TAJ MAHAL IS HIDDEN LORD SHIVA & VISHNU TEMPLE BUILT IN 1155 AD

Taj Mahal is scrawled over with 14 chapters of the Koran. 122. That the age of the original stone of the Taj Mahal and the age of the Koran scrawled-stone are certainly different and which could be ascertain scientifically. No where is there even the slightest or remotest elusion in that Islamic overwriting stating Shahjahan’s authorship of the Taj. Had Shahjahan been the builder of Taj Mahal, naturally some words would have been scrawled there. When koranic lettering has been forged on the walls of Taj Mahal, then why not the name of Mumtaz in whose memory it was stated to be built. 123. That it is mentioned by the inscriber, Amanat Khan Shirazi himself in an inscription on the building that Shahjahan, far from building the marvel Tej, only disfigured it with black lettering. A clue to that tampering by Shahjahan is found on pages 216-217, Vol. IV of Archaeological Survey of India Reports, published in 1874, stating that a .“great square black basaltic pillar which, with the base and capital of another similar………..now in the grounds of the Museum at Agra……………….it is well known, one stood in the garden of Taj Mahal.” The true copy of the photographs deplicting the different monument with tempered representation having deceptive indintity proclaiming as Mughal constriction as exhibited in the photographs are Annexure no.18 124. That there was also a Sanskrit inscription dated 1155 A. D. in the Taj Mahal which speaks conclusively that it was a Hindu Temple, which was subsequently wrongly termed as Bateshwar inscription, now preserved at the top floor of the Lucknow Museum. 125. That despite such staggering evidence the respondent authorities have been guilty of Tomin the Taj Mahal as a marble creation of Shahjahan and thereby creating and misleading the world for over a century. All of them have also been making illegal gains through their deceitful activities by being paid huge sums for their books, articles, news reports, broadcasts, and telecasts. 126. That Archaeological Survey of India is guilty of charging high entrance fee from thousands of visitors every day from all over the world for over a century purveying through its licensed guides concocted details about Shahjahan’s take authorship of the Taj Mahal and through Archaeological Survey of India notices in Hindi, Urdu and English on three stone plaques displayed at the Tajmahal entrance declaring that Shahjahan raised the monument from 1631 to 1653 A. D. 127. That the authorities are guilty of giving mis-information and dis-information all over the world for over a century. The enormity of that academic crime affecting the whole world has caused a deep injury and prejudice to the human population of the world. The national motto of our country is “Satyameva Jayate“ (Truth alone triumphs). That In that context the blatant lie that the Archaeological Survey of India has been propagating to the entire academic and tourist world is a matter of national sham and a serious concern to all. 128. That there is no valid reason why Anglo-Invader school should not be able to produce even a single document pertaining to the Invader claims to the fort. Had the claims been true such documents should have been available in plenty because when the British deposed the Mogul emperor they preserved and carefully classified all the documents they seized form the mogul archives. Those records contain hardly anything but letters. That when the Anglo-Invader school is unable to produce even a single document in support of its claim any law court would draw an a priori adverse inference. 129. That even then we claim no special advantage form this fundamental weakness in the case of the respondent Anglo-Invader school. In ordinary life, there are very many occasions when documents are not available on either side and yet there is overwhelming circumstantial evidence on the basis of which the court can come to a clear judgement over the rival claims. It is such circumstantial evidence which we propose to lay before the bar and bench of learned public opinion: 130. That according to the British historian Keene, Agra fort has been in existence from the pre-Christian era. Ancient Hindu kings like Ashok (3rd Century B.C.) and Kanishka (1st Century B.C.) had lived in that fort. That same fort is again referred to by the Persian poet-historian Salman, in the 11th century A.D.. Early in that century when the Hindu king Jaipal ruled over Agra. The fort suffered its first Invader raid under the invader Mahmud of Ghazni.Thereafter some chauvinistic Islamic accounts vaguely claim that the Invader sultan Sikandar Lodi demolished the Hindu fort. That claim has been found to be baseless. A few years later another vague claim is made by some other mediaeval Invader faltterers that sultan Salim Shah Sur either destroyed the Hindu fort or Sikandar Lodi’s fort and built his own fort at exactly the same place or some other place. Even the claim has been found to be fraudulent because no trace is found of the fort that Salim Shah Suri is said to have built. Invader history is replete with such fraudulent claims, according to the late British historian Sir H.M. Elliot. 