Taj Mahal is a Shiva Temple

Sorry for destroying all your romantic imaginations. Apologies for trashing all poems, songs, and shayaris on love story of Taj Mahal.
Truth is that plausibility of Taj Mahal being a love symbol is as much as Ajmal Kasab being architect of Mumbai CST because he captured it for some time.
Here I present some evidences that indicate that Taj Mahal was a Shiva temple captured by the barbaric terrorist Shah Jahan whose life story is a disgrace in name of humanity.
Contrary to what visitors are made to believe the Tajmahal is not a Islamic mausoleum but an ancient Shiva Temple known as Tejo Mahalaya which the 5th generation Mughal emperor Shahjahan commandeered from the then Maharaja of Jaipur.
The Taj Mahal, should therefore, be viewed as a temple palace and not as a tomb. That makes a vast difference. You miss the details of its size, grandeur, majesty and beauty when you take it to be a mere tomb.
When told that you are visiting a temple palace, you wont fail to notice its annexes, ruined defensive walls, hillocks, moats, cascades, fountains, majestic garden, hundreds of rooms arcaded verandahs, terraces, multi stored towers, secret sealed chambers, guest rooms, stables,
and the sacred, esoteric Hindu letter “OM” carved on the exterior of the wall of the sanctum sanctorum now occupied by the cenotaphs.
The term Tajmahal itself never occurs in any mughal court paper or chronicle even till Aurangzeb’s era. The attempt to explain it away as Taj-i-mahal is therefore, ridiculous.
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”.
The unusual explanation of the term Tajmahal derives from Mumtaz Mahal, who is buried in it, is illogical in at least two respects. First, her name was never Mumtaj Mahal but Mumtaz-ul-Zamani.
And second, one cannot omit the first three letters “Mum” from a woman’s name to derive the remainder as the name of the building.
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’).
European visitors of Shahjahan’s time allude to the building as Taj-e-Mahal. It is almost the correct tradition, age old Sanskrit name Tej-o-Mahalaya, signifying a Shiva temple. Shahjahan and Aurangzeb scrupulously avoid using the Sanskrit term and call it just a holy grave.
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 & Safdarjang have been buried in capture Hindu temples.
If the Taj is believed to be a burial place, how can the term Mahal, i.e., mansion apply to it?
Since the term Taj Mahal does not occur in mughal courts it is absurd to search for any mughal explanation for it. Both its components namely, ‘Taj’ and’ Mahal’ are of Sanskrit origin.
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.
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.
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.
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.
Several persons connected with repair and maintenance of Taj 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.
In India there are 12 Jyotirlingas i.e., the outstanding Shiva Temples. The Tejomahalaya alias 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.
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.
Agra city, in which the Taj Mahal is located, is an ancient centre of Shiva worship. Its orthodox residents have through ages continued the tradition of worshipping at five Shiva shrines before taking the last meal every night especially during the month of Shravan.
During the last few centuries the residents of Agra had to be content with worshipping at only four prominent Shiva temples viz., Balkeshwar, Prithvinath, Manakameshwar and Rajarajeshwar. They had lost track of the fifth Shiva deity which their forefathers worshipped.
Apparently the fifth was Agreshwar Mahadev Nagnatheshwar i.e., The Lord Great God of Agra, The Deity of the King of Cobras, consecrated in the Tejomahalay alias Tajmahal.
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.
Shahjahan’s own court chronicle, the Badshahnama, admits (page 403) 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.
The plaque put by archeology department outside the Taj Mahal 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.
First, the plaque sites no authority for its claim.

Second, the lady’s name was Mumtaz-ul Zamani and not Mumtaz Mahal
Third, 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.
Rascal Aurangzeb’s letter to his father,emperor Shahjahan,is recorded in atleast three chronicles titled `Aadaab-e-Alamgiri’, `Yadgarnama’, and the `Muruqqa-i-Akbarabadi’
In that letter Aurangzeb records in 1652 A.D itself that several buildings in the fancied burial place of Mumtaz had seven floors 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 proof that during Shahjahan’s reign itself, the Taj complex was so old as to need immediate repairs.
The ex-Maharaja of Jaipur retains in his personal `Kapad Dwara’ collection two orders from Shahjahan dated Dec 18, 1633 demanding the Taj building complex. That was so blatant a usurpation that the then ruler of Jaipur was ashamed to make the document public.
The Rajasthan State archives at Bikaner preserve three other ‘firmans’ (orders) 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 Taj Mahal that he refused to oblige Shahjahan by providing marble for grafting koranic engravings and fake centotaphs for further desecration of the Taj Mahal.
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.
The three orders demanding marble were sent to Jaisingh within about two years of Mumtaz’s death. Had Shahjahan really built the Taj Mahal over a period of 22 years, the marble would be needed only after 15 or 20 years, not immediately after Mumtaz’s death.
Moreover, the three mention neither the Taj Mahal, nor Mumtaz, nor the burial. The cost and the quantity of the stone also are not mentioned. This proves that an insignificant quantity of marble was needed just for some superficial tinkering and tampering with the Taj Mahal.
Even otherwise Shah Jahan could never hope to build a fabulous Taj Mahal by abject dependence for marble on a non cooperative Jai Singh.
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. Historians and Archaeologists have blundered in terming the inscription 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.
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 a builder, he would have said so in so many words before beginning..
to quote Koran. 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 :

