Was the Taj Mahal a Vedic Temple?
The Photographic Evidence
This presents photographs (listed below)
www.krishnapath.org/photographic-evidence-taj-mahal-a-vedic-temple/
that show the Vedic influence found in such buildings as the Taj Mahal, Red Fort, and other structures in India. It also presents photos of drawings and art that have been discovered from other parts of the world, such as Arabia, Egypt, Greece and Italy, that show a definite Vedic influence. No matter whether you accept all of this or not, it nonetheless makes for an extremely fascinating and interesting story. Take a look and decide for yourself what you think. Also, let other people know about these, or print and use them for your own displays in your temple, office or home. Or exhibit the slide show for others to see.
We have all heard how the Taj Mahal, which is considered one of the great wonders of the world, was built as the preeminent expression of a man’s love for a wife. That it was built by emperor Shah Jahan in commemoration of his wife Mumtaz. However, in our continuous effort to get to the truth, we have recently acquired some very important documents and information. There is evidence that the Taj Mahal was never built by Shah Jahan. Some say the Taj Mahal pre-dates Shah Jahan by several centuries and was originally built as a Hindu or Vedic temple/palace complex. Shah Jahan merely acquired it from its previous owner, the Hindu King Jai Singh. In fact, as recently as 1910, the Encyclopedia Brittanica also said that it was a pre-existing building before Shah Jahan.
This controversy is something I have explained more thoroughly in my book, “Proof of Vedic Culture’s Global Existence.” However, other articles can be found on this CD that also explain some very interesting details. So, for those who want to know the intricacies of this issue, you can find it there. Yet here is the photographic evidence that will provide greater insights into this. The point to consider is how much more of India’s history has been distorted if the background of such a grand building is so inaccurate.
These photographs are taken from an album that was found and then smuggled out of India. On the back of each photo there is a stamp mark that says, “Archaeology Survey of India.” This signifies their authenticity and that they were the property of that institution. This means a number of things: That the Archaeology Survey of India (ASI) has been researching the evidence that proves the Taj Mahal and many other buildings were not of Muslim origin, and that they know this information but remain silent about it. It also shows that in spite of this evidence they refuse to open up further research that would reveal the true nature and originality of the buildings, and lead to understanding another part of the real history and glory of India. This attitude is something that must be changed.
It is because of the manipulation of history by invaders that the true greatness of India and Vedic culture has been stifled or hidden. And it is time that people everywhere realize how numerous lies and false propaganda have been passed around as if it were the truth in regard to India and its past, as well as its art, archeology, and the wonder of its culture. India and its Vedic society was one of the preeminent civilizations of the world, as I explained in “Proof of Vedic Culture’s Global Existence.” Now, through the increasing amount of revealing evidence that is being uncovered, that greatness of India’s past and its contributions to the world are gradually being recognized. It is because of this that it is now time to rewrite the history of India.
These photos are black and white and were found in a simple photo album in India. Except for old age and some water damage on some of them (creating white spots in areas), most are still in relatively good condition. Each photograph was accompanied by a typed caption taped in the album near the photo, each of which gives a very interesting explanation of the subject and the Vedic influence recognized on the building and what it means. The captions are written on the following pages (listed next to the photo number) just as they were written in the album, so the style of English and the explanations are kept the same. They are obviously written from an Indian perspective. Whatever I may say about the photos are displayed in brackets [ ]. Otherwise I let the captions and photos speak for themselves. Some of these photos will show areas of the Taj where the public has no access, or what is rarely seen or noticed.