131. That an English visitor, Peter Mundy who was in India only for about a year after Mumtaz’s death mentions the Taj Mahal as one of the most spectacular buildings. Thus Shahjahan’s sacrilege of the Hindu Taj temple-palace by misusing it as an Islamic graveyard ought to be rectified by removing Arjumand Banu’s remains,if they really are in the Taj Mahal, to her original grave, still existing in Burhanpur. The garden pavilion of an Hindu mansion in Burhanpur (about 600 miles south west of Agra) where Mumtaz was buried in 1631 A.D. after her death in her 14th delivery during 18 years of married life. Shahjahan Mumtaz had encamped in the adjoining Hindu palace during a north south journey when Mumtaz died. 132. That the ground plan of the orthodox Vedic octagonal Tejomahalaya shrine in Agra where Mumtaz’s exhumed body is supposed to have been interred again. Why this sacrilege? An aerial view. The white marble Tejomahalaya framed by four towers at its plinth-corners on the south bank of the sacred Yamuna river. Two identical red stone buildings (each with three marble domes) facing the marble edifice from the east and west were meant to be reception pavilions for royal or religious congregations. The central marble building and the flanking red stone buildings are all seven storied with octagonal features, which is a Vedic specialty. Seven storied octagonal buildings are mentioned even in Ramayanic description of Ayodhya. A meticulous count will reveal 33 arches in the marble plinth seen in front in between the two towers on the left and the right. Since the marble platform is a square the breadth too has 33 arches consequently the marble plinth itself encloses 33x 33=1089 rooms That is the ground floor. Above it on either side of the lofty entrance arch may be seen vaulted arches on two levels one above the other, which constitutes two more stories in marble. 133. That the outer western gateway leading to the spacious parking area for visitors’ vehicles lined by arcaded red stone verandahs with rooms for shopkeepers selling their wares. The entire parking area is lined by such shopping arcades which Tavernier describes as bazar of six courts. The western gateway has assumed importance in modern times because the main bus depot and railway stations of the populace, bustling Agra city lies in that direction. In olden days it was the elevated gateway at the left which used, to be the main entrance of the Tajganj alias Tajganj township. The Tejomahalaya shopping arcade has had at its outer eastern and western corners, flanking the Shree gate, two other subsidiary sentinel-temples. This octagonal pavilion with a white dome in the southwest corner bearing the inverted lotus cap and straight Vedic pinnacle pitcher shaft is one of them. But alas, since Shahjahan’s time the sacred sanctum has an Islamic cenotaph attributed to an harem-maid Satunnisa Khanam. But since no name is inscribed on it that seems to be an inspired canard explaining away the desecration of the Hindu shrine. 134. That the interior of the multi-storied vaulted entrance gate leading first to the rectangular garden and then to the wonder marble edifice at the far end. The temple palace management staff used to work on both floors on various assigned duties. The carved decorative red stone bunting around the interior and exterior of this gateway, about knee-high from the floor, if minutely observed turns out to be an ingenious running chain of three-in-one Ganesh images, two in profile on the flanks and one with a frontal facing in the middle. The marble Taj Mahal has identical vaulted lofty archways in all the four directions. Their temple décor was chiseled away and Koranic extracts were improvised to fill the cavities. Close look at the marble stone frames around the vertical and horizontal Koranic passages to notice the patches of dissimilar shapes and tints of marble used. Cobras lined up above a string of inlaid temple bells pattern form the upper border of the Taj Mahal. Both cobras and bells have sacred associations in Vedic spiritual lore. 135. That the gateway at which entry tickets are issued, is decorated both inside and out, at the knee level with a bunting depicting such ingeneous three-in-one Ganesh caricatures; two in profile on the flanks enclosing a frontal one in the middle. The arches in the marble plinth and the rectangular ventilator above each one of them,(allowing light and air to the 1089 chambers inside the plinth)may be minutely observed to have been sealed with marble slabs. 