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Was the Taj Mahal a Vedic Temple? The Photographic Evidence

Photos # 30 & 31: The resplendent Hindu midday sun (from whom Hindu rulers claim descent) in the arch above flanked by the sacred Hindu letter OM. Below it is the royal Hindu insignia. This proves the hollowness of the claim that Shahjahan commissioned the Red Fort. 

 

 

Photo # 32:

Photo # 33: It is entirely false that the Red Fort of Delhi was built by Shahjahan in 1639-48 A.D. Muslims were the destroyers of statues. Then why should they have constructed statues? But there are statues of Hindu Mahavants riding the elephants of the doors of each interior room of “Khas Mahal” in the Red Fort. On the main gate of the Fort named “Delhi Darwaja,” there are huge statues of elephants. The curtain of building statues of elephants on forts and palace gates can be well judged by examining the palaces at Gwalior, Udaipur and Kota. Decorating homes, forts, palaces and temples with elephants is a hoary Hindu tradition. To the Hindu an elephant symbolizes might, power, glory and wealth. The Red Fort in Delhi has life-size elephants at its gate and elephants with riders atop its door knobs in the Khas Mahal pavilion. Had Shahjahan built the fort, such Hindu motifs should not have been there. 

 

Photo # 34: A close up of the elephant and rider door knob in the Khas Mahal of the Red Fort in Delhi. This is a typically Hindu motif. Other big life-size stone elephants decorating the Naqqar Khana (Music House) gate were slaughtered by Islamic invaders. The chopped up pieces may still be seen stored in the Khas Mahal basements. The public must insist on these being joined and displayed. 

 

Photo # 35: Inner view of the entrance to the so-called Moti Masjid inside Delhi’s Red Fort. The archaeological tablet outside claims that the mosque was built by Aurangzeb, son and successor of Shahjahan. That claim is baseless because (1) The entrance is of a temple design. (2) The arch between the domes is made of banana bunches used in Hindu worship. (3) On either side above the arch are fruit trays. (4) Naming buildings after gems (Moti means pearl) is a Hindu custom. (5) If Shahjahan built the fort why didn’t he provide it with a mosque? (6) The truncated Hindu perambulatory passage may still be seen to exist on the building’s left flank. (7) The back of the wall shows signs of tampering.

 

Photo # 36: A close-up of the interior top of the entrance arch of the so-called Moti Masjid (which was Hindu Moti Mandir) inside Delhi’s Red Fort. The arch at the bottom may be seen to be made of banana bunches. On either side above the arch are trays holding five fruits each as holy Hindu offering. Fruit is taboo inside Muslim mosques. 

 

Photo # 37: This temple-front design of ribbed gourd-like domes on either side with a pinnacle surmounted by a canopy in the centre, embossed on the riverside wall of the Rang Mahal apartment inside Delhi’s Red fort is emphatic proof that the fort is a pre-Shahjahan Hindu fort. Even the name Rang Mahal is Hindu. In this same pavilion is carved on the floor an exquisite lotus in full bloom as a fountain trough. Muslim walls and floors are plain. The canopy in the photo may be seen at several Hindu altars. The kalash (pot) under it represents divinity in Hindu tradition.

 

Photo # 38: ‘Vishnu’s footprint’ in the so-called Humayun Tomb, New Delhi. This photo is reproduced from page 78 of “The World of Ancient India,” translated into English (from G. Le Bon’s original French book published in the 19th century) by David Macrae, Tudor Publishing co., New York, 1974. This photo proves that the so-called Humayun mausoleum is an ancient Hindu temple palace. Inquiries with archaeologists in Delhi drew a blank They have never seen these footprints, which indicates that they are heir to a lot of non-information and mis-information. Humayun is not at all buried in Delhi. According to Farishta’s chronicle (English translation by John Briggs, Vol. II, page 174) Humayun is buried in Agra, while according to Abul Fazal (Elliot & Dowson, Vol. VI, page 22) Humayun lies buried in Sirhind. 

