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Part 2 of 2

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
costly 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 unnecessary 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 Shiv'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 Shiv 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 Shiv temple.

60. Prophet Mohammad has ordained that the burial spot of a muslim should
be inconspicous and must not be marked by even a single tombstone. In
flagrant violation of this, the Tajamhal has one grave in the basement
and another in the first floor chamber both ascribed to Mumtaz. Those
two centotaphs were infact erected by Shahjahan to bury the two tier Shivalingas that were consecrated in the Taj. It is customary for Hindus
to install two Shivalingas one over the other in two stories as may be
seen in the Mahankaleshwar temple in Ujjain and the Somnath temple raised
by Ahilyabai in Somnath Pattan.

61. The Tajmahal has identical entrance arches on all four sides. This is
a typical Hindu building style known as Chaturmukhi, i.e., four-faced.

THE HINDU DOME

62. The Tajmahal has a reverberating dome. Such a dome is an absurdity
for a tomb which must ensure peace and silence. Contrarily reverberating
domes are a neccesity in Hindu temples because they create an ecstatic dinmultiplying and magnifying the sound of bells, drums and pipes
accompanying the worship of Hindu deities.

63. The Tajmahal dome bears a lotus cap. Original Islamic domes have a
bald top as is exemplified by the Pakistan Embassy in Chanakyapuri, New
Delhi, and the domes in the Pakistan's newly built capital Islamabad.

64. The Tajmahal entrance faces south. Had the Taj been an Islamic
building it should have faced the west.

TOMB IS THE GRAVE, NOT THE BUILDING

65. A widespread misunderstanding has resulted in mistaking the building
for the grave. Invading Islam raised graves in captured buildings in
every country it overran. Therefore, hereafter people must learn not to confound the building with the grave mounds which are grafts in conquered buildings. This is true of the Tajmahal too. One may therefore admit
(for arguments sake) that Mumtaz lies buried inside the Taj. But that
should not be construed to mean that the Taj was raised over Mumtaz's
grave.

66. The Taj is a seven storied building. Prince Aurangzeb also mentions
this in his letter to Shahjahan. The marble edifice comprises four
stories including the lone, tall circular hall inside the top, and the
lone chamber in the basement. In between are two floors each containing
12 to 15 palatial rooms. Below the marble plinth reaching down to the
river at the rear are two more stories in red stone. They may be seen
from the river bank. The seventh storey must be below the ground (river)
level since every ancient Hindu building had a subterranian storey.

67. Immediately bellow the marble plinth on the river flank are 22 rooms
in red stone with their ventilators all walled up by Shahjahan. Those
rooms, made uninhibitably by Shahjahan, are kept locked by Archealogy Department of India. The lay visitor is kept in the dark about them.
Those 22 rooms still bear ancient Hindu paint on their walls and
ceilings. On their side is a nearly 33 feet long corridor. There are two
door frames one at either end ofthe corridor. But those doors are
intriguingly sealed with brick and lime.

68. Apparently those doorways originally sealed by Shahjahan have been
since unsealed and again walled up several times. In 1934 a resident of
Delhi took a peep inside from an opening in the upper part of the
doorway. To his dismay he saw huge hall inside. It contained many
statues huddled around a central beheaded image of Lord Shiv. 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 Shiv 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 identical 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 Shiv 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-

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