Descriptions of the Photographs
of the Taj Mahal
Photo # 1: An aerial view of the Taj Mahal alias Tejo Mahalaya, ancient Hindu temple complex in Agra. For the last 300 years the world has been fooled to believe that this stupendous edifice was built by the 5th generation Mogul emperor Shahjahan to commemorate one of his dead wives–Mumtaz. The two flanking buildings although identical, only the one in the rear is known as a mosque. The Taj Mahal has seven stories. Five of them lie sealed and barred concealing rich evidence. The marble building in the centre is flanked by two symmetrical ones. The one in the foreground is the eastern one. The one in the background is being represented as a mosque because it is to the west. They should not have been identical if only one was to be a mosque. In the courtyard at the foot of the eastern building is inlaid a full scale replica of the trident pinnacle [found at the top of the dome]. The tiny tower at the left near the western building, encloses a huge octagonal multi-storied well.
Photo # 2: This is the massive octagonal well with palatial apartments along its seven stories. A royal staircase descends right down to the water level indicated by the tiny white patch showing the sun’s reflection. This was the traditional treasury well of the Hindu temple palace. Treasure chests used to be stacked in the lower stories. Accountants, cashiers and treasurers sat in the upper stories. Cheques called handies used to be issued from here. On being besieged, if the building had to be surrendered to the enemy, the treasure used to be pushed into the water for salvage later after recapture. For real research, water should be pumped out of this well to reveal the evidence that lies at the bottom. This well is inside a tower near the so-called mosque to the west of the marble Taj. Had the Taj been a mausoleum this octagonal multistoried well would have been superfluous.
Photo # 3: A frontal view of the Taj Mahal alias Tejo Mahalaya in Agra. It is octagonal because the Hindus believe in 10 directions. The pinnacle pointing to the heaven and the foundation to the nether world, plus the eight surface directions make the 10 directions. Divinity and royalty are believed to hold sway in all those 10 directions. Hence in Hindu tradition, buildings connected with royalty and divinity must have some octagonal features or the buildings themselves should be octagonal. The two flanking cupolas (two others to the rear are not seen in this photo) are also identical. The towers at the four plinth corners served as watch towers during the day, and to hold lights at night. Hindu wedding altars and Satyanarayan worship altars invariably have such towers at corners. [Many other Hindu temples, such as those at Khajurao, also can be found to have four towers or temples, one at each corner of the temple foundation.] The lotus flower cap on the head of the dome is a Hindu feature. Muslim domes are bald. This marble edifice has four stories. Inside the dome is an 83 ft. high hall. The Taj has a double dome. The dome one sees from inside ends like an inverted pan on the terrace. The dome seen from outside is a cover on the inner dome. Therefore, in between them is an 83 ft. hall. This may be considered as one storey. Underneath may be seen the first storey arches and the ground floor rooms. In the basement, visitors are shown one room. All these constitute the four storeys in the marble edifice. Below the marble structure are two stories in red stone reaching down to the river level. The 7th storey must be below the river level because every ancient Hindu historic building did have a basement. Thus, the Taj is a seven-storied structure.
Photo # 4: The dome of the Taj Mahal bearing a trident pinnacle made of a non-rusting eight-metal Hindu alloy. The pinnacle served as a lightning deflector too. This pinnacle has been blindly assumed by many to be an Islamic crescent and star, or a lightning conductor installed by the British. This is a measure of the careless manner in which Indian history has been studied till now. Visually identifiable things like this pinnacle too have been misinterpreted with impunity. The flower top of the dome, below the pinnacle, is an unmistakable Hindu sign. A full scale figure of this pinnacle is inlaid in the eastern courtyard.
Photo # 5: A close up of the upper portion of the pinnacle of the Taj Mahal, photographed from the parapet beneath the dome. The Hindu horizontal crescent and the coconut top together look like a trident from the garden level. Islamic crescents are always oblique. Moreover they are almost always complete circles leaving a little opening for a star. This Hindu pinnacle had all these centuries been misinterpreted as an Islamic crescent and star or a lightning conductor installed by the British. The word “Allah” etched here by Shahjahan is absent in the courtyard replica. The coconut, the bent mango leaves under it and the supporting Kalash (water pot) are exclusive Hindu motifs.
