Posted in Tejomahal

ताज महल मूल रूप से एक शिव मंदिर “तेजो महालय” था.


मित्रों कई बार सुनने में आया है की ताज महल मूल रूप से एक शिव मंदिर “तेजो महालय” था.. इस सन्दर्भ में कई साक्ष्य उपलब्ध है।। मैंने सोचा क्यों न इन साक्ष्यों की प्रमाणिकता जाँची जाये.. इसी क्रम में मैंने ताजमहल भ्रमण किया. ताजमहल में मुमताज की तथाकथित कब्र(??) पर जाने के बाद मैंने पास की दिवारों का अवलोकन किया। वहां मुझे कई जगह “ॐ” लिखा हुआ मिला..हालाँकि वहां पर फोटो लेना वर्जित था परन्तु मैंने जैसे तैसे कुछ प्रबंध करके एक दो तस्वीरें ली जिसमे से कुछ एक आप सब से साझा कर रहा हूँ।अगर ताजमहल वास्तव में मुगलकाल में मुग़ल शासको द्वारा बनवाया गया था तो उनकी मान्यता के विपरीत 108 ॐ शब्द दीवारों पर क्या कर रहे हैं? अब ये सोचना बेवकूफी है की “जजिया कर” लगाने वाले मुग़ल शासक इतने सहृदय हो गए की इश्लाम की मान्यता के विपरीत जा के ॐ शब्द दीवारों पर उकेरने की अनुमति दे दें।और ये भी संभव नहीं की कोई मजदूर इश्लामिक राजा के शासन काल में इश्लाम विरोधी निर्माण इश्लामिक राजा की बेगम के मकबरे में लगा दे…
तो एक संभावना ये भी है की शिव मंदिर में स्वाभाविक रूप से ॐ लिखा रहता है अतः वहां भी लिखा हो.. उस मंदिर के बाहरी ढांचे में कुछ परिवर्तन किया गया हो और आंतरिक दीवारों के पास जहाँ शिव लिंग रहा हो वहाँ मकबरा बना दिया हो।। क्यूकी मकबरे में मैंने ये भी देखा की ऊपर एक लम्बी सी जंजीर लटक रही थी।। ऐसा दुनिया के किसी अन्य मकबरे में नहीं है मगर सामन्यतया किसी भी शिवलिंग के ऊपर एक रस्सी या जंजीर में लटका कलश दिख जायेगा जिससे जल शिवलिंग पर गिरता रहता है..
आप सभी से अनुरोध है इस सन्देश को सब तक पहुचाएं और ताजमहल जब कभी भी जाएँ इन तथ्यों का अपने स्तर से अन्वेषण करने का जरुर प्रयास करें।
ॐ नमः शिवाय

मित्रों कई बार सुनने में आया है की ताज महल मूल रूप से एक शिव मंदिर "तेजो महालय" था.. इस सन्दर्भ में कई साक्ष्य उपलब्ध है।। मैंने सोचा क्यों न इन साक्ष्यों की प्रमाणिकता जाँची जाये.. इसी क्रम में मैंने ताजमहल भ्रमण किया. ताजमहल में मुमताज की तथाकथित कब्र(??) पर जाने के बाद मैंने पास की दिवारों का अवलोकन किया। वहां मुझे कई जगह "ॐ" लिखा हुआ मिला..हालाँकि वहां पर फोटो लेना वर्जित था परन्तु मैंने जैसे तैसे कुछ प्रबंध करके एक दो तस्वीरें ली जिसमे से कुछ एक आप सब से साझा कर रहा हूँ। अगर ताजमहल वास्तव में मुगलकाल में मुग़ल शासको द्वारा बनवाया गया था तो उनकी मान्यता के विपरीत 108 ॐ शब्द दीवारों पर क्या कर रहे हैं? अब ये सोचना बेवकूफी है की "जजिया कर" लगाने वाले मुग़ल शासक इतने सहृदय हो गए की इश्लाम की मान्यता के विपरीत जा के ॐ शब्द दीवारों पर उकेरने की अनुमति दे दें।और ये भी संभव नहीं की कोई मजदूर इश्लामिक राजा के शासन काल में इश्लाम विरोधी निर्माण इश्लामिक राजा की बेगम के मकबरे में लगा दे...
तो एक संभावना ये भी है की शिव मंदिर में स्वाभाविक रूप से ॐ लिखा रहता है अतः वहां भी लिखा हो.. उस मंदिर के बाहरी ढांचे में कुछ परिवर्तन किया गया हो और आंतरिक दीवारों के पास जहाँ शिव लिंग रहा हो वहाँ मकबरा बना दिया हो।। क्यूकी मकबरे में मैंने ये भी देखा की ऊपर एक लम्बी सी जंजीर लटक रही थी।। ऐसा दुनिया के किसी अन्य मकबरे में नहीं है मगर सामन्यतया किसी भी शिवलिंग के ऊपर एक रस्सी या जंजीर में लटका कलश दिख जायेगा जिससे जल शिवलिंग पर गिरता रहता है.. 
आप सभी से अनुरोध है इस सन्देश को सब तक पहुचाएं और ताजमहल जब कभी भी जाएँ इन तथ्यों का अपने स्तर से अन्वेषण करने का जरुर प्रयास करें।
ॐ नमः शिवाय
Posted in Tejomahal

Was the Taj Mahal a Vedic Temple?


Was the Taj Mahal a Vedic Temple?

The Photographic Evidence

http://www.krishnapath.org/photographic-evidence-taj-mahal-a-vedic-temple/

This presents photographs (listed below) that show the Vedic influence found in such buildings as the Taj Mahal, Red Fort, and other structures in India. It also presents photos of drawings and art that have been discovered from other parts of the world, such as Arabia, Egypt, Greece and Italy, that show a definite Vedic influence. No matter whether you accept all of this or not, it nonetheless makes for an extremely fascinating and interesting story. Take a look and decide for yourself what you think. Also, let other people know about these, or print and use them for your own displays in your temple, office or home.  Or exhibit the slide show for others to see.

We have all heard how the Taj Mahal, which is considered one of the great wonders of the world, was built as the preeminent expression of a man’s love for a wife. That it was built by emperor Shah Jahan in commemoration of his wife Mumtaz. However, in our continuous effort to get to the truth, we have recently acquired some very important documents and information. There is evidence that the Taj Mahal was never built by Shah Jahan. Some say the Taj Mahal pre-dates Shah Jahan by several centuries and was originally built as a Hindu or Vedic temple/palace complex. Shah Jahan merely acquired it from its previous owner, the Hindu King Jai Singh.  In fact, as recently as 1910, the Encyclopedia Brittanica also said that it was a pre-existing building before Shah Jahan.

This controversy is something I have explained more thoroughly in my book, “Proof of Vedic Culture’s Global Existence.” However, other articles can be found on this CD that also explain some very interesting details. So, for those who want to know the intricacies of this issue, you can find it there. Yet here is the photographic evidence that will provide greater insights into this. The point to consider is how much more of India’s history has been distorted if the background of such a grand building is so inaccurate.

These photographs are taken from an album that was found and then smuggled out of India. On the back of each photo there is a stamp mark that says, “Archaeology Survey of India.” This signifies their authenticity and that they were the property of that institution. This means a number of things: That the Archaeology Survey of India (ASI) has been researching the evidence that proves the Taj Mahal and many other buildings were not of Muslim origin, and that they know this information but remain silent about it. It also shows that in spite of this evidence they refuse to open up further research that would reveal the true nature and originality of the buildings, and lead to understanding another part of the real history and glory of India. This attitude is something that must be changed.