136. That the seven arches at the bottom enclose the stairs, which lead to the top of the marble plinth symmetrically from the right and left. The Nandi (Lord Shiva ‘s Bull) occupied the spot where the person clad in white robes is seen standing facing the entrance, before it was uprooted at Shahjahan’s orders. That spot was patched up later with inferior reddish slabs. There is trident shaped designs in inlay filigree at the two upper corners of the entrance and the trident shaped red lotus bud at the apex of the arch. 137. That the Koranic stones fixed vertically and horizontally along such lofty arches on all four sides were improvised to fill up gaping cavities left after digging out idols of Vedic deities and Sanskrit extracts. We arrive at the above conclusion because (1) a close inspection of the marble frames enclosing the Koranic extracts reveal patches of marble of different shapes and tints (2) The Koranic extracts are random, haphazard out of sequence and incomplete (3) On hot days with the visitor’s feet burning on the marble plinth a fierce sun beating down on the head and the eyes burning with intense sunlight radiated by the white marble sheen even a devout Invader knowing Arabic won’t have the heart or even the steady head or patience to crane and strain his eyes and neck alternately vertically and horizontally to make any head or tail of that message of Allah. A close-up of the upper part of a minaret. The galleries rest on snake-shape brackets, which is a distinct Hindu architectural trait. Mumtaz’s tomb in the crypt (basement). The pavement patched up with marble slabs of varying sizes and tints indicating that the Shivling here has either been replaced by the cenotaph or is covered up by it. 138. That after one enters the lofty arch from the marble platform one-steps onto spacious halls which form a perambulatory passage all around the central octagonal sanctum. That sanctum too has entrances on all four sides. But only the south entrance has been kept open since Shahjahan’s time. All these outer and inner entrances had silver doors, which are common to all renowned Hindu (Vedic) shrines. Those were uprooted and ranged on the outer marble plinth before being spirited away to Shahjahan’s Mogul treasury. European visitors to the shrine around 1631 A.D. noticing the uprooted costly fixtures such as silver doors ranged on the marble platform misunderstood them to have been ordered by Shahjahan to be used in the building. Contrarily the thousands of labourers rounded up from the by lanes of Agra city under threats of dire consequences were forced to toil gratis to uproot all the costly fixtures such as the gem studded gold railings (around the Shivaling), silver doors, precious stones stuffed in the marble lattices and the golden pitcher dripping water on the Shivlinga, and transport them to the mogul treasury. Notice the framed decorative panels to the left and right of the doorway. They depict embossed OM shaped Dhatura flowers and conchshell- type foliage. The panel at the left has the sacred conchshell design. The right side panel depicts a plant with flowers shaped like the sacred Vedic chant (OM). 139. That Mumtaz’s cenotaph in the foreground and subsequent Shahjahan’s cenotaph besides it in the upper marble octagonal chamber. Notice that both the cenotaphs are highly decorated with inlay work. Science have been so somnolent for the last 350 and odd years as to allow the preposterous Shahjahan and Mumtaz legend, stained with carnal love to pass muster in spite of being riddled with a myriad loopholes disclosed .Around the hook (from which hangs the chain) is a sketch in concentric circles. In the smallest innermost circle are arrows symbolizing the eight surface directions. Around it is another circle of 16 serpents looking down on the Shivling underneath. Around it is a wider circle of 32 tridents. Surrounding it is a bigger circle depicting 64 lotus buds. Even this mathematical progression of multiples of 8 i.e. 8x2=16x2=32x2=64 is of esoteric Vedic significance and has no relation with Islam.The preponderating significance of 8 in Vedic tradition may be judged from terms such as Ashtapailu, Ashtavadhani, Ashtaputra, Ashtadhatu, Ashtang Ayurved, Mangalashtak and Sastang namaskar. 140. That the octagonal lattice around the cenotaph of Mumtaz (which has replaced or covered the sacred Shivling) has in its upper border a total of 108 pitchers, some rotund and striped and some oblong like vases. The rotund striped pitcher is seen bathing the Shivaling underneath with a stream of milk. The decorative flora on the vase and other parts of the Taj Mahal alias Tejomahalaya is all native to India. Such decoration in the orange, Vedic colour behooves a Hindu temple or palace but never a somber Islamic sepulchre. 