Photo # 6: The full scale figure of the pinnacle on the dome has been inlaid on the red stone courtyard of the Taj Mahal. One may see it to the east at the foot of the riverside arch of the flanking building wrongly dubbed as Jamiat Khana (community hall) by Muslim usurpers. Such floor sketches in courtyards are a common Hindu trait. In Fatehpur Sikri it is the backgammon board which is sketched on a central courtyard. The coconut top and the bent mango leaves underneath, resting on a kalash (i.e. a water pot) is a sacred Hindu motif. Hindu shrines in the Himalayan foothills have identical pinnacles [especially noticed at Kedarnath, a prominent Shiva temple]. The eastern location of the sketch is also typically Hindu. The length measures almost 32 ft.
Photo # 7: The apex of the lofty entrance arch on all four sides of the Taj Mahal bears this red lotus and white trident–indicating that the building originated as a Hindu temple. The Koranic lettering forming the middle strip was grafted after Shahjahan seized the building from Jaipur state’s Hindu ruler.
Photo # 8: This is a riverside view of the Taj Mahal. The four storied marble structure above has under it these two stories reaching down to the river level. The 22 rooms shown in other photos are behind that line of arches seen in the middle. Each arch is flanked by Hindu lotus discs in white marble. Just above the ground level is the plinth. In the left corner of the plinth is a doorway indicating inside the plinth are many rooms sealed by Shahjahan. One could step out to the river bank from the door at the left. The 7th storey is surmised to be under the plinth below the ground because every ancient Hindu mansion had a basement. Excavation to reach the basement chamber should start under this door.
Photo # 9: Most people content to see Mumtaz’s grave inside the Taj fail to go to the rear riverside. This is the riverside view. From here one may notice that the four-storied marble structure on top has below it two more stories in red stone. Note the window aperture in the arch at the left. That indicates that there are rooms inside. Inside the row of arches in the upper part of the wall are 22 rooms. In addition to the four stories in marble, this one shows red stone arches in the 5th storey. The 6th storey lies in the plinth in the lower portion of the photo. In another photo a doorway would be seen in the left corner of the plinth, indicating the presence of apartments inside, from where one could emerge on the river for a bath.
Photo # 10: These corridors at the approach of the Taj Mahal are typically Hindu. They may be seen in any ancient Hindu capital. Note the two octagonal tower cupolas at the right and left top. Only Hindus have special names for the eight directions and celestial guards assigned to each. Any octagonal feature in historic buildings should convince the visitor of their Hindu origin. Guards, palanquin bearers and other attendants resided in hundreds of rooms along numerous such corridors when the Taj Mahal was a Hindu temple palace. Thus the Taj was more magnificent and majestic before it was reduced to a sombre Islamic cemetery.
Photo # 11: This Naqqar Khana alias Music House in the Taj Mahal garden is an incongruity if the Taj Mahal were an Islamic tomb. Close by on the right is the building which Muslims claim to be a mosque. The proximity of a mosque to the Music House is incongruous with Muslim tradition. In India, Muslims have a tradition of pelting stones on Hindu music processions passing over a mosque. Moreover a mausoleum needs silence. A dead person’s repose is never to be disturbed. Who would then provide a band house for a dead Mumtaz? Contrarily Hindu temples and palaces have a music house because morning and evening Hindu chores begin to the sweet strains of sacred music.
Photo # 12: Such are the rooms on the 1st floor of the marble structure of the Taj Mahal. The two staircases leading to this upper floor are kept locked and barred since Shahjahan’s time. The floor and the marble walls of such upper floor rooms can be seen in the picture to have been stripped of its marble panels. Shahjahan used that uprooted marble from the upper floor for constructing graves and engraving the Koran because he did not know wherefrom to procure marble matching the splendour of the rest of the Taj Mahal. He was also so stingy as not to want to spend much even on converting a robbed Hindu temple into an Islamic mausoleum.