It is because of the manipulation of history by invaders that the true greatness of India and Vedic culture has been stifled or hidden. And it is time that people everywhere realize how numerous lies and false propaganda have been passed around as if it were the truth in regard to India and its past, as well as its art, archeology, and the wonder of its culture. India and its Vedic society was one of the preeminent civilizations of the world, as I explained in “Proof of Vedic Culture’s Global Existence.” Now, through the increasing amount of revealing evidence that is being uncovered, that greatness of India’s past and its contributions to the world are gradually being recognized. It is because of this that it is now time to rewrite the history of India.

These photos are black and white and were found in a simple photo album in India. Except for old age and some water damage on some of them (creating white spots in areas), most are still in relatively good condition. Each photograph was accompanied by a typed caption taped in the album near the photo, each of which gives a very interesting explanation of the subject and the Vedic influence recognized on the building and what it means. The captions are written on the following pages (listed next to the photo number) just as they were written in the album, so the style of English and the explanations are kept the same. They are obviously written from an Indian perspective. Whatever I may say about the photos are displayed in brackets [ ]. Otherwise I let the captions and photos speak for themselves. Some of these photos will show areas of the Taj where the public has no access, or what is rarely seen or noticed.

Descriptions of the Photographs

of the Taj Mahal

 

Photo # 1: 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.

 

 

Photo # 2: 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.

 

Photo # 3: 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 7th storey must be below the river level because every ancient Hindu historic building did have a basement. Thus, the Taj is a seven-storied structure.

 

Photo # 4: 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.

 

Photo # 5: 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.

 

Photo # 6: 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.

 

Photo # 7: 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.

 

Photo # 8: 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.

 

Photo # 9: 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.

 

Photo # 10: 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.

 

Photo # 11: 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.

 

Photo # 12: 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.

 

Photo # 13: 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.]

 

Photo # 14: 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.

 

Photo # 15: 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.

 

Photo # 16: 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.

 

Photo # 17: 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.

 

Photo # 18: 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?

 

Photo # 19: 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.

 

Photo # 20: 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.

 

Photo # 21: 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.

 

Photo # 22: 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.

 

Photo # 23: 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.

 

Photo # 24: 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.

 

Photo # 25: 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.]

 

Descriptions of the Photographs of the Red Fort and Other Buildings in Delhi and Elsewhere in India

Photo # 26: This tablet raised inside Delhi’s Red Fort by modern archaeologists proclaims that Shahjahan (who ruled from 1628 to 1658 A.D.) built this fort from 1639 to 1648 A.D. As against this see the [next] photo of the painting of Shahjahan’s time preserved in the Bodleian Library, Oxford. It depicts Shajahan receiving the Persian ambassador inside the fort in 1628, the very year of Shahjahan’s accession. Obviously the fort existed much before Shahjahan.

 

Photo # 27: The 5th generation Mogul emperor Shahjahan is credited with having built the Red Fort in Delhi. Shahjahan ascended the throne in 1628 A.D. This contemporary painting shows him receiving the Persian ambassador in 1628 itself, in the Diwan-i-Aam (Common Room) of the Red Fort itself. This painting preserved in the Bodleian Library, Oxford, was reproduced in the Illustrated Weekly of India (page 32) of March 14, 1971. Since Shahjahan was in the fort in the year of his accession, this documentary evidence disproves the notion that he built the fort. Compare with this the photo of the tablet in English raised inside the fort by the Govt. of India’s archaeology department asserting that Shahjahan built the fort during 1639-48. This is emphatic proof of Indian history having been thoroughly falsified during Muslim rule in India.

 

Photo # 28: The Red Fort in Delhi has in its Khas Mahal, alias the King’s apartment, the royal emblem of its builder King Anangoal. It consists of a pair of swords laid hilt to hilt curving upwards, the sacred Hindu pot (kalash) above the hilts, a lotus bud and a pair of scales of justice balanced over it. Dotted around are representations of the sun from whom Indian ruling dynasties claimed descent. At the sword points are two small conches considered sacred in Hindu tradition. Bigger conches may be seen at the left and right corners at the base. This royal Hindu insignia of the Hindu king who built Delhi’s Red Fort, is still there in the Khas Mahal pavilion. But even this visual symbol has been blatantly misinterpreted. The two swords laid hilt to hilt, curving upward are being inadvertently styled by ignorant guides, archaeologists and historians as an Islamic crescent. The sacred Hindu Kalash (water pot) on the hilts is never noticed. The lotus bud on the kalash represents royal wealth. The pair of scales is symbolic of impartial justice.

 

Photo # 29:  This perforated marble screen inside the Khas Mahal (i.e. the King’s own chamber) in Delhi’s Red Fort, is a Hindu specialty. Such jalees are mentioned even in Ramayanic descriptions of palaces. Therefore some buildings claimed to be mosques in Ahmedabad which boast of such exquisite jalees (lattices) are Hindu edifices. The Hindu royal emblem mounted on the upper part of the jalee, disproves that the Mogul Shahjahan built the fort.

 

Photos # 30 & 31: The resplendent Hindu midday sun (from whom Hindu rulers claim descent) in the arch above flanked by the sacred Hindu letter OM. Below it is the royal Hindu insignia. This proves the hollowness of the claim that Shahjahan commissioned the Red Fort.

 

 

Photo # 32:

Photo # 33: It is entirely false that the Red Fort of Delhi was built by Shahjahan in 1639-48 A.D. Muslims were the destroyers of statues. Then why should they have constructed statues? But there are statues of Hindu Mahavants riding the elephants of the doors of each interior room of “Khas Mahal” in the Red Fort. On the main gate of the Fort named “Delhi Darwaja,” there are huge statues of elephants. The curtain of building statues of elephants on forts and palace gates can be well judged by examining the palaces at Gwalior, Udaipur and Kota. Decorating homes, forts, palaces and temples with elephants is a hoary Hindu tradition. To the Hindu an elephant symbolizes might, power, glory and wealth. The Red Fort in Delhi has life-size elephants at its gate and elephants with riders atop its door knobs in the Khas Mahal pavilion. Had Shahjahan built the fort, such Hindu motifs should not have been there.

 

Photo # 34: A close up of the elephant and rider door knob in the Khas Mahal of the Red Fort in Delhi. This is a typically Hindu motif. Other big life-size stone elephants decorating the Naqqar Khana (Music House) gate were slaughtered by Islamic invaders. The chopped up pieces may still be seen stored in the Khas Mahal basements. The public must insist on these being joined and displayed.

 

Photo # 35: Inner view of the entrance to the so-called Moti Masjid inside Delhi’s Red Fort. The archaeological tablet outside claims that the mosque was built by Aurangzeb, son and successor of Shahjahan. That claim is baseless because (1) The entrance is of a temple design. (2) The arch between the domes is made of banana bunches used in Hindu worship. (3) On either side above the arch are fruit trays. (4) Naming buildings after gems (Moti means pearl) is a Hindu custom. (5) If Shahjahan built the fort why didn’t he provide it with a mosque? (6) The truncated Hindu perambulatory passage may still be seen to exist on the building’s left flank. (7) The back of the wall shows signs of tampering.

 

Photo # 36: A close-up of the interior top of the entrance arch of the so-called Moti Masjid (which was Hindu Moti Mandir) inside Delhi’s Red Fort. The arch at the bottom may be seen to be made of banana bunches. On either side above the arch are trays holding five fruits each as holy Hindu offering. Fruit is taboo inside Muslim mosques.

 

Photo # 37: This temple-front design of ribbed gourd-like domes on either side with a pinnacle surmounted by a canopy in the centre, embossed on the riverside wall of the Rang Mahal apartment inside Delhi’s Red fort is emphatic proof that the fort is a pre-Shahjahan Hindu fort. Even the name Rang Mahal is Hindu. In this same pavilion is carved on the floor an exquisite lotus in full bloom as a fountain trough. Muslim walls and floors are plain. The canopy in the photo may be seen at several Hindu altars. The kalash (pot) under it represents divinity in Hindu tradition.

