of years and still continues to be duped. The world
famous Tajmahal is a glaring instance. For all the time, money and energy
that people over the world spend in visiting the Tajmahal, they are dished
out of concoction. Contrary to what visitors are made to believe the Tajmahal
is not a Islamic mausoleum but an ancient Shiva Temple known as Tejo Mahalaya
which the 5th generation moghul emperor
Shahjahancommandeered from the then Maharaja of Jaipur. The Tajmahal, should therefore,
be viewed as a temple palace and not as a tomb. That makes a vast difference.
You miss the details of its size, grandeur, majesty and beauty when you
take it to be a mere tomb. When told that you are visiting a temple palace
you wont fail to notice its annexes, ruined defensive walls, hillocks,
moats, cascades, fountains, majestic garden, hundreds of rooms archaded
verendahs, terraces, multi stored towers, secret sealed chambers, guest
rooms, stables, the trident (Trishul) pinnacle on the dome and the sacred,
esoteric Hindu letter "OM" carved on the exterior of the
wall of the sanctum sanctorum now occupied by the centotaphs. For detailed
proof of this breath taking discovery,you may read the well known historian
Shri. P. N. Oak's celebrated book titled " Tajmahal
: The True Story". But let us place before you, for the time
being an exhaustive summary of the massive evidence ranging over hundred
points:
NAME
1.The term Tajmahal 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 Tajmahal 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 Shahjahan'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 Shahjahan 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 centotaph 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 Shahjahan 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 centotaph is the marble basement in plain white while its superstructure and the other three
centotaphs 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 centotaphs 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 maintainance 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 Tajmahal appears to be one of them known
as Nagnatheshwar since its parapet is girdled with Naga, i.e., Cobra figures.
Ever since Shahjahan'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 centre
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 Tajmahal.
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 archealogy department outside the Tajmahal describes
the edifice as a mausoleum built by Shahjahan 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 to his father,emperor Shahjahan,is recorded
in atleast 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
Shahjahan'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 Shahjahan 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 Shahjahan to the Jaipur's ruler Jaising 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 Tajmahal that he refused to oblige Shahjahan
by providing marble for grafting koranic engravings and fake centotaphs
for further desecration of the Tajmahal. Jaising looked at Shahjahan'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 Shahjahan really built the Tajmahal
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 Tajmahal, 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 supercial tinkering and tampering with the Tajmahal. Even otherwise
Shahjahan could never hope to build a fabulous Tajmahal by abject dependence
for marble on a non cooperative Jaisingh.
EUROPEAN VISITOR'S ACCOUNTS
25. Tavernier, a French jeweller has recorded in his travel memoirs
that Shahjahan purposely buried Mumtaz near the Taz-i-Makan (i.e.,`The
Taj building') where foriegners 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 Shahjahan commissioned
in the Tejomahalaya Shiva temple was plundering at the costly fixtures
inside it, uprooting the Shiva idols, planting the centotaphs 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 plunderring 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 Tajmahal had been a noteworthy building even before Shahjahan.
27. De Laet, a Dutch official has listed Mansingh's palace about a mile
from Agra fort, as an outstanding building of pre shahjahan's time. Shahjahan'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 Shahjahan requisitioned
Mansingh's palace) which contained a dazzling light. Obviously, he reffered
to the silver doors, gold railing, the gem studded lattice and strings
of pearl hanging over Shiva's idol. Shahjahan comandeered the building
to grab all the wealth, making Mumtaz's death a convineant 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 Tajmahal being under constuction though it is commonly
erringly asserted or assumed that the Taj was being built from 1631 to
1653.
SANSKIRT 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
Tajmahal garden at Shahjahan's orders. Historicians and Archeaologists
have blundered in terming the insription 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 Shahjahan's command.
A clue to the tampering by Shahjahan is found on pages 216-217, vol.
4, of Archealogiical Survey of India Reports (published 1874) stating that
a "great square black balistic 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 Tajmahal".
MISSING ELEPHANTS
31. Far from the building of the Taj, Shahjahan 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 palanquine and.....mounted a short flight of steps
leading to a beautiful portal which formed the centre 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 Shahjahan's authorship of the Taj. Had Shahjahan been the
builder he would have said so in so many words before beginning to quote
Koran.
33. That Shahjahan, 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, has revealed that the door
to be 300 years older than Shahjahan,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 Shahjahan.
ARCHITECHTURAL EVIDENCE
35. Well known Western authorities on architechture like E.B.Havell,
Mrs.Kenoyer and Sir W.W.Hunterhave gone on record to say that the TajMahal
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 have pillars raised at
the four corners.
38. The octagonal shape of the Tajmahal 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 genrally 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 Tajmahal has a trident pinncle 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 a Islamic cresent 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.
INCONSISTENCIES
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 Shahjahan.
Curiously enough the building being explained away as a mosque has no minaret.
They form a pair af reception pavilions of the Tejomahalaya temple palace.
