- Taj Mahal is a Shiva Temple – 100 evidences (Part 1)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 2)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 3)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 4)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 5)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 6)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 7)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 8)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 9)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 10)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 11)
- Taj Mahal is a Shiva Temple – 100 evidences (Part 12)
- Taj Mahal is a Shiva Temple – 100 plus evidences (Part 13)
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 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.
41. 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.
42. 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.
43. 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.
44. The Sanctum 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, an 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 cenotaph 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 high-handed Moghul robbery causing a big row between Shahjahan and Jaisingh.
46. In the marble flooring around Mumtaz’s cenotaph may be seen tiny mosaic patches. Those patches indicate the spots where the support for the gold railings was embedded in the floor. They indicate a rectangular fencing.
47. Above Mumtaz’s cenotaph 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.
From: Works of P.N. Oak