141. That a close-up of the gilded pinnacle rising from the inverted lotus cap of the marble dome .The pinnacle is known as Kalash in Vedic parlance because of the stack of pitchers which constitute it. The curvy shaft seen in the upper portion represents the crescent on Lord Shiva’s forehead. Above it is an oblong pitcher, two mango leaves curving on either side with a coconut balanced on top. Such a coconut –topped pitcher represents divinity in Vedic tradition. 142. That the three domes of the so-called mosque are a misfit in Islam. Since Islam has only one Allah and one prophet for who is the third dome? Moreover the qibla (i.e. the prayer niche) is not aligned to the Kaba in Mecca, as it should be in a genuine mosque. Also when there are three qiblas instead of one they couldn’t all be aligned to the Kaba at the same time. And since the twin buildings on the eastern flank is a non-mosque it automatically follows that its counterpart to the west is also a non-mosque. Only buildings with the same function and purpose can have an identical design. 143. That there is staircase and another symmetrical one at the other end lead down to the storey beneath the marble platform Tow such staircases (one each at the eastern and western ends) behind the marble plinth take one to the nether chambers. 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 sky. But at the foot the archaeology department has set up an iron grill door, which it keeps, locked. Yet one may peep inside from the iron grill 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 and Invader secrecy though long free from Mogul Islamic rule. 144. That One of the 22 locked rooms in the secret storey beneath the marble platform of the Taj Mahal, which the archaeological Survey of India keeps conspiratorially locked to hoodwink the public. Therefore the public must pressurized the government to open all locked and sealed chambers in all monuments including the Taj. 145. That the strips of ancient Hindu paint are seen on the wall flanking the doorway. The niches above had paintings of Hindu gods, obviously rubbed off by Invader desecrators. 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- in lauding destroyers as great builders. Therefore Shahjahan should be referred to not as the creator of Taj but as a plunderer of its costly fixtures and disfigurer of the sublime, serene beauty of the holy Tejomahalaya. 146. That 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 Taj, the desecrated Shiva Linga, Hindu scriptures and temple equipment .The Government is deliberately refraining from opening hundreds of such sealed chambers. Inside the Taj Mahal for fear of enraging Invaders and exposing the incompetence of historians worldwide. 147. That there 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. On being besieged if the building had to be surrendered to the enemy the treasure chests 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 socalled mosque to the west of the marble Taj. Had the Taj been a mausoleum this octagonal multi storied well would have been superfluous. 148. That it has come to the notice of the petitioner’s institute that there has been the digging of the place where “gowshala” cow protection shelter was situated .It was revealed that there are the remains of the temple dig inside the earth and the upper portion of the temple called as “Amlak” was found to have been hidden inside there. The official sought the instructions from the officials of the archaeological department but the matter was subsided on the instructions of the authority as it may annoy the fundamentalist as a result of which the appeasement policy adopted by the government for getting the vote of the minority may be adversely affected. Thus the spot inspections by appointing the team of survey commissioner to submit Its report may kindly be ordered by this Hon’ble Court 149. That Visitors to the Taj may notice the letter “om” woven in bold relief in embossed flower –designs on the interior marble walls. As one stands poised at the top of the stairs leading to the basement (to se what they call the ‘real graves’) one may see on the walls around the upper marble cenotaph chamber, at chest level, the esoteric sacred Hindu letter ‘om’ woven into embossed marble flower pattern. Pink lotus patterns on the border of the grilled panels that enclose the cenotaph may also be noticed. 