 

Photo # 39: A panel of the so-called Kutab tower in Delhi. The exquisite serpentine Hindu pattern in the upper part is the wreath called ‘Makar Torana’ because it emanates from the mouth of a crocodile. This is a very common sacred Hindu motif in historic buildings. The Islamic tampering and forgery in stone may be seen in the lower portion. An attempt has been made to plant Koranic lettering. Such forgery in stone fooled even historians who thereby inadvertently ascribed those buildings to Muslim authorship. 

 

Photo # 40: This remnant of a temple around the so-called Kutab Minar in Delhi has been named ‘Kuwat-ul-Islam’ mosque by the conqueror Kutubuddin in the closing years of the 12thcentury A.D. The term signifies “The Strength of Islam” in capturing and battering a Hindu temple and blatantly using it as a mosque. Ignorant historians who could not explain away the Hindu workmanship foolishly concluded that the Muslims demolished some other temple and carried the Hindu pillars hither to raise this ‘mosque (?).’ This is an absurdity from every point of view. Muslims only seized Hindu temples and pressed them into service as mosques. 

 

Photo # 41: Muslim captors dismantled surface stones of the so-called Kutab tower in Delhi, reversed them and inscribed Koran on the exterior. This Muslim forgery in stone came to light as those stones started falling off the tower. Here we can see the Hindu images on one side while the next view Photo # 42: reveals the subsequent Islamic lettering on the other.

 

 

 

Photo # 43: Four miles from the so-called Kutab Minar in Delhi is an ancient Hindu temple palace currently known as Sultan Ghari. An uncrowned son of sultan Iltmash (around 1230 A.D. ) is believed buried in it. That is a myth because there is no grave there. A Sanskrit inscription was also found in its ceiling. The beams of the octagonal crypt bore figures of Kamadhenu (celestial cow) and Varaha ([Lord Vishnu’s incarnation as a] wild boar). A Muslim tomb would never sport two highly detested animals. These two animals were a royal Hindu insignia. Even today five such pig-faced drain pipes may be seen projecting out of the walls of the royal pavilions inside Delhi’s Red Fort. Had Shahjahan built the fort, as is currently believed, he wouldn’t have had pigs peering from over his royal Islamic head since pigs are deeply detested by Islam. Contrarily, the wild boar is an Hindu incarnation and sacred royal Hindu emblem. This is one of the visual proofs of the Hindu origin of Delhi’s Red Fort. So careless has been the study of Indian history that such graphic proofs have remained unnoticed. For similar more evidence read Mr. P. N. Oak’s research book titled “Delhi’s Red Fort is Hindu Lalkot.” [This photo was repeated elsewhere in the album, under which was a caption that was completely different. You may want to read it as well, which follows:] 

This ancient Hindu royal emblem of a wild boar (left) and the cow was found engraved on a lintel of what has been euphemistically called Sultan Ghari four miles from the Kutab Minar in Delhi. This proves that the so-called tomb was originally a Hindu palace. Like thousands of other buildings throughout India that palace too was pressed into Muslim use. Sultan Altmash’s son is believed to be buried there. Yet the tomb is not known after him but merely as the “Sultan’s Cavern.” Scholars have been wrong in believing that the building was built after the prince’s death. All such mediaeval tombs and mosques are erstwhile Hindu palaces and temples. That is why their decor is entirely Hindu. Historians and archaeologists, hard put to explain away Hindu decor of what they believed to be Muslim buildings, improvised the absurd justification that the building must have been fashioned out of the debris of some Hindu buildings, or that the workmen, being Hindu, built in the Hindu style. Both these arguments are wrong. No building worth its name can be built out of debris. Similarly no workman ever dare or would ever care to fashion a building for which he is hired according to his own taste opposed to that of the owner’s. In this case, the lintel was plastered over when the building was used as a Muslim tomb because the Islamic conscience cannot tolerate idolatrous images. Such tactics were used by Muslim invaders in all lands they overran, when making use of captured buildings. A Sanskrit inscription was also found in the roof of the building. The building is octagonal in shape which is also a Hindu specialty. This royal Hindu emblem and another found in the Red Fort in Delhi stress the need for historians to look for and collect all such ancient Hindu royal emblems. This is a very enchanting and engrossing task that faces all those who are interested in rewriting Indian history after a millennium of Islam distortion and destruction. 