 

Photo # 38: ‘Vishnu’s footprint’ in the so-called Humayun Tomb, New Delhi. This photo is reproduced from page 78 of “The World of Ancient India,” translated into English (from G. Le Bon’s original French book published in the 19th century) by David Macrae, Tudor Publishing co., New York, 1974. This photo proves that the so-called Humayun mausoleum is an ancient Hindu temple palace. Inquiries with archaeologists in Delhi drew a blank They have never seen these footprints, which indicates that they are heir to a lot of non-information and mis-information. Humayun is not at all buried in Delhi. According to Farishta’s chronicle (English translation by John Briggs, Vol. II, page 174) Humayun is buried in Agra, while according to Abul Fazal (Elliot & Dowson, Vol. VI, page 22) Humayun lies buried in Sirhind.

 

Photo # 39: A panel of the so-called Kutab tower in Delhi. The exquisite serpentine Hindu pattern in the upper part is the wreath called ‘Makar Torana’ because it emanates from the mouth of a crocodile. This is a very common sacred Hindu motif in historic buildings. The Islamic tampering and forgery in stone may be seen in the lower portion. An attempt has been made to plant Koranic lettering. Such forgery in stone fooled even historians who thereby inadvertently ascribed those buildings to Muslim authorship.

 

Photo # 40: This remnant of a temple around the so-called Kutab Minar in Delhi has been named ‘Kuwat-ul-Islam’ mosque by the conqueror Kutubuddin in the closing years of the 12th century A.D. The term signifies “The Strength of Islam” in capturing and battering a Hindu temple and blatantly using it as a mosque. Ignorant historians who could not explain away the Hindu workmanship foolishly concluded that the Muslims demolished some other temple and carried the Hindu pillars hither to raise this ‘mosque (?).’ This is an absurdity from every point of view. Muslims only seized Hindu temples and pressed them into service as mosques.

 

Photo # 41: Muslim captors dismantled surface stones of the so-called Kutab tower in Delhi, reversed them and inscribed Koran on the exterior. This Muslim forgery in stone came to light as those stones started falling off the tower. Here we can see the Hindu images on one side while the next view Photo # 42: reveals the subsequent Islamic lettering on the other.

 

 

 

Photo # 43: Four miles from the so-called Kutab Minar in Delhi is an ancient Hindu temple palace currently known as Sultan Ghari. An uncrowned son of sultan Iltmash (around 1230 A.D. ) is believed buried in it. That is a myth because there is no grave there. A Sanskrit inscription was also found in its ceiling. The beams of the octagonal crypt bore figures of Kamadhenu (celestial cow) and Varaha ([Lord Vishnu’s incarnation as a] wild boar). A Muslim tomb would never sport two highly detested animals. These two animals were a royal Hindu insignia. Even today five such pig-faced drain pipes may be seen projecting out of the walls of the royal pavilions inside Delhi’s Red Fort. Had Shahjahan built the fort, as is currently believed, he wouldn’t have had pigs peering from over his royal Islamic head since pigs are deeply detested by Islam. Contrarily, the wild boar is an Hindu incarnation and sacred royal Hindu emblem. This is one of the visual proofs of the Hindu origin of Delhi’s Red Fort. So careless has been the study of Indian history that such graphic proofs have remained unnoticed. For similar more evidence read Mr. P. N. Oak’s research book titled “Delhi’s Red Fort is Hindu Lalkot.” [This photo was repeated elsewhere in the album, under which was a caption that was completely different. You may want to read it as well, which follows:]

This ancient Hindu royal emblem of a wild boar (left) and the cow was found engraved on a lintel of what has been euphemistically called Sultan Ghari four miles from the Kutab Minar in Delhi. This proves that the so-called tomb was originally a Hindu palace. Like thousands of other buildings throughout India that palace too was pressed into Muslim use. Sultan Altmash’s son is believed to be buried there. Yet the tomb is not known after him but merely as the “Sultan’s Cavern.” Scholars have been wrong in believing that the building was built after the prince’s death. All such mediaeval tombs and mosques are erstwhile Hindu palaces and temples. That is why their decor is entirely Hindu. Historians and archaeologists, hard put to explain away Hindu decor of what they believed to be Muslim buildings, improvised the absurd justification that the building must have been fashioned out of the debris of some Hindu buildings, or that the workmen, being Hindu, built in the Hindu style. Both these arguments are wrong. No building worth its name can be built out of debris. Similarly no workman ever dare or would ever care to fashion a building for which he is hired according to his own taste opposed to that of the owner’s. In this case, the lintel was plastered over when the building was used as a Muslim tomb because the Islamic conscience cannot tolerate idolatrous images. Such tactics were used by Muslim invaders in all lands they overran, when making use of captured buildings. A Sanskrit inscription was also found in the roof of the building. The building is octagonal in shape which is also a Hindu specialty. This royal Hindu emblem and another found in the Red Fort in Delhi stress the need for historians to look for and collect all such ancient Hindu royal emblems. This is a very enchanting and engrossing task that faces all those who are interested in rewriting Indian history after a millennium of Islam distortion and destruction.

 

Photo # 44: The conical arch seen in Indian forts, palaces and temples though of native Hindu origin has been mistaken and misrepresented by erring Western scholars as Saracenic i.e. Muslim. This photo of a Saudi Arabian currency note shows the typical Muslim arch which is quite different from the conical Hindu arch. Had historic buildings in India been of Islamic origin they should have had such arches. In the top right corner is a palm tree and crossed, face-down swords. Even this typically Islamic motif exists nowhere on historic buildings in India.

 

Photo # 45: A magnified view of the top right corner design on a Saudi Arabian currency note. Had historic buildings in India been of Islamic origin they should have had this motif among other carvings.

 

Photo # 46: This is the so-called Atala Devi Mosque at Jaunpur in Uttar Pradesh. Atala Devi is a Hindu goddess of inexorable fate. Therefore, it is obvious that her imposing Hindu temple is being currently misused as a mosque and is blatantly characterized as a piece of Islamic architecture. General Cunningham, a British novice who set up the archaeology department under the British administration, made the initial blunder of assuming that historic buildings in Muslim possession were built by the Muslims themselves.

 

Photo # 47: This tripolia i.e. three-arched gateway of Karnawati (Islamized as Ahmedabad) is falsely being ascribed to Sultan Ahmad of Gujarat. The window above each archway was meant to shower sacred grain and rose water over entering or departing Hindu royalty. Over the centuries under Islamic rule, history became a matter of mere hearsay. Ahmedabad was from its very name presumed by errant historians to have been founded by Ahmadshah. By the same token, would it be right to assert that Delhi’s Rashtapati Bhawan was built for the first Rashtrapati?

 

Photo # 48: Ahmedabad’s Hindu names were Karnavati, Rajnagar and Asaval. Invading Muslims proselytized whole cities by imposing an Islamic name on them. They also simultaneously converted the main Hindu shrines into Muslim. This is one such currently called the Jama Masjid but which in fact was the city’s central Bhadrakali temple. Mosques do not have rows of such ornamental pillars lest Muslim congregations bending in prayer with eyes closed smash their heads against the pillars and bleed. In Gwalior too the so-called Mahomed Ghaus mausolem has an identical interior proving that that too is a usurped temple.

