"Shame is like everything else, live with it long enough and it becomes part of the furniture" -- Rushdie
Preamble:- Shah Jahan did not construct the Taj Mahal. The Mughal appropriated the Hindu Temple-Palace from a Rajput resident - renovated it to conceal its Vedic-inspired origins and laid claim to constructing it. Period.
The syndicated discourse says the reign of the Mughals in India were free, fair and even romantic. For instance, it says the Taj Mahal was born out of a sad story of love and that Shah Jahan, a distraught widower and the 17th century emperor at the time, took '22 years' to 'construct' the 'mausoleum' in memory of one of his dead wives - Mumtaz.
Read more at http://tommypetersbicycles.blogspot.com/2010/03/tejo-mahalay-jahans-ruse_07.html
The black and white slides are a rarity as they were 'found' in an album in India. The photographs were first exhibited on the website of Stephen Knapp and show clearly the unmistakable and distinct Vedic architecture of the complex. On the rear of each photograph is stamped "Copyright Archaeology Survey of India" and inscribed with self-explanatory captions. Those who have visited the complex would note that some photographs show areas where public view is restricted.
The color slides that follow are from V. S. Godbole who explained, inter-alia, the complicity of the British in propagating the myth and P. N. Oak's role in exposing the relevant part of the The Badshahnama (on page 403) that confirmed the appropriation of the Temple-Palace from the resident Maharaja.
Some pertinent angles in Godbole's images are the 11 Inverted Water Pots (not Islamic Domes as claimed) a typical Hindu placement and numerical and the little Staging Elephants that support the Vedic-styled towers (not Islamic Minarets as claimed). It is said that hacking out even one those little carved-out baby elephants would compromise the structure of the towers, underscoring not only the timeless engineering of Vedic architecture, but the difficult task of erasing the ingrained Vedic signatures dotting the complex.
In his book Taj Mahal: The True Story, Oak points out a number of design and architectural inconsistencies that supports his position that the complex is a Vedic-architectured Temple-Palace rather than a mausoleum and proffered several others, namely that (1) Professor Marvin Miller of New York took samples from the riverside doorway of the complex and carbon-dating tests revealed that the timber pre-dated Jahan's era by at least 300 years. (2) European traveller Johan Albert Mandelslo, who visited Agra in 1638 (seven years after Mumtaz's death) describes the life of the city in his memoirs, but makes no reference to the complex, claimed to be erected between 1631 and 1653 and (3) the travelogue of Peter Mundy, an English visitor to Agra within a year of Mumtaz's death, suggest that the Temple-Palace was a noteworthy building that existed well before Jahan's era.
Fearing religion-inspired backlash while leaning towards political expediency with the Muslim bloc, Indira Gandhi had Oak's book withdrawn and threatened the publisher of the first edition with dire consequences.
The devil is not in the spectrum of references upon which Oak defends his position, but contained in the central theme of 'appropriation' to which the invaders subscribed. Anatolian culture was similarly invaded but because its history had a wider footprint, it was less susceptible to outright usurpation unlike its Vedic variety that was relatively closed to the world at the time.
Several rooms within the Temple-Palace remain sealed and inaccessible to the public. Oak asserts they contain a headless statue of Lord Shiva (then known as Tejo Mahalay) and other paraphernalia commonly used in Hindu rituals.
Historians on side of the truth, who face a consortium of pandering peers and politicians apparently blinded by fear and self-interest, suggest that the only way to validate or discredit Oak's research is simply to open and examine the sealed rooms.
The moral of the story - The thorn Radical History simply can't remove from its side is History.
Words, Videography - Tommy Peters
(The post is dedicated to Nina Jason. The video was made on a Mac with Picasa3 and Prem Joshua's Cosmo-Bali-Tan is the baritone that glues the elements. Advanced appreciation is rendered for materials used without express permission of copyright owners - March 7, 2010)
http://tommypetersbicycles.blogspot.com/
You argument is inconclusive. You cannot isolated certain factors of the Taj Mahal to try and prove that it was a hindu temple. I can easily say it is an Islamic structure due to the Quranic versus inlayed throughout the Taj. How the domes? The main dome is similar to the domes found on Mosque built by Muslims. I could also mention the minarets. However, Shah Jahan brought together Persian, Islamic, and Hindu/Indian architectural elements in the Taj Mahal.
YurrahAlHadi 3 months ago
@YurrahAlHadi Thanks, Yurrah, for your input
tmpeters 3 months ago
@YurrahAlHadi he 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.
1234indianboy 2 months ago
@1234indianboy Thank you. Sometimes there one answer to a puzzle looking straight at you and, besides Jahan's own Badshahnama that survived, the 'reverberating dome' seems to be it.
tmpeters 2 months ago
Fine piece of clip there Tom...the audio clip suits the slide...i pity the people who prolong the ruse and who are ashamed to expose the shame..
iamwiseguyhserusk 1 year ago
@iamwiseguyhserusk Historical evidence is susceptible to distortion if not borne out truthfully. The deception now lies with the Indian government tasked with maintaining the structure. Oak has researched extensively but the government thwarted him and continues to do so.
tmpeters 1 year ago