 

Photo # 44: The conical arch seen in Indian forts, palaces and temples though of native Hindu origin has been mistaken and misrepresented by erring Western scholars as Saracenic i.e. Muslim. This photo of a Saudi Arabian currency note shows the typical Muslim arch which is quite different from the conical Hindu arch. Had historic buildings in India been of Islamic origin they should have had such arches. In the top right corner is a palm tree and crossed, face-down swords. Even this typically Islamic motif exists nowhere on historic buildings in India.

 

Photo # 45: A magnified view of the top right corner design on a Saudi Arabian currency note. Had historic buildings in India been of Islamic origin they should have had this motif among other carvings. 

 

Photo # 46: This is the so-called Atala Devi Mosque at Jaunpur in Uttar Pradesh. Atala Devi is a Hindu goddess of inexorable fate. Therefore, it is obvious that her imposing Hindu temple is being currently misused as a mosque and is blatantly characterized as a piece of Islamic architecture. General Cunningham, a British novice who set up the archaeology department under the British administration, made the initial blunder of assuming that historic buildings in Muslim possession were built by the Muslims themselves. 

 

Photo # 47: This tripolia i.e. three-arched gateway of Karnawati (Islamized as Ahmedabad) is falsely being ascribed to Sultan Ahmad of Gujarat. The window above each archway was meant to shower sacred grain and rose water over entering or departing Hindu royalty. Over the centuries under Islamic rule, history became a matter of mere hearsay. Ahmedabad was from its very name presumed by errant historians to have been founded by Ahmadshah. By the same token, would it be right to assert that Delhi’s Rashtapati Bhawan was built for the first Rashtrapati? 

 

Photo # 48: Ahmedabad’s Hindu names were Karnavati, Rajnagar and Asaval. Invading Muslims proselytized whole cities by imposing an Islamic name on them. They also simultaneously converted the main Hindu shrines into Muslim. This is one such currently called the Jama Masjid but which in fact was the city’s central Bhadrakali temple. Mosques do not have rows of such ornamental pillars lest Muslim congregations bending in prayer with eyes closed smash their heads against the pillars and bleed. In Gwalior too the so-called Mahomed Ghaus mausolem has an identical interior proving that that too is a usurped temple. 

 

Photo # 49: Elephants on elevated platforms curving their trunks in a welcome arch over the gate of the city palace, Kota, a principality. Goddess Lakshmi is also flanked by such welcoming elephants. Fatehpur Sikri too has an identical gate. Had Akbar erected that township its gate should not have had that Hindu design. Moreover those elephants have been beheaded, which is additional proof that on capture of that township Muslim occupants couldn’t bear the sight of those Hindu elephants. Guides usually skip that gate. Before hiring the guide, visitors must insist that he show them the elephant gate also. 

 

Photo # 50: An apartment of city palace, Kota, a Hindu capital. Pictorial patterns on walls are a Hindu feature. Therefore picturesque walls behind the royal seat in the Red Forts in Delhi and Agra, are proof of their Hindu origin. Similarly, the palace in Srirangapatnam with painted designs on its walls usually ascribed to the Muslim Tipu Sultan is of Hindu origin. 

 

Photo # 51: Currently known as Adhai-din-ka-Zopda (the 2-1/2 day cottage) in Ajmer (alias Ajeya-Meru) this edifice was a magnificent, majestic Hindu temple. Invading Muslims battering it for 2-1/2 days after capture reduced the mansion to desolation–hence the name. Historians, architects and archaeologists blindly ascribing it to Muslim creation lustily describe ancient classic Hindu architectural masterpieces as Islamic. 