 

Photo # 49: Elephants on elevated platforms curving their trunks in a welcome arch over the gate of the city palace, Kota, a principality. Goddess Lakshmi is also flanked by such welcoming elephants. Fatehpur Sikri too has an identical gate. Had Akbar erected that township its gate should not have had that Hindu design. Moreover those elephants have been beheaded, which is additional proof that on capture of that township Muslim occupants couldn’t bear the sight of those Hindu elephants. Guides usually skip that gate. Before hiring the guide, visitors must insist that he show them the elephant gate also.

 

Photo # 50: An apartment of city palace, Kota, a Hindu capital. Pictorial patterns on walls are a Hindu feature. Therefore picturesque walls behind the royal seat in the Red Forts in Delhi and Agra, are proof of their Hindu origin. Similarly, the palace in Srirangapatnam with painted designs on its walls usually ascribed to the Muslim Tipu Sultan is of Hindu origin.

 

Photo # 51: Currently known as Adhai-din-ka-Zopda (the 2-1/2 day cottage) in Ajmer (alias Ajeya-Meru) this edifice was a magnificent, majestic Hindu temple. Invading Muslims battering it for 2-1/2 days after capture reduced the mansion to desolation–hence the name. Historians, architects and archaeologists blindly ascribing it to Muslim creation lustily describe ancient classic Hindu architectural masterpieces as Islamic.

 

Photo # 52: Twenty-five miles from Baroda (now Vadodara) city is a fort Pavagad. At its foot is a beautiful township called Champaner. Most of its magnificent Hindu buildings are being misused and misrepresented as mosques and tombs. Here is one truncated ornamental Hindu palace pavilion being paraded as a mosque. Being exquisitely carved, Muslims call it Nagina (ornamented) mosque. The lotus pattern flanking the arches is typically Hindu. Intricate, ornamented carving is sacrilegious and distracting for Muslims. The battered top indicates how destroyers have called themselves builders.

 

Photo # 53: These are two lamp posts of an ancient Hindu temple battered by invading Muslims near Mhasve village in Jalgaon district of Maharashtra. They are only a foot apart. If one person climbs up to the top of each of these pillars and one stretches his leg thrusting it against the other lamp post, both the pillars rock gently. Ancient Hindus raised such rocking edifices in many other places such as Gurdaspur and Ahmedabad alias Karnavati.

 

Photo # 54: This building at Aurangabad in the Deccan was built by a Hindu Raja who was impressed by the Tajo-Mahalaya in Agra when he visited it on pilgrimage in pre-Muslim times. Ironically, Shahjahan planted a grave in the Agra building while his son and successor Aurangzeb planted his own wife’s (fake) grave in the Aurangabad building. Other historic buildings in Aurangabad are similarly of Hindu origin though they are currently ascribed to Muslims by somnolent historians. The Hindu origin of this building, now wrongly dubbed as Bibi-Ka-Makabara, is discussed in Mr. P. N. Oak’s article in the Deepavali 1972 number of Marathi Dharmabhaskar monthly.

 

Photo # 55: In Farkanday village in Jalgaon district in Maharashtra is this ancient Hindu temple currently used as a mosque. If one person climbs to the top of each of the two towers and hugs the window vigorously, both the towers rock gently as in an earthquake. This gimmick of ancient Hindu architecture has no parallel. Historians who ascribe such marvels to Muslims do not realize that Islam has no ancient architectural texts [or standards of construction methodology] of its own.

 

Photo # 56: [This] Leaning lamp tower on the way from Asoda to Karkande village in Jalgaon District of Maharashtra is a rare specimen of Hindu architecture. The temple connected to this lamp tower was destroyed in Muslim attacks.

 

 

Photographs of Various Pieces of Art With Vedic Influence 

 

Photo # 57: As in the headquarters of Christianity (namely the Vatican in Rome) at the headquarters of Islam too (namely in the Kaaba temple in Mecca city of Saudi Arabia) the ancient Hindu Shiva Linga may still be seen. This cylindrical stone, rendered immovable for security by being fixed in the outer corner of a wall, is the object of reverence of all Muslims. Here Muslims still continue the seven perambulations in the age old Hindu style except that they move anti-clockwise. White silver foil shrouds the stone. The oval uncovered central portion gives the pilgrims an idea of how the stone looks. Syrians had once carried away the stone as a war trophy and kept it for 22 years.

 

Photo # 58: An Arab woman wearing the Hindu vermilion mark on her forehead in ancient times when the world practised Hinduism.

 

Photo # 59: Hindu administrations, the Sanskrit language, Hindu culture and the Hindu medical system–Ayurved, held sway throughout the ancient world. Monarchs then used to attend court bare-bodied with sacred ash and colour marks on their bodies. This is an Hindu Egyptian monarch of those times. [The ‘V’ mark is called tilok, and is shown being worn by this Egyptian in the same style that it is still worn by Vaishnavas today in India, on the forehead, arms, neck, chest and belly, representing that one is a worshiper of Lord Krishna or Vishnu.]

 

Photo # 60: The Hindu architect of the pyramids looking at an unfolded architectural scroll. He is wearing Hindu marks on his body. This should underline the need to reconstruct the worldwide sway of Hinduism in ancient times currently wiped out of all history.

 

Photo # 61: Bulls were worshipped in ancient Hindu Egypt as they are still worshipped in Hindu India. The earliest explorers of Europe and Africa were Hindus. The river ‘Nile’ bears the Sanskrit name indicating her blue waters.

 

Photo # 62: This mosaic captioned “A Pastoral Scene” is of the 2nd century A.D. and is on display at the museum in Corinth, 60 Km. from Athens (Greece). Obviously this is Lord Krishna the Hindu incarnation in his boyhood. The bare body, the horizontal flute, the cross-legged stance, standing under a tree with a few cows grazing around is exactly how Krishna is depicted in Hindu pictures. This is proof that in ancient Hindu Europe, Krishna and Rama as much as the Shiva Linga were worshipped as they are still worshipped by the Hindus in Hindusthan.

 

Photo # 63: Roman consul wearing the Hindu forehead mark indicating that in ancient times Romans were Hindus. Roman emperors also sported the title ‘Dev’ as the termination of their names in the Hindu royal style. [The ‘V’ mark is called tilok, and is worn on the forehead to represent that one is a Vaishnava, a worshiper of Lord Krishna or Vishnu.]

 

Photo # 64: A Roman superior wearing the Hindu/Vaisnava dhoti, chappals (sandals) and Hindu/vedic/Vaisnava marks on his neck and forehead–reminding one of the times when Europe practised Hinduism/Vaisnavism.

 

Photo # 65: A Ramayanic episode found painted in ancient Italian homes; Lav and Kusha driving away a captured royal sacrificial horse belonging to their father Rama. The founding of Rome is ascribed to brothers Remus and Ramulus–which are latter-day variations of the Hindu name Rama.

 

Photo # 66:  Vali and Sugreeva–two monkey chiefs disputing over a woman Tara whom both claim as wife. Being monkeys they are undressed. This is one of the many Ramayanic scenes found sketched in ancient Italian homes (this one is sketched on a vase discovered in archaeological excavations in Italy).

 

Photo # 67:  Rama-Seeta-Lakshmana walking through the forest in the order described in the Ramayana, a scene delineated in ancient Italian homes. Italian archaeologists express bewilderment at these paintings because they are unaware that ancient Europe including Italy practised Hinduism.

Photo # 68: Three Hindu gods. The one at the left known as Ayu Devata (God of life) is still invoked in Siberia if some near and dear one falls seriously ill. The other two are just samples of the many gods and goddesses sold in the bazar of Ulan Bator, the capital of Mongolia. These indicate how Hinduism prevailed in the ancient world. Even the Slav people in Europe worshipped Hindu deities.