41. A few yards away from the same flank is the Nakkar Khana alias DrumHouse
which is a 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 neccesity 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 centotaph chamber
wall are foilage of the conch shell design and the Hindu letter "OM".
The octagonally laid marble lattices inside the centotaph 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 centotaph 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
centotaph 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
Tajmahal.
44. The sanctom 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 Shahjahan
commandeer the Taj from a helpless vassal Jaisingh, the then ruler of Jaipur.
45. Peter Mundy, a 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
costl fixtures are installed in a building only after it is ready for use.
This indicates that Mumtaz's centotaph was grafted in place of the Shivalinga
in the centre of the gold railings. Subsequently the gold railings, silver
doors, nets of pearls, gem fillings etc. were all carried away to Shahjahan's
treasury. The seizure of the Taj thus constituted an act of highhanded
Moghul robery causing a big row between Shahjahan and Jaisingh.
46. In the marble flooring around Mumtaz's centotaph 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 centotaph hangs a chain by which now hangs a lamp.
Before capture by Shahjahan 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 Tajmahal which gave the
Islamic myth of Shahjahan'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 conquerer and remain safe for salvaging if the place was reconquered.
Such an elaborate multistoried well is superflous for a mere mausoleum.
Such a grand, gigantic well is unneccesary for a tomb.
BURIAL DATE UNKNOWN
50. Had Shahjahan 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 Tajmahal 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 an 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 Shahjahan'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 Shahjahan's authorship of the Taj look plausible.
COST
53. The cost of the Taj is nowhere recorded in Shahjahan's court papers
because Shahjahan never built the Tajmahal. 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.
ARCHITECTS
55. The designer of the Tajmahal 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 Shahjahan himself.
RECORDS DON'T EXIST
56. Twenty thousand labourers are supposed to have worked for 22 years
during Shahjahan's reign in building the Tajmahal. Had this been true,
there should have been available in Shahjahan's court papers design drawings,
heaps of labour muster rolls, daily expenditure sheets, bills and receipts
of material ordered, and commisioning 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 Shahjahan's mythical authorship of the Taj.
58. Description of the gardens around the Taj of Shahjahan'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 cemetary 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 Shahjahan.
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 Mohammad has ordained that the burial spot of a muslim should
be inconspicous 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
centotaphs were infact erected by Shahjahan 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 Tajmahal 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 Tajmahal has a reverberating dome. Such a dome is an absurdity
for a tomb which must ensure peace and silence. Contrarily reverberating
domes are a neccesity 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 Tajmahal 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 Tajmahal 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 Tajmahal too. One may therefore admit
(for arguments 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 Shahjahan. 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 subterranian storey.
67. Immediately bellow the marble plinth on the river flank are 22 rooms
in red stone with their ventilators all walled up by Shahjahan. Those rooms,
made uninhibitably by Shahjahan, are kept locked by Archealogy 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 door frames one at either
end ofthe corridor. But those doors are intriguingly sealed with brick
and lime.
68. Apparently those doorways originally sealed by Shahjahan 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 Tajmahal 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 Archealogical 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
Shahjahan'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 Tajmahal?
Its walls and sealed chambers still hide in Hindu idols that were consecrated
in it before Shahjahan's seizure of the Taj.
PRE-SHAHJAHAN REFERENCES TO THE
TAJ
70. Apparently the Taj as a central palace seems to have an chequered
history. The Taj was perhaps desecrated and looted by every Muslim invader
from Mohammad 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. Shahjahan was the last muslim to desecrate the Tajmahal
alias Tejomahalay.
71. Vincent Smith records in his book titled `Akbar the Great Moghul'
that `Babur's turbulent life came to an end in his garden palace in Agra
in 1630'. That palace was none other than the Tajmahal. 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 Shahjahan.
74. The Tajmahal 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 ferry boat. In the Victoria gardens outside covered
with creepers is the long spur of the ancient outer wall ending in a 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 atleast in its eastern and southern pavilions.
76. In the southern flank, on the other side of the Tajganj 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 Shahjahan had
commandeered (not built) the Taj, he reduced it general to a muslim cemetary
as was the habit of all his Islamic predeccssors, and buried a queen in
a vacant pavillion and a maid in another idenitcal pavilion.
77. Shahjahan 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 centotaphs raised in stories of the
Taj in her name seem to be fakes hiding in Hindu Shiva emblems.
80. Shahjahan 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 Shahjahan 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
Shahjahan becoming an emperor. Could he amass so much superflous wealth
in that short span as to squander it on a wonder mausoleum?
83. While Shahjahan'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 Shahjahan's reign. Would Shahjahan shower his hard earned wealth on
Mumtaz's corpse?