 

Photo # 52: Twenty-five miles from Baroda (now Vadodara) city is a fort Pavagad. At its foot is a beautiful township called Champaner. Most of its magnificent Hindu buildings are being misused and misrepresented as mosques and tombs. Here is one truncated ornamental Hindu palace pavilion being paraded as a mosque. Being exquisitely carved, Muslims call it Nagina (ornamented) mosque. The lotus pattern flanking the arches is typically Hindu. Intricate, ornamented carving is sacrilegious and distracting for Muslims. The battered top indicates how destroyers have called themselves builders. 

 

Photo # 53: These are two lamp posts of an ancient Hindu temple battered by invading Muslims near Mhasve village in Jalgaon district of Maharashtra. They are only a foot apart. If one person climbs up to the top of each of these pillars and one stretches his leg thrusting it against the other lamp post, both the pillars rock gently. Ancient Hindus raised such rocking edifices in many other places such as Gurdaspur and Ahmedabad alias Karnavati. 

 

Photo # 54: This building at Aurangabad in the Deccan was built by a Hindu Raja who was impressed by the Tajo-Mahalaya in Agra when he visited it on pilgrimage in pre-Muslim times. Ironically, Shahjahan planted a grave in the Agra building while his son and successor Aurangzeb planted his own wife’s (fake) grave in the Aurangabad building. Other historic buildings in Aurangabad are similarly of Hindu origin though they are currently ascribed to Muslims by somnolent historians. The Hindu origin of this building, now wrongly dubbed as Bibi-Ka-Makabara, is discussed in Mr. P. N. Oak’s article in the Deepavali 1972 number of Marathi Dharmabhaskar monthly. 

 

Photo # 55: In Farkanday village in Jalgaon district in Maharashtra is this ancient Hindu temple currently used as a mosque. If one person climbs to the top of each of the two towers and hugs the window vigorously, both the towers rock gently as in an earthquake. This gimmick of ancient Hindu architecture has no parallel. Historians who ascribe such marvels to Muslims do not realize that Islam has no ancient architectural texts [or standards of construction methodology] of its own. 

 

Photo # 56: [This] Leaning lamp tower on the way from Asoda to Karkande village in Jalgaon District of Maharashtra is a rare specimen of Hindu architecture. The temple connected to this lamp tower was destroyed in Muslim attacks. 

 

 

Photographs of Various Pieces of Art With Vedic Influence 

 

Photo # 57: As in the headquarters of Christianity (namely the Vatican in Rome) at the headquarters of Islam too (namely in the Kaaba temple in Mecca city of Saudi Arabia) the ancient Hindu Shiva Linga may still be seen. This cylindrical stone, rendered immovable for security by being fixed in the outer corner of a wall, is the object of reverence of all Muslims. Here Muslims still continue the seven perambulations in the age old Hindu style except that they move anti-clockwise. White silver foil shrouds the stone. The oval uncovered central portion gives the pilgrims an idea of how the stone looks. Syrians had once carried away the stone as a war trophy and kept it for 22 years. 

 

Photo # 58: An Arab woman wearing the Hindu vermilion mark on her forehead in ancient times when the world practised Hinduism.

 

Photo # 59: Hindu administrations, the Sanskrit language, Hindu culture and the Hindu medical system–Ayurved, held sway throughout the ancient world. Monarchs then used to attend court bare-bodied with sacred ash and colour marks on their bodies. This is an Hindu Egyptian monarch of those times. [The ‘V’ mark is called tilok, and is shown being worn by this Egyptian in the same style that it is still worn by Vaishnavas today in India, on the forehead, arms, neck, chest and belly, representing that one is a worshiper of Lord Krishna or Vishnu.] 

 

Photo # 60: The Hindu architect of the pyramids looking at an unfolded architectural scroll. He is wearing Hindu marks on his body. This should underline the need to reconstruct the worldwide sway of Hinduism in ancient times currently wiped out of all history. 