 

Photo # 69: A Ramayanic scene found painted in ancient Italian houses discovered in archaeological excavations. Kausalya, Kaikeyi and Sumitra, wives of the aged king Dasharath sharing the divine fertility potion to beget illustrious sons. The Dasharath legend is also part of ancient Egyptian lore. All this shows that countries of Europe and Africa were Hindu in ancient times.

 

Photo # 70: This is the Hindu deity form of Shiva. This piece is at present on view in the Etruscan Museum at the Vatican in Rome. Encyclopedia Britannica mentions under the headings “Etruria” and “Etruscan” that between the 2nd and 7th centuries BC, northern Italy was known as Etruria. During excavations many such “meteoric stones mounted on carved pedestals” are discovered in Italy. Obviously, therefore, this one was dug up from the Vatican itself. Many more must be lying buried in the Vatican’s massive walls and numerous cellars. Vatican is itself the Sanskrit word “Vatica” applied to Hindu cultural-cum-religious centers as in “Ashrama-Vatica” or “Dharma-Vatica” or “Ananda-Vatica.” Therefore, the Vatican was obviously a Hindu religious seat before its incumbent was forced to accept Christianity.

 

Photo # 71: [There was no caption in the album for this photo of this drawing. However, from other sources it is said to have been found in Italy. It is an illustration from the Ramayana of Vibhishan, Ravana’s brother, ready to leave Lanka in battle-dress to join Lord Rama. He is shown making one last appeal to Ravana to release Sita, Lord Rama’s wife, shown sitting in the bottom corner.]

 

Photo # 72: The British coronation chair in Westminster Abbey in London. It has lions at its four legs. (Only two front ones are seen in this photo.) This is because England’s royal tradition is of Hindu origin. A Hindu king has to be crowned on a Simhasana, i.e. a Lion’s Seat. The almond-colored square stone (seen in the shelf under the seat) is an ancient Hindu memento carried from Delhi, i.e. Indraprastha by Hindu warriors when they first set up throne in the distant British isles. [The following is a different caption under a replica copy of the same photograph in the album.] It is no coincidence that this coronation chair of British royalty in Westminster Abbey, London, is literally a Lion’s seat (simhasan) as it is called in Hindu tradition. A cutpiece of an ancient Shiva Lingam serving several vicissitudes may also be seen reverently placed in the compartment under the royal seat. The sacred stone is known as the Stone of Destiny (Bhagyavidhata) alias stone of Scone (because it was brought from a church in the city of Scone in Scotland, to London in 1296 A.D.). But before being brought to Scotland, it was at the Hill of Tara (Taragarh) in Ireland. Thus, these two, i.e. the Simhasan & Shiva Lingam reaching back into immemorial antiquity, are significant proof of Britain having once been a Hindu country ruled by Hindu Kings. The lions are also of the Burmese and Mysorean Hindu design.

 

Photo # 73: An Australian bushman wearing the Hindu sandal/”tilak” mark on his forehead in ancient times when the world practised Hinduism. A bell bearing Tamil inscriptions once formed part of an Australian fisherman’s catch. The vast expanse of water from the Americas to Australia, is known as the Indian Ocean precisely because the Indian fleet held unchallenged sway over it. The word ‘navy’ is itself the Sanskrit word “Navi” signifying boats.

 

Photo # 74: This is the cover of a 16th century book titled “The Cosmos and its Mathematical Study” by the Persian author Mohamed-al-Tusi. It is found in the Egyptian National Library, Cairo. The multi-armed deity (holding a book or Vedas, an axe, drum, bunch of incense sticks, a lotus bud and a mouse) and the hexagonal platform on which he sits, certainly shows the Vedic influence.

 

Photo # 75:  From the British Museum, London, we find this inscription tablet from pre-Islamic Arabia. The crescent and sun on top relate to the Vedic dictum “Yawachchandra Diwakarau,” which signifies that the gift mentioned in the inscription should last as long as the sun and moon. This crescent and sun is a Vedic symbol, which still can be seen in use on the flags which adorn the top of the temple of Lord Jagannatha in Jagannatha Puri, as well as on coins in Hindu Nepal. This symbol is in reference to the idea that it is Lord Vishnu who is the source of the light for the sun and the moon. Thus, this symbol which also adorns Islamic flags shows its Vedic influence.

 

Photo # 76: A typical ancient Vedic brass lamp from Saudi Arabia. Again it is a sign of the Vedic influence that was and still is found in the Middle East and Arabia. Such lamps are still used in India today. Stories of Allauddin, or Aladdin, and His Lamp come from ancient Vedic India, although many give credit to Arabia.

 

Photo # 77: This image from pre-Islamic Saudi Arabia, displayed at the British Museum, shows goddess Sarasvati riding a swan carrier.

 

Photo # 78: If one looks, a person can find reminders of the ancient Vedic culture in numerous places, even where you least expect. Here for example is the image of the Vedic Lord Shiva. This is found in Bologna, Italy on a public fountain. Notice the trident he carries, along with the hoods of two snakes coiled around his neck on each of his shoulders, typical of Shiva. Images resembling Ganesh, Shiva, Rama and Krishna have been found in many archeological excavations throughout Italy, although not publicized by Christians.

Posted in Tejomahal

TAJ MAHAL aka TEJO MAHAL


TAJ MAHAL aka TEJO MAHAL
Interrior Water Well #02

 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.

TAJ MAHAL aka TEJO MAHAL
Interrior Water Well #02

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.

Posted in Tejomahal

TAJ MAHAL WAS HINDU TEMPLE “TEJO MAHALAY”


TAJ MAHAL WAS HINDU TEMPLE “TEJO MAHALAY” NOT BUILT BY ANY MUSLIM :

http://resurgencehinduism.blogspot.com/2013/07/taj-mahal-was-hindu-temple-tejo-mahalay.html

108 PROOFS 19:24 Hidden Facts, LORD SHIVA No comments Taj Mahal was Hindu Temple “Tejo Mahalay” the temple of shiva which was destroyed by mugals(Muslims) and changed a bit and called it their structure. Most evident of such structures is Taj Mahal–a structure supposedly devoted to carnal love by the “great” moghul 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 justifing it by saying, ‘a gardner has every right to taste the fruit he has planted’! Is such a person even capable of imagning 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 a Islamic structure as is mathematics a muslim discovery! The famous historian Shri P.N. Oak has proven that Taj Mahal is actuallyTejo 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, hundereds 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 incestous 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 of Shri P.N. Oak have been taken from the URL:http://rbhatnagar.ececs.uc.edu:8080/hindu_history/modern/taj_oak.html I would like to commend the creator of the above mentioned web site for taking the time to put up the proofs given by 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. Visit Sword Of Truth – Online Magazine for more information Proofs follow below: 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, Manakameshwarand 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 (Refer to Figure 1 above) 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 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 Tajmahal that he refused to oblige Shahjahan by providing marble for grafting koranic engravings and fake centotaphs for further desecration of the Tajmahal. Jaisingh 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. 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 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 and initiated by Professors at Pratt School of Architecture, New York, 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. Architectural 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 (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 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. 88. 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. 89. 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. 90. 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. 91. 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. 92. 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. 93. 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. 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 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. 95. 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. 96. The Tajmahal is surrounded by huge mansions which indicate that several battles have been waged around the Taj several times. 97. 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. 98. Over the western flank of the Taj are several stately red stone annexes. These are superflous for a mausoleum. 99. The entire Taj complex comprises of 400 to 500 rooms. Residential accomodation on such a stupendous scale is unthinkable in a mausoleum. 100. 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. 101. The Tajmahal has pleasure pavillions which a tomb would never have. 102. 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. 103. 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. 104. 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. 105. 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. 106. 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 107. 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. 108. 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 Shri P.N. Oak’s other research books. Proofs with Photo Graphs Visit at Research of Stephen-Knapp

Posted in Tejomahal

108 proofs that prove TAJMAHAL is a SHIVA Temple:


108 proofs that prove TAJMAHAL is a SHIVA Temple:


Taj Mahal was Hindu Temple “Tejo Mahalay” the temple of shiva which was destroyed by mugals(Muslims) and changed a bit and called it their structure. Most evident of such structures is Taj Mahal–a structure supposedly devoted to carnal love by the “great” moghul 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 justifing it by saying, ‘a gardner has every right to taste the fruit he has planted’! Is such a person even capable of imagning 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 a Islamic structure as is mathematics a muslim discovery! The famous historian Shri P.N. Oak has proven that Taj Mahal is actuallyTejo 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.

