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.
Posted on: Thu, 19 Sep 2013 20:39:40 +0000