 

Photo # 61: Bulls were worshipped in ancient Hindu Egypt as they are still worshipped in Hindu India. The earliest explorers of Europe and Africa were Hindus. The river ‘Nile’ bears the Sanskrit name indicating her blue waters. 

 

Photo # 62: This mosaic captioned “A Pastoral Scene” is of the 2nd century A.D. and is on display at the museum in Corinth, 60 Km. from Athens (Greece). Obviously this is Lord Krishna the Hindu incarnation in his boyhood. The bare body, the horizontal flute, the cross-legged stance, standing under a tree with a few cows grazing around is exactly how Krishna is depicted in Hindu pictures. This is proof that in ancient Hindu Europe, Krishna and Rama as much as the Shiva Linga were worshipped as they are still worshipped by the Hindus in Hindusthan. 

 

Photo # 63: Roman consul wearing the Hindu forehead mark indicating that in ancient times Romans were Hindus. Roman emperors also sported the title ‘Dev’ as the termination of their names in the Hindu royal style. [The ‘V’ mark is called tilok, and is worn on the forehead to represent that one is a Vaishnava, a worshiper of Lord Krishna or Vishnu.] 

 

Photo # 64: A Roman superior wearing the Hindu/Vaisnava dhoti, chappals (sandals) and Hindu/vedic/Vaisnava marks on his neck and forehead–reminding one of the times when Europe practised Hinduism/Vaisnavism. 

 

Photo # 65: A Ramayanic episode found painted in ancient Italian homes; Lav and Kusha driving away a captured royal sacrificial horse belonging to their father Rama. The founding of Rome is ascribed to brothers Remus and Ramulus–which are latter-day variations of the Hindu name Rama. 

 

Photo # 66:  Vali and Sugreeva–two monkey chiefs disputing over a woman Tara whom both claim as wife. Being monkeys they are undressed. This is one of the many Ramayanic scenes found sketched in ancient Italian homes (this one is sketched on a vase discovered in archaeological excavations in Italy). 

 

Photo # 67:  Rama-Seeta-Lakshmana walking through the forest in the order described in the Ramayana, a scene delineated in ancient Italian homes. Italian archaeologists express bewilderment at these paintings because they are unaware that ancient Europe including Italy practised Hinduism. 

Photo # 68: Three Hindu gods. The one at the left known as Ayu Devata (God of life) is still invoked in Siberia if some near and dear one falls seriously ill. The other two are just samples of the many gods and goddesses sold in the bazar of Ulan Bator, the capital of Mongolia. These indicate how Hinduism prevailed in the ancient world. Even the Slav people in Europe worshipped Hindu deities. 

 

Photo # 69: A Ramayanic scene found painted in ancient Italian houses discovered in archaeological excavations. Kausalya, Kaikeyi and Sumitra, wives of the aged king Dasharath sharing the divine fertility potion to beget illustrious sons. The Dasharath legend is also part of ancient Egyptian lore. All this shows that countries of Europe and Africa were Hindu in ancient times. 

 

Photo # 70: This is the Hindu deity form of Shiva. This piece is at present on view in the Etruscan Museum at the Vatican in Rome. Encyclopedia Britannica mentions under the headings “Etruria” and “Etruscan” that between the 2nd and 7th centuries BC, northern Italy was known as Etruria. During excavations many such “meteoric stones mounted on carved pedestals” are discovered in Italy. Obviously, therefore, this one was dug up from the Vatican itself. Many more must be lying buried in the Vatican’s massive walls and numerous cellars. Vatican is itself the Sanskrit word “Vatica” applied to Hindu cultural-cum-religious centers as in “Ashrama-Vatica” or “Dharma-Vatica” or “Ananda-Vatica.” Therefore, the Vatican was obviously a Hindu religious seat before its incumbent was forced to accept Christianity. 