108 proofs that prove TAJMAHAL is a SHIVA Temple:

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, hundereds 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 incestous 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 below.

Proofs follow below:

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, Manakameshwarand 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 (Refer to Figure 1 above) 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 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 Tajmahal that he refused to oblige Shahjahan by providing marble for grafting koranic engravings and fake centotaphs for further desecration of the Tajmahal. Jaisingh 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.

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 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.
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 and initiated by Professors at Pratt School of Architecture, New York, 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.
Architectural 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.

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.

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 – See more at: http://oyepages.com/blog/view/id/5067b50b54c881b20e000016#sthash.hK8WSdJ1.dpuf

दोस्तों छोटी कक्षाओं में हम यही लिख कर पास हुए की ताज महल शाहजहाँ ने अपनी रानी की याद में बनवाया । यदि उस समय परीक्षाओं में हम ये गप्पे नही लिखते तो नंबर कट जाते ।

अब तो हम पास हो चुके है इसलिए क्यों न सत्य का आलिंगन कर लिया जाये । किन्तु हमारे जो छोटे भाई, बहिन छोटी कक्षाओं में है वो परीक्षाओं में अभी भी गप्पे ही मारे अन्यथा नंबर काट दिए जायेंगे ।”ताज महल शाहजहाँ ने बनवाया था”
इस कथन को प्रथम चुनौती देने वाला व्यक्ति था : पुरुषोत्तम नागेश ओक
ओक जी आजाद हिन्द फोज़ में सुभाष चन्द्र बोस के साथ  स्वतंत्रता सेनानी के रूप में भी कार्य कर चुके है |
ओक जी का नाम उन महान इंसानों में लिया जाता है जो सदैव भारतीय संस्कृती को बचाने के प्रयासों में संलग्न रहे ।
एक तरफ चाटुकार इतिहासकार अपने आकाओं को प्रसन्न रखने हेतु उनके कहे अनुसार इतिहास के पन्ने भर रहे थे तो दूसरी और ओक जी उन पन्नो को संशोधित करने में तुले हुए थे |
श्री पी.एन. ओक अपनी पुस्तक “Tajmahal is a Hindu Temple Palace” में 100 से भी अधिक प्रमाण और तर्को का हवाला देकर दावा करते हैं कि ताजमहल वास्तव में शिव मंदिर है जिसका असली नाम तेजोमहालयहै तथा शाहजहाँ के समय यह राजा मानसिंह के आधिपत्य में था |
श्री ओक के इन तथ्‍यो पर सरकार और प्रमुख विश्वविद्यालय आदि मौन रहे । जबकि इस विषय पर शोध किया जाना चाहिये और सही इतिहास से हमे अवगत करना चाहिये। किन्‍तु दुःख की बात तो यह है कि आज तक उनकी किसी भी प्रकार से अधिकारिक जाँच नहीं हुई।
खैर सरकार ना करे ना सही ।
इसके पश्चात अनेकों सत्पुरुषों ने खोज आरंभ की और महत्वपूर्ण तथ्य पाए  |
इसके पश्चात एक अंग्रेज जिसका नाम Stephen Knapp है।
सनातन धर्म में अपनी रूचि के कारण Stephen Knapp सनातन धर्म पर कई पुस्तकें लिख चुके है  |
इनकी अनेकों पुस्तकों में से  Proof of Vedic Culture’s Global Existence  अत्यधिक लोकप्रिय रही |जिसमे इन्होने अपने  ताबड़तोड़ प्रयासों से सप्रमाण यह सिद्ध किया है की वैदिक/हिन्दू धर्म आदिकाल (SINCE THE TIME OF CREATION ) से है तथापि हजारों वर्षों पूर्व सम्पूर्ण पृथ्वी पर यही एक धर्म विद्यमान था |
इस पुस्तक के १४वें पाठ में इन्होने ताजमहल, कुतुबमीनार, दिल्ली, अहमदाबाद तथा बीजापुर आदि में स्थित अनेकों इमारतों पर संदेह व्यक्त किया है जैसा की ओक जी अपनी पुस्तकों में पहले ही कर चुके थे ।  यहाँ देखें :
http://www.stephen-knapp.com/proof_of_vedic_culture’s_global_existence.htmचूँकि सत्य का प्रकाश इनकी आत्मा में प्रवाहित हो चूका था फिर इन्होने ताजमहल पर भी शोध किया |
कहीं से ताजमहल के सत्य को बयां करती कई तस्वीरे इनके हाथ लग गई जिस पर Copyright Archaeology Survey of India की मुहर लगी थी । जो फ़िलहाल ठन्डे बस्ते में पड़ी थी ।

और इसके पश्चात एक लेख के साथ ये समस्त तस्वीरे इन्होने ने नेट पर चढ़ा दी । इन्होने अपने लेख में
लिखा है :
This collection has since traveled all across the internet after I have posted them here.

तथा वे आगे साफ साफ लिखते है की यदि ताजमहल जैसी विश्व प्रसिद्ध महान रचना के साथ भी ऐसा विवाद जुडा है तो भारत के कई अन्य छोटे मोटे स्थानों  के साथ क्या क्या हुआ होगा ?

“The point to consider is how much more of India’s history has been distorted if the background of such a grand building is so inaccurate.”

http://hinduveer.shambhulokseva.org/108-proofs-that-prove-tajmahal-is-a-shiva-temple/

Posted in Tejomahal

ताजमहल शाहजाह ने बनवाया इसका कोई वैज्ञानिक प्रमाण नही |


ताजमहल शाहजाह ने बनवाया इसका कोई वैज्ञानिक प्रमाण नही |

मित्रो ताजमहल शाहजहा का बनावाया नही है इस सम्बन्ध में ज्यादा लिखने की आवश्कता नही है …
पी एन ओक ने इस विषय में २ शोध पुस्तके लिखी है |
इसके अलावा स्टेप हेन केन्पप की साईट पर कुछ चित्र और कई यु ट्यूब वीडियो भी है |
यहाँ तक की आप स्वयम भारतीय शोध संस्थान से प्रमाण मांगोगे तो उनका भी जवाब कुछ ऐसा होगा :-

यहाँ बिलकुल स्पष्ट कहा है की कोई प्रमाण नही है फिर भी पुस्तको में ये पढ़ा कर गुमराह किया जा रहा है कि ताजमहल शाहजहा ने बनवाया जिसका प्रमाण नही तब तक वो झूट ही माना जाएगा और झूट बताना मतलब गुमराह करना है |
साभार – विराट आर्य (फेसबुक पोस्ट से )
Posted in Tejomahal