A wooden piece from the riverside doorway of the Taj subjected to the carbon 14 test by an American Laboratory has revealed 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 be 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.
Well, known Western authorities on architecture 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 Taj. A central dome with cupolas at its four corners is a universal feature of Hindu temples.
The four marble pillars at the plinth corners are of the Hindu style. They are used as lamp towers during the 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.
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 generally have an octagonal layout or some octagonal features so that together with the pinnacle and the foundation they cover all the ten directions in which the king or God holds sway, according to Hindu belief.
The Tajmahal has a trident pinnacle over the dome. A full scale of the trident pinnacle is inlaid in the red stone courtyard to the east of the Taj. The central shaft of the trident depicts a “Kalash” (sacred pot) holding two bent mango leaves and a coconut.
This is a sacred Hindu motif. Identical pinnacles have been seen over Hindu and Buddhist temples in the Himalayan region. Tridents are also depicted against a red lotus background at the apex of the stately marble arched entrances on all four sides of the Taj.
People fondly but mistakenly believed all these centuries that the Taj pinnacle depicts an Islamic crescent and star was a lighting conductor installed by the British rulers in India.
Contrarily, the pinnacle is a marvel of Hindu metallurgy since the pinnacle made of a 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.
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 the seizure of the Taj property by Shahjahan.
Curiously enough the building being explained away as a mosque has no minaret. They form a pair of reception pavilions of the Tejomahalaya temple palace.
A few yards away from the same flank is the Nakkar Khana alias Drum House, which is an intolerable incongruity for Islam. The proximity of the Drum House indicates that the western annex was not originally a mosque.
Contrarily a drum house is a necessity in a Hindu temple or palace because Hindu chores in the morning and evening begin to the sweet strains of music.
The embossed patterns on the marble exterior of the cenotaph chamber wall are foliage of the conch shell design and the Hindu letter “OM”. The octagonally laid marble lattices inside the cenotaph chamber depict pink lotuses on their top railing
The Lotus, the conch, and the OM are the sacred motifs associated with the Hindu deities and temples.
The spot occupied by Mumtaz’s cenotaph was formerly occupied by the Hindu Teja Linga a lithic representation of Lord Shiva. Around it are five perambulatory passages.
Perambulation could be done around the marble lattice or through the spacious marble chambers surrounding the cenotaph chamber, and in the open over the marble platform.
It is also customary for the Hindus to have apertures along the perambulatory passage, overlooking the deity. Such apertures exist in the perambulators in the Tajmahal.
India sulked when the Obamas skipped the Taj Mahal during their visit here. But really, I'm tired of famous people posing with that marble tomb as their endorsement of the idea that it somehow is the ultimate icon of romance.
Because the story of how and why Emperor Shah Jahan built this monument for his deceased wife, Mumtaz, is anything but romantic.
the real lies are the stories of romance woven around the life and death of the woman believed to be buried here.
Mumtaz, was Shah Jahan's third wife, and was engaged to him when she was merely 14. In their 19 years of marriage, she bore 14 children, enduring a pregnancy almost every year, till she died giving birth to her fourteenth.
She died of postpartum haemorrhage because of the multiple, back-to-back pregnancies she was forced to endure. It's absurd that many view this form of lethal, reproductive labour, as indication of Mumtaz's "favourite" wife status.
To be the number one pick of a man's harem, surely is not any woman's idea of romance. And Shah Jahan in his lifetime had collected 2000 women in his harem!
But if indeed, Shah Jahan shared that special intimacy with Mumtaz, then wouldn't he have noticed her body, visibly, weakening and crumbling, right before his eyes, with each successive pregnancy?
Or was she only a detached v*gina and womb, a s*x toy to him, and not a real person whose body, health and welfare would register in his consciousness in any way?
Harems and their treatment of women, constitute some of the darkest chapters of women's history. They reduced women to collectible objects, to be literally stabled like horses, by men who owned them just for sexual entertainment, and a sense of testosterone power.
Shahjahan being the dastard king, was entitled to his pick of any girl or woman in the kingdom whether or not she was willing. But claiming and cloistering them in his harem, was one way of maintaining sexual exclusivity.
To ensure that exclusivity, harems were rigidly guarded by trusted servants who checked veiled guests to ensure they weren't men in disguise.

That's why the guards were often eunuchs or were men from poor families who had been specially castrated for the job!
The regimented institutionalisation of the monarch's harem was maintained through a strict internal hierarchy of its inmates. The position of the queens in the pecking order was determined by a number of factors: their origins, looks, preference by the king, and even caste.
Though a king could have s*x with a lower-caste wife, she was still too "impure" and unfit to tend to his bathing or other personal needs
The children she bore, similarly could not have the same claim to the king's title and wealth as the sons of the upper-caste queens. Queens were not just ranked in the harems, but were kept in control through promotions and demotions depending on their actions and behaviour.
If a queen disobeyed the King or senior queens, was rude, or could not bear children, she'd face demotion, and the humiliation of having a younger queen given seniority over her. The punishment meted out to a woman for infidelity was to be torn to pieces by street dogs.
But what I find more interesting is that even as we today continue to romance the Taj, Indian women writers in the late 19th and early 20th century had outright denounced its representative harem culture and its custom of sequestering women.
Rokeya Sakhawat Hossain in her landmark play Sultana's Dream (1905) suggested the creation of an equivalent system for men to be called a 'murdana' where men would be kept in isolation, and controlled.
Pandita Ramabai (1858-1922), a teacher and women's rights activist, said it was a terrible "cruelty" on women, and it treated them like "prisoners."
And in Sarat Chandra Chattopadhyay's 1931 novel Sheshprashna (The Final Question), the female protagonist, Kamal, who along with questioning social norms that physically and psychologically bind women, also challenges people's idealisation of the Taj Mahal as an epitome..
of a man's timeless love for a woman, and asks how being Shah Jahan's favoured wife, made Mumtaz his soulmate. For could the Taj Mahal change the fact, that she was still, only, the pick of a harem.
What is your take?
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