 

Photo # 71: [There was no caption in the album for this photo of this drawing. However, from other sources it is said to have been found in Italy. It is an illustration from the Ramayana of Vibhishan, Ravana’s brother, ready to leave Lanka in battle-dress to join Lord Rama. He is shown making one last appeal to Ravana to release Sita, Lord Rama’s wife, shown sitting in the bottom corner.] 

 

Photo # 72: The British coronation chair in Westminster Abbey in London. It has lions at its four legs. (Only two front ones are seen in this photo.) This is because England’s royal tradition is of Hindu origin. A Hindu king has to be crowned on a Simhasana, i.e. a Lion’s Seat. The almond-colored square stone (seen in the shelf under the seat) is an ancient Hindu memento carried from Delhi, i.e. Indraprastha by Hindu warriors when they first set up throne in the distant British isles. [The following is a different caption under a replica copy of the same photograph in the album.] It is no coincidence that this coronation chair of British royalty in Westminster Abbey, London, is literally a Lion’s seat (simhasan) as it is called in Hindu tradition. A cutpiece of an ancient Shiva Lingam serving several vicissitudes may also be seen reverently placed in the compartment under the royal seat. The sacred stone is known as the Stone of Destiny (Bhagyavidhata) alias stone of Scone (because it was brought from a church in the city of Scone in Scotland, to London in 1296 A.D.). But before being brought to Scotland, it was at the Hill of Tara (Taragarh) in Ireland. Thus, these two, i.e. the Simhasan & Shiva Lingam reaching back into immemorial antiquity, are significant proof of Britain having once been a Hindu country ruled by Hindu Kings. The lions are also of the Burmese and Mysorean Hindu design. 

 

Photo # 73: An Australian bushman wearing the Hindu sandal/”tilak” mark on his forehead in ancient times when the world practised Hinduism. A bell bearing Tamil inscriptions once formed part of an Australian fisherman’s catch. The vast expanse of water from the Americas to Australia, is known as the Indian Ocean precisely because the Indian fleet held unchallenged sway over it. The word ‘navy’ is itself the Sanskrit word “Navi” signifying boats. 

 

Photo # 74: This is the cover of a 16th century book titled “The Cosmos and its Mathematical Study” by the Persian author Mohamed-al-Tusi. It is found in the Egyptian National Library, Cairo. The multi-armed deity (holding a book or Vedas, an axe, drum, bunch of incense sticks, a lotus bud and a mouse) and the hexagonal platform on which he sits, certainly shows the Vedic influence.  

 

Photo # 75:  From the British Museum, London, we find this inscription tablet from pre-Islamic Arabia. The crescent and sun on top relate to the Vedic dictum “Yawachchandra Diwakarau,” which signifies that the gift mentioned in the inscription should last as long as the sun and moon. This crescent and sun is a Vedic symbol, which still can be seen in use on the flags which adorn the top of the temple of Lord Jagannatha in Jagannatha Puri, as well as on coins in Hindu Nepal. This symbol is in reference to the idea that it is Lord Vishnu who is the source of the light for the sun and the moon. Thus, this symbol which also adorns Islamic flags shows its Vedic influence.  

 

Photo # 76: A typical ancient Vedic brass lamp from Saudi Arabia. Again it is a sign of the Vedic influence that was and still is found in the Middle East and Arabia. Such lamps are still used in India today. Stories of Allauddin, or Aladdin, and His Lamp come from ancient Vedic India, although many give credit to Arabia.  

 

Photo # 77: This image from pre-Islamic Saudi Arabia, displayed at the British Museum, shows goddess Sarasvati riding a swan carrier.  

 

Photo # 78: If one looks, a person can find reminders of the ancient Vedic culture in numerous places, even where you least expect. Here for example is the image of the Vedic Lord Shiva. This is found in Bologna, Italy on a public fountain. Notice the trident he carries, along with the hoods of two snakes coiled around his neck on each of his shoulders, typical of Shiva. Images resembling Ganesh, Shiva, Rama and Krishna have been found in many archeological excavations throughout Italy, although not publicized by Christians.

 

 

 

Hare Krishna please share! 

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