तेजोमहालय ‘ शिवालय ‘ मंदिर


मित्रो , में इस विषय पर आगे दो पोस्ट लिख चुका हूँ लेकिन आज एक नई मांग खड़ी हुई है ! तथाकथित ताज महल अर्थात तेजोमहालय ‘ शिवालय ‘ मंदिर पर अब शिया संप्रदाय के लोग अपना हक जता रहे हैं।हाल ही में अखिलेश सरकार में कैबिनेट मिनिस्टर आजम खान ने मांग की थी कि ताजमहल को सुन्नी सेंट्रल वक्फ बोर्ड को सौंप दिया जाना चाहिए। अब शिया संप्रदाय के लोगों ने मांग की है कि ताज को शिया वक्फ बोर्ड को दिया जाना चाहिए। लखनऊ के इमाम-ए-रजा कमिटी के प्रेजिडेंट फय्यर हैदर ने दलील दी कि मुमताज शिया थीं, इसलिए ताजमल को शिया वक्फ बोर्ड को सौंप दिया जाना चाहिए।

मित्रो , में इस विषय पर आगे दो पोस्ट लिख चुका हूँ लेकिन आज एक नई मांग खड़ी हुई है ! तथाकथित ताज महल अर्थात तेजोमहालय ' शिवालय ' मंदिर  पर अब शिया संप्रदाय के लोग अपना हक जता रहे हैं।हाल ही में अखिलेश सरकार में कैबिनेट मिनिस्टर आजम खान ने मांग की थी कि ताजमहल को सुन्नी सेंट्रल वक्फ बोर्ड को सौंप दिया जाना चाहिए। अब शिया संप्रदाय के लोगों ने मांग की है कि ताज को शिया वक्फ बोर्ड को दिया जाना चाहिए। लखनऊ के इमाम-ए-रजा कमिटी के प्रेजिडेंट फय्यर हैदर ने दलील दी कि मुमताज शिया थीं, इसलिए ताजमल को शिया वक्फ बोर्ड को सौंप दिया जाना चाहिए।

हैदर ने कहा कि ताजमहल एक 'शिया इमारत' है। पढ़िए क्या है पूरी खबर... http://navbharattimes.indiatimes.com/state/uttar-pradesh/mathura/agra/now-shias-demand-for-taj-mahal/articleshow/45248591.cms

https://www.facebook.com/photo.php?fbid=10203401613744971&set=pb.1350822074.-2207520000.1416767956.&type=3&src=https%3A%2F%2Ffbcdn-sphotos-f-a.akamaihd.net%2Fhphotos-ak-xpa1%2Fv%2Ft1.0-9%2F1621938_10203401613744971_2936289705005155558_n.jpg%3Foh%3D5bf156dc7bcaac711b281a320ef90991%26oe%3D552076CD%26__gda__%3D1423090087_b6b5ac2ad5370e35e1fc21610038f0c1&size=960%2C720#

https://www.facebook.com/photo.php?fbid=10203358464386264&set=pb.1350822074.-2207520000.1416576121.&type=3&src=https%3A%2F%2Ffbcdn-sphotos-f-a.akamaihd.net%2Fhphotos-ak-xap1%2Fv%2Ft1.0-9%2F1911747_10203358464386264_6434273000875120394_n.jpg%3Foh%3D6beb531459eedcf4ffc9e0c2928573b8%26oe%3D54D82F19%26__gda__%3D1428053280_6f90df50dee29950beaddcdadee00995&size=960%2C720#

https://www.facebook.com/media/set/?set=a.2864585817681.2120494.1350822074&type=3

https://www.facebook.com/lens.on.news/photos/a.329997770400705.75137.329961983737617/330028287064320/?type=1

http://htcedws.blogspot.in/2012/05/blog-post_18.html

वंदे मातरम् .......
ॐ नम: शिवाय ........ 

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Posted in Tejomahal, Uncategorized

Tajmahal


Mahesh Dhankhad ताजमहल को प्यार की निशानी कहने वालो, मुमताज का मकबरा कहने वालों ध्यान से पढो ताजमहल किसी शाहजहाँ ने नही बनवाया था। साडी दुनिया अभी तक इस धोखे में थी की ताजमहल शाहजहाँ ने मुमताज के लिए बनवाया था। पर professior ओक ने अपनी खोज में पाया की ये ईमारत कोई मकबरा नही है बल्कि एक प्राचीन शिव मंदिर है। जिसका नाम तेजो महालय था। जिसको शाहजहाँ ने महाराजा जय सिंह जी से अवैध रूप से छिन् लिया था। और उसके बाद इससे तमाम ऐसी चीजे मिटा दी जिससे की भविष्य में किसी को पता ना चले की ये एक। शिव मंदिर था। और फिर शुरू की झूठी अफवाह की शाहजहाँ ने कारीगरों के हाथ कटवा दिए। लेकिन सच छुपता नही छुपाने से। शाजहाँ सभी सबूत नष्ट नही कर पाया और अब धीरे धीरे इस झूठ से पर्दा उठ रहा है। डॉ सुब्रमण्यम स्वामी जी ने ताजमहल को लेकर कोर्ट में केस भी फ़ाइल् कियाहै। और अभी तक केस हम हिन्दुओ के पक्ष में है। क्योकि सबूत बोलते है की ये तज्मह्ल्न्हि तेजो महालय था। और जल्द ही पूरी दुनिया के सामने होगा सच की दुनिया की सबसे खुबसुरत ईमारत मकबरा नही एक शिव मंदिर है। वहा पर गिरने वाली पानी की बुन्द मुमताज का आसु नही नही शिवलिंग पर गिरनेवाला कुदरती जलाभीषेक है भारत के इतिहास को बदला गया है . ( जिसे भी ये जानकारी अच्छी लगे शेयर करे।) जय महादेव एक बार इसे भी पढ़े … १) मुमताज शहाजहानकी चौथी बीवी थी.. २) शहाजहानने मुमताज से शादी करने के लिए उसके पति का खून किया था ३) १४ वे बच्चे को जन्म देते हुए मुमताज़ की मौत हुई थी ४) मुमताज के मरने के बाद शहाजहानने उसकी बहन से शादी कर ली . इसमें प्रेम कहा है..? plzz share to all एक बात बोलू इंकार मत करना आपको आप जिसे चाहते हे उनकी कसम हे। शिव जी 5 नाम 1″शिव शंकर 2″भोले नाथ 3″नील कंठ 4″महारुद्र 5″मृत्युंजय 10 लोगोको सेंड करो पर मुझे नहीं ।आज आपको गुड न्यूज़ मिलेगी,अगर पढ़कर अन्जान बने रहे तो शानिवार तक कुछ ऐसा होगा जो कभी सोचा भी नहीं

Posted in Tejomahal

“जानिए ‘ताजमहल’ नहीं, हिंदुआें के तेजोमहालय का 850 वर्ष पुराना सच्चा इतिहास”


“जानिए ‘ताजमहल’ नहीं, हिंदुआें के तेजोमहालय का 850 वर्ष पुराना सच्चा इतिहास”

ज़्यादा से ज़्यादा शेयर करें।

‘ताजमहल’ वास्तु मुसलमानों की नहीं, अपितु वह मूलतः हिंदुओं की है । वहां इससे पूर्र्व भगवान शिवजी का मंदिर था, यह इतिहास सूर्यप्रकाश के जितना ही स्पष्ट है। मुसलमानों ने इस वास्तुको ताजमहल बनाया।

ताजमहल इससे पूर्र्व शिवालय होने का प्रमाण पुरातत्व विभाग के अधिकारी, अन्य पुरातत्वतज्ञ, इतिहास के अभ्यासक तथा देश विदेश के तज्ञ बताते हैं । मुसलमान आक्रमणकारियों की दैनिकी में (डायरी) भी उन्होंने कहा है कि ताजमहल हिंदुओं की वास्तु है । तब भी मुसलमान इस वास्तु पर अपना अधिकार जताते हैं । शिवालय के विषयमें सरकार के पास सैकडों प्रमाण धूल खाते पडे हैं ।

सरकार इस पर कुछ नहीं करेगी । इसलिए अब अपनी हथियाई गई वास्तु वापस प्राप्त करने हेतु यथाशक्ति प्रयास करना ही हिंदुओं का धर्म कर्तव्य है । ऐसी वास्तुएं वापस प्राप्त करने हेतु एवं हिंदुओं की वास्तुओं की रक्षाके लिए ‘हिंदु राष्ट्र’ अनिवार्य है !

