JEWELS OF BHARATAM …..SERIES [TM]
VIJAYA STAMBH AND NOT KUTUB MINAR …
Vijaya Stammbha now called – Kutub Minar was built by Sriharsha-Vikramaditya in 456 BC. In 300 BC, Megasthenes has called it Pillar of Hercules. Hercules is Vishnu or his incarnation/ krishna .
The Hindu title of the tower was Vishnu Dhwaj (i.e. Vishnu’s standard) alias Vishnu Stambh alias Dhruv Stambh (i.e., a polar pillar) obviously connoting an astronomical observa- tion tower. The Sanskrit inscription in Brahmi script on the non-rusting iron pillar close by proclaims that the lofty standard of Vishnu was raised on the hillock named Vishnupad Giri. That description indicates that a statue of the rec- lining Vishnu initiating the creation was consecrated in the central shrine there which was ravaged by Mohammad Ghori and his henchman Kutubuddin. The pillar was raised at the com- mand is an ancient Hindu king who had made great conquests in the East and the West.
In the inscription is interesting and particularly the last line of the inscription gives some curious information. The last line of the inscription is like this:
विष्णुपदे गिरौ भगवतो विष्नोर्ध्वज: स्थापित:।
Al-biruni has said Sri Harsha Shaka from 456 BC-that might be date of this pillar.
Ibn-Batuta has written that Kutub-minar was built 1500 years before Kutub-ud-Din Aibak (1206-1210).
Sir Saiyad Ahmed had protested calling Kutub-minar an Islamic structure as it was full of Hindu marks. He wrote a 300 page book in 1911 to prove his point. It is not a question of Hindu or Islamic marks.
It is assumed by secularist and anti hindu historians that Qutubuddib and Iltutmish finished it though the pictures will clearly show that the tower was a Hindu cultural place .
Kutub Minar itself there is overwhelming proof that it was a Hindu tower existing hundreds of years before Kutubuddin and therefore it is wrong to ascribe the tower to Kutubuddin.
The township adjoining the Kutub Minar is known as Mehrauli. That is a Sanskrit word Mihira-awali. It signifies the town- ship where the well known astronomer Mihira of Vikramaditya’s court lived along with his helpers, mathemati- cians and technicians. They used the so-called Kutub tower as an observation post for astronomical study. Around the tower were pavilions dedicated to the 27 constel- lations of the Hindu Zodiac.
Kutubuddin has left us an inscription that he destroyed these pavilions. But he has not said that he raised any tower. The ravaged temple was renamed as Kuwat-ul-Islam mosque.
Stones dislodged from the so-called Kutub Minar have Hindu images on one side with Arabic lettering on the other. Those stones have now been removed to the Museum. They clearly show that Muslim invaders used to remove the stone- dressing of Hindu buildings, turn the stones inside out to hide the image facial and inscribe Arabic lettering on the new frontage.
Bits of Sanskrit inscriptions can still be deciphered in the premises on numerous pillars and walls. Numerous images still adorn the cornices though disfigured.
The tower is but a part of the surrounding structures. It is not that while the temples around are earlier Hindu build- ings there was sufficient space left in between for Kutubud- din to come and build a tower. Its very ornate style proves that it is a Hindu tower. Mosque minarets have plane sur- faces. Those who contend that the tower was meant to call the Muslim residents to prayer have perhaps never tried to go to the top and try to shout to the people below. Had they done so they would have found out for themselves that no one on the ground can hear them from that height. Such absurd claims have been made to justfy Muslim authorship of earlier Hindu buildings.
Another important consideration is that the entrance to the tower faces north and not the west as is enjoined by Islamic theology and practice.
At either side of the entrance is the stone lotus flower emblem which also proves that it was a Hindu building. The stone flowers are a very important sign of the Hindu author- ship of mediaeval buildings. Muslims never use such flowers on the buildings they construct.
The frieze Patterns on the tower show signs of tampering, ending abruptly or in a medley of incongruent lines. The Arabic lettering is interspersed with Hindu motifs like lotus buds hanging limp. Sir Sayyad Ahmad Khan, a staunch Muslim and a scholar, has admitted that the tower is a Hindu building.
If one were to hoover in an aeroplane over the top of the tower the various galleries sliding into each other from top to bottom appear like a 24-petal lotus in full bloom. The figure 24 being a multiple of 8 is sacred in Vedic tradi- tion. Even the brick red colour of the tower is sacred to the Hindus.
The tower had seven storeys representing the week of those only five exist now. The sixth was dismantled, hauled down and re-erected on the lawns closeby.
The seventh storey had actually a statue of the four-faced Brahma holding the Vedas at the beginning of creation. Above Brahma was a white marble canopy with gold bell patterns laid in it. The t top three stories were in mle. They were ravaged by iconoclastic muslims who detested the Brahma sta- tue. The Muslim raiders also destroyed the reclining Vishnu image at the bottom.
The iron pillar was the Garud Dhwaj alias Garud Stambh, i.e, the sentinel post of the Vishnu temple.
On one side was an elliptical enclave formed by 27 Nakshatra (constellation) temples. A gigantic red-stone, ornate gate- way led to the sacred enclave known as Nakshatralaya. There- fore gateway is traditionally known as Alaya-Dwar.
Cunningham twists the traditional Hindu name to fraudulently ascribe the great doorway to Sultan Allauddin though Allaud- din himself makes no such claim.
By Allauddin’s time the surroundings were totally crumbling ruins. Why would Allauddin want to raise an ornate gigantic gatewwa(of the Hindu orange colour) leading from nowhere to nowhere ?
The theory propounded by interested Muslims that it is a muazzin’s tower is a motivated lie. No muazzin would even for a day adept a job where he has to climb and unclimb five times a day a flight of 365 narrowing, curving steps in the dark confines of the tower. He is bound to fall and die through sheer exhaustion.
The arched gateway of the adjoining so-called Kuwat-ul-Islam mosque is in no way different from the ornate archways of temples in Gujarat. The frieze patterns on this building too. The frieze patterns on this building too show signs of tampering proving that Muslim conquerors transposed stones at random to ease their conscience in readying earlier tem- ples for use as mosques.
The tower girth is made up of exactly 24 folds, arcs and triangles alternating. This shows that the figure 24 had social prominence and significance in the premises. The apertures for letting in light are 27. Considered along with the 27 constellation pavilions mentioned earlier it leaves no doubt that the tower too was an astronomical observation pole.
In Arabic the term ‘Kutub Minar’ signifies an astronomical Tower. That was how it was described to Sultan and later referred to in court correspondence. In course of time the name of Sultan Kutubuddin came to be unwittingly associated with the Kutub Tower leading to the misleading asserion that Kutubuddin built the Kutub Minar.
Iron strips have been used to keep the huge boulders fastened together in the construction of the tower. Similar strips have been used in the stone walls of Agra Fort.
PN OAK – Tajmahal was a Rajput Palace I have already dealt at some length on the origin of the fort and proved that it existed during pre-muslim times.
Therefore it is apparent that the use of iron strips to keep together stones in huge buildings was a Hindu device. That device used in the so- called Kutub Minar in Delhi another proof of its having been a pre-Muslim Hindu tower. If a 24-petal lotus is pulled up from its centre it will form a tower of that pattern. Lotus pattern is never Muslim.