150. That a peacock Throne could never have been ordered by fanatic mediaeval Invader rulers surrounded by even more fanatic maulvis. Throughout their millennium long rule in India their one penchant was to break images not to make them. The peacock Throne could only be a piece of Hindu Palace furniture because traditionally a Hindu throne must have the effigy of some bird or animal known for its splendor or valour. In Hindu terminology the very term for a throne is a “Lion Seat (Simhasan).”Hardly had the project begun, than we are told that by 1635 Shahjahan had amassed such a plethora of gems and bullion, within seven years of his accession that he did not know what to do with them. He therefore had a fabulous Peacock Throne ordered. 151. That According to Shahjahan’s court chronicler (PP. 45-46,ibid.), it appears that the peacock Throne was “three yards long, two and a half yards broad, yards high and set with jewels worth 86 lakh rupees. The canopy had 12 emerald columns. On top of each pillar were two peacocks thick –set with rubies, diamonds, emeralds, and pearls. The throne cost ten million Rupees.” “The marble screen enclosing an octagonal area in the centre of the cenotaph chamber was, according to the Badshahnama placed here in 1642 by Shahjahan …According, however, to competent authority the screen was placed here by Aurangzeb after he laid his father’s remains there. 152. That “The basement rooms are centrally situated as a line of 14 rooms along the face of the Great Basement, under its terrace; and each of them is connected by a doorway with as inner lobby running east and west along their entire length. From each end of the lobby a staircase ascends to the terrace of the Great Basement, where its entrance closed by red sandstone slabs, lay unsuspected until discovered a few years ago, the clue being given by a small window overlooking the river in each of the two easternmost rooms. The rooms, once frescoed and otherwise decorated being now in darkness and infested by bats, cannot be explored without a torch or lamp. Whether they originally opened on to a ghat and gave admittance to the Taj from the river; or being provided with windows, were used as cool resorts during the heat of the day, cannot now be decided”. 153. That in the Agra Fort gallery, facing the Taj, is a tiny glass piece embedded in the wall to mirror the Taj Mahal. Originators of the Taj legend have conveniently annexed the device to add to the mesmeric effect of the myth. Embedding tiny, round glass reflectors by their thousands in arched recesses of palaces and in women’s dresses is a very common and widespread Rajput practice. Such glass reflectors can still be seen fixed in numerous ancient palaces in Rajasthan, and continue to be used for decoration in Rajput women’s dresses. Saracenic architecture, if there be any such should rather believe in “purdah “ i.e. shrouding or hiding and would never think of glass reflectors. Mirror –pieces decorated the royal apartments in Agra fort because it was a Hindu fort. Moreover Shahjahan was never permitted access during interment to that part of the fort which overlooks the Taj. It is, therefore absurd to argue that during detention he consoled himself by catching glimpses of the Taj in the tiny glass piece. 154. That a further absurdity and inconsistency is; would an old monarch, bent with age, stand up all the time to strain his bedimmed vision, and peer into a tiny glass piece with his back to the Taj to catch a fleeting, reflected glimpse of the Taj when he could as well have a clear, full, straight and direct view of it seated comfortably facing the monument? And would not such a stance give him a pain in the neck? This is yet another instance of how students of history, archaeologists and lay visitors have never bothered or cared to take stock of the loose bits of the Taj legend, and tried to rearrange them to find out whether they add up to at least a coherent and cogent account, even if fictitious. 155. That in addition to its sculptural splendor, the Taj is also believed to have had gem studded marble screens, gold railing, and silver doors. Readers can well add up to the cost of all these. It will amount to a fabulous, astronomical sum. Perhaps even all the Mogul emperors together could not have invested that much on a single monument. Had the Taj been an original tomb, Shahjahan would never have allowed Indian flora to form the dominant feature of the tapestry design inside the mausoleum of his wife. It is idle to argue that because the workmen employed on the Taj happened to be Hindus their motifs got incorporated in the Taj design. It must be remembered that it is the person who pays the piper that calls the tune. Moreover when it is a question of the peace of departed soul, symbols and motifs of a detested religion would never have been allowed to be incorporated in the ornamental patterns of the Taj. In fact the whole idea of having such a luxurious tomb built and having decorative patterns made inside it is frowned upon in Islamic religion and tradition. But Shahjahan had no alternative, but to put up with them, since he had taken over a ready-made “heathen” monument.