ताजमहल हिंदुओं का शिवालय होने के और भी स्पष्ट प्रमाण !

प्रसिद्ध इतिहासकार आर.सी. मुजुमदारके मतका समर्थन करनेवाले प्रमाण आगे दिए हैं ।

1. ताजमहल के प्रमुख गुंबज के कलश पर त्रिशूल है, जो शिवशस्त्र के रूप में प्रचलित है ।

2. मुख्य गुंबज के उपर के छतपर एक संकल लटक रही है । वर्तमान में इस संकल का कोई उपयोग नहीं होता; परंतु मुसलमानोंके आक्रमण से पूर्व इस संकल को एक पात्र लगाया जाता था, जिसके माध्यम से शिवलिंग पर अभिषेक होता था ।

3. अंदर ही २ मंजिलका ताजमहल है । वास्तव समाधि एवं रिक्त समाधि नीचे की मंजिल पर है, जबकि २ रिक्त कबरें प्रथम मंजिल पर हैं । २ मंजिलवाले शिवालय उज्जैन एवं अन्य स्थानपर भी पाए जाते हैं ।

4. मुसलमानों की किसी भी वास्तु में परिक्रमा मार्ग नहीं रहता; परंतु ताजमहल में परिक्रमा मार्ग उपलब्ध है ।

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“जानिए ‘ताजमहल’ नहीं, हिंदुआें के तेजोमहालय का 850 वर्ष पुराना सच्चा इतिहास”


“जानिए ‘ताजमहल’ नहीं, हिंदुआें के तेजोमहालय का 850 वर्ष पुराना सच्चा इतिहास”

ज़्यादा से ज़्यादा शेयर करें।

‘ताजमहल’ वास्तु मुसलमानों की नहीं, अपितु वह मूलतः हिंदुओं की है । वहां इससे पूर्र्व भगवान शिवजी का मंदिर था, यह इतिहास सूर्यप्रकाश के जितना ही स्पष्ट है। मुसलमानों ने इस वास्तुको ताजमहल बनाया।

ताजमहल इससे पूर्र्व शिवालय होने का प्रमाण पुरातत्व विभाग के अधिकारी, अन्य पुरातत्वतज्ञ, इतिहास के अभ्यासक तथा देश विदेश के तज्ञ बताते हैं । मुसलमान आक्रमणकारियों की दैनिकी में (डायरी) भी उन्होंने कहा है कि ताजमहल हिंदुओं की वास्तु है । तब भी मुसलमान इस वास्तु पर अपना अधिकार जताते हैं । शिवालय के विषयमें सरकार के पास सैकडों प्रमाण धूल खाते पडे हैं ।

सरकार इस पर कुछ नहीं करेगी । इसलिए अब अपनी हथियाई गई वास्तु वापस प्राप्त करने हेतु यथाशक्ति प्रयास करना ही हिंदुओं का धर्म कर्तव्य है । ऐसी वास्तुएं वापस प्राप्त करने हेतु एवं हिंदुओं की वास्तुओं की रक्षाके लिए ‘हिंदु राष्ट्र’ अनिवार्य है !

ताजमहल हिंदुओं का शिवालय होने के और भी स्पष्ट प्रमाण !

प्रसिद्ध इतिहासकार आर.सी. मुजुमदारके मतका समर्थन करनेवाले प्रमाण आगे दिए हैं ।

1. ताजमहल के प्रमुख गुंबज के कलश पर त्रिशूल है, जो शिवशस्त्र के रूप में प्रचलित है ।

2. मुख्य गुंबज के उपर के छतपर एक संकल लटक रही है । वर्तमान में इस संकल का कोई उपयोग नहीं होता; परंतु मुसलमानोंके आक्रमण से पूर्व इस संकल को एक पात्र लगाया जाता था, जिसके माध्यम से शिवलिंग पर अभिषेक होता था ।

3. अंदर ही २ मंजिलका ताजमहल है । वास्तव समाधि एवं रिक्त समाधि नीचे की मंजिल पर है, जबकि २ रिक्त कबरें प्रथम मंजिल पर हैं । २ मंजिलवाले शिवालय उज्जैन एवं अन्य स्थानपर भी पाए जाते हैं ।

4. मुसलमानों की किसी भी वास्तु में परिक्रमा मार्ग नहीं रहता; परंतु ताजमहल में परिक्रमा मार्ग उपलब्ध है ।

"जानिए ‘ताजमहल’ नहीं, हिंदुआें के तेजोमहालय का 850 वर्ष पुराना सच्चा इतिहास"

ज़्यादा से ज़्यादा शेयर करें।

'ताजमहल' वास्तु मुसलमानों की नहीं, अपितु वह मूलतः हिंदुओं की है । वहां इससे पूर्र्व भगवान शिवजी का मंदिर था, यह इतिहास सूर्यप्रकाश के जितना ही स्पष्ट है। मुसलमानों ने इस वास्तुको ताजमहल बनाया। 

ताजमहल इससे पूर्र्व शिवालय होने का प्रमाण पुरातत्व विभाग के अधिकारी, अन्य पुरातत्वतज्ञ, इतिहास के अभ्यासक तथा देश विदेश के तज्ञ बताते हैं । मुसलमान आक्रमणकारियों की दैनिकी में (डायरी) भी उन्होंने कहा है कि ताजमहल हिंदुओं की वास्तु है । तब भी मुसलमान इस वास्तु पर अपना अधिकार जताते हैं । शिवालय के विषयमें सरकार के पास सैकडों प्रमाण धूल खाते पडे हैं । 

सरकार इस पर कुछ नहीं करेगी । इसलिए अब अपनी हथियाई गई वास्तु वापस प्राप्त करने हेतु यथाशक्ति प्रयास करना ही हिंदुओं का धर्म कर्तव्य है । ऐसी वास्तुएं वापस प्राप्त करने हेतु एवं हिंदुओं की वास्तुओं की रक्षाके लिए ‘हिंदु राष्ट्र’ अनिवार्य है ! 

ताजमहल हिंदुओं का शिवालय होने के और भी स्पष्ट प्रमाण !

प्रसिद्ध इतिहासकार आर.सी. मुजुमदारके मतका समर्थन करनेवाले प्रमाण आगे दिए हैं ।

1. ताजमहल के प्रमुख गुंबज के कलश पर त्रिशूल है, जो शिवशस्त्र के रूप में प्रचलित है ।

2. मुख्य गुंबज के उपर के छतपर एक संकल लटक रही है । वर्तमान में इस संकल का कोई उपयोग नहीं होता; परंतु मुसलमानोंके आक्रमण से पूर्व इस संकल को एक पात्र लगाया जाता था, जिसके माध्यम से शिवलिंग पर अभिषेक होता था ।

3. अंदर ही २ मंजिलका ताजमहल है । वास्तव समाधि एवं रिक्त समाधि नीचे की मंजिल पर है, जबकि २ रिक्त कबरें प्रथम मंजिल पर हैं । २ मंजिलवाले शिवालय उज्जैन एवं अन्य स्थानपर भी पाए जाते हैं ।

4. मुसलमानों की किसी भी वास्तु में परिक्रमा मार्ग नहीं रहता; परंतु ताजमहल में परिक्रमा मार्ग उपलब्ध है ।