84. Shahjahan 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 Shahjahan 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. A infatuated Shahjahan is supposed to have raised the Taj over the
dead Mumtaz, but carnal, physical sexual love is again a incapacitating
emotion. A womaniser 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 Tajmahal. 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 Shahjahan laid the surface fountains. And secondly that
those fountains are aligned to the Taj that edifice too is of pre Shahjahan
origin. Apparently the garden and its fountains had sunk from annual monsoon
flooding and lack of maintenance for centuries during the Islamic rule.
89. The stately rooms on the upper floor of the Tajmahal have been striped
of their marble mosaic by Shahjahan to obtain matching marble for raising
fake tomb stones 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 despoilation by Shahjahan has remained a
well guarded secret. There is no reason why Shahjahan's loot of the upper
floor marble should continue to be hidden from the public even after 200
years of termination of Moghul rule.
90. Bernier, the French traveller 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 Shahjahan
they should have been shown the public as a matter of pride. But since
it was commandeered Hindu wealth which Shahjahan wanted to remove to his
treasury, he didn't want the public to know about it.
91. The approach to Taj is dotted with hillocks raised with earth dugout
from foundation trenches. The hillocks served as outer defences 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 Shahjahan employed thousands of labourers
to level some of those hillocks. This is a graphic proof of the Tajmahal
existing before Shahjahan.
93. At the backside of the river bank is a Hindu crematorium, several
palaces, Shiva temples and bathings of ancient origin. Had Shahjahan built
the Tajmahal, he would have destroyed the Hindu features.
94. The story that Shahjahan 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 Tajmahal. Shahjahan who did not even build
the white Tajmahal would hardly ever think of building a black marble Taj.
He was so miserly that he forced labourers to work gratis even in the superficial
tampering neccesary to make a Hindu temple serve as a Muslim tomb.
95. The marble that Shahjahan 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.
96. 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 Shajahan himself with superb architechtural
proficiency and artistic talent which could easily concieve and plan the
Taj even in acute bereavment. Such people betray gross ignorance of history
in as much as Shajahan was a cruel tyrant ,a great womaniser and a drug
and drink addict.
97. Fanciful accounts about Shahjahan commisioning the Taj are all confused. Some asserted that Shahjahan 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 amd his design was approved. Had any
of those versions been true Shahjahan'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 Shahjahan did not commision the
Taj.
98. The Tajmahal is surrounded by huge mansions which indicate that
several battles have been waged around the Taj several times.
99. At the south east 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.
100. Over the western flank of the Taj are several stately red stone
annexes. These are superflous for a mausoleum.
101. The entire Taj complex comprises of 400 to 500 rooms. Residential accomodation on such a stupendous scale is unthinkable in a mausoleum.
102. The neighbouring Tajganj township's massive protective wall also
encloses the Tajmahal 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 Tajmahal. The Tajganj
gate is aligned in a perfect straight line to the octagonal red stone
garden gate and the stately entrance arch of the Tajmahal. The Tajganj
gate besides being central to the Taj temple complex, is also put on a
pedestal. The western gate by which the visitors enter the Taj complex
is a camparatively minor gateway. It has become the entry gate for most
visitors today because the railway station and the bus station are on that
side.
103. The Tajmahal has pleasure pavillions which a tomb would never have.
104. A tiny mirror glass in a gallery of the Red Fort in Agra reflects
the Taj mahal. Shahjahan is said to have spent his last eight years of
life as a prisoner in that gallery peering at the reflected Tajmahal and
sighing in the name of Mumtaz. This myth is a blend of many falsehoods.
Firstly,old Shajahan 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 archaelogy 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 Shahjahan
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 Tjamahal itself. But the general public is so gullible as to
gulp all such prattle of wily, unscrupulous guides.
105. That the Tajmahal 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.
106. Those putting implicit faith in Shahjahan authorship of the Taj
have been imagining Shahjahan-Mumtaz to be a soft hearted romantic pair
like Romeo and Juliet. But contemporary accounts speak of Shahjahan as
a hard hearted ruler who was constantly egged on to acts of tyranny and
cruelty, by Mumtaz.
107. School and College history carry the myth that Shahjahan reign
was a golden period in which there was peace and plenty and that Shahjahan
commisioned many buildings and patronized literature. This is pure fabrication.
Shahjahan did not commision even a single building as we have illustrated
by a detailed analysis of the Tajmahal legend. Shahjahn had to enrage in
48 military campaigns during a reign of nearly 30 years which proves that
his was not a era of peace and plenty.
108. The interior of the dome rising over Mumtaz's centotaph 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
109. The muslim caretakers of the tomb in the Tajmahal 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 Shahjahan not being the creator
of the Tajmahal any document which credits Shahjahn with the Tajmahal,
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.
110. There is lot of sophistry and casuistry or atleast confused thinking
associated with the Taj even in the minds of proffesional historians, archaelogists
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.
Those interested in an indepth study of the above and many other revolutionary
rebuttals may read this author's other research books.
Tajmahal The True Story authored by Shri P.N. Oak can be ordered
from :
- A. Ghosh Publisher
5720, W. Little York #216
Houston, Texas 77091
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