Photo # 13: Such are the magnificent marble-paved, shining, cool, white bright rooms of the Taj Mahal temple palace’s marble ground floor. Even the lower third portion of the walls is covered with magnificent marble mosaic. The doorway at the left looks suspiciously closed with a stone slab. One can perambulate through these rooms around the central octagonal sanctorum, now occupied by Mumtaz’s fake grave. The aperture, seen through of the central door, enabled perambulating devotees to keep their eyes fixed on the Shiva Linga in the central chamber. Hindu Shiva Lingas are consecrated in two chambers, one above the other. Therefore, Shahjahan had to raise two graves in the name of Mumtaz–one in the marble basement and the other on the ground floor to desecrate and hide both the Shiva emblems from public view. [The famous Shiva temple in Ujjain also has an underground chamber for one of its Shiva-lingams.]
Photo # 14: This is the Dhatura flower essential for Hindu Shiva worship. The flower is depicted in the shape of the sacred, esoteric Hindu incantation ‘OM.’ Embossed designs of this blooming ‘OM’ are drawn over the exterior of the octagonal central sanctorum of Shiva where now a fake grave in Mumtaz’s has been planted. While perambulating around the central chamber one may see such ‘OM’ designs.
Photo # 15: This staircase and another symmetrical one at the other end lead down to the storey beneath the marble platform. 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 the sky. But at the foot the archaeology department has set up an iron door which it keeps locked. Yet one may peep inside from the iron gate 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 though long free from Mogul rule.
Photo # 16: On the inner flank of the 22 locked rooms (in the secret storey in red stone below the marble platform) is this corridor about 12 ft. broad and 300 ft. long. Note the scallop design at the base of the plinth supporting the arches. This is the Hindu decoration which enables one to identify even a bare plinth.
Photo # 17: One of the 22 rooms in the secret storey underneath the marble plinth of the Taj Mahal. Many such features of the Taj remain unknown to the public so long as they see it only as a tomb. If the public knew how much it is missing in the Taj Mahal it will insist that the government unseal its many stories. Two doorways at either end of this corridor in the right side wall leading to inner apartments have been sealed by Shahjahan. If those doorways are opened, important evidence concealed inside by Shahjahan may come to light.
Photo # 18: A corner of one of the 22 rooms in the secret storey immediately below the marble platform of the Taj Mahal. Note the strips of Hindu paint on the wall. The ventilator at the left, meant for air and light from the riverside, has been crudely walled up by Shahjahan. He did not bother even to plaster them. Had Shahjahan built the Taj as a mausoleum what was the purpose of the 22 rooms? And why are they kept locked and hidden from the public?
Photo # 19: One of the 22 locked rooms in the secret storey beneath the marble platform of the Taj Mahal. Strips of ancient Hindu paint are seen on the wall flanking the doorway. The niches above had paintings of Hindu idols, obviously rubbed off by Muslim desecraters. The rooms may be seen door within door in a row. If the public knew that the Taj Mahal is a structure hiding hundreds of rooms, they would insist on seeing the whole of it. At present they only peep into the grave chamber and walk away.
Photo # 20: This esoteric Hindu design is painted on the ceiling of some of the 22 locked rooms in the secret storey below the marble platform of the Taj Mahal in Agra. Had Shahjahan built the Taj Mahal he would not have kept such elaborately painted rooms sealed and barred to the public. Even now one can enter these rooms only if one can influence the archaeology department to remove the locks.
Photo # 21: A huge ventilator of one of the 22 rooms in a secret storey of the Taj, is seen here crudely sealed with unplastered bricks by Shahjahan. History has been so perverted and inverted that alien Muslims like Shahjahan who spoiled, damaged, desecrated and destroyed historic Hindu buildings, are being falsely paraded as great builders.
Photo # 22: 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 turvy in lauding destroyers as great builders.
Photo # 23: Many such doorways of chambers in secret stories underneath the Taj Mahal have been sealed with brick and lime. Concealed inside could be valuable evidence such as Sanskrit inscriptions, Hindu idols, the original Hindu model of the Taj, the desecrated Shiva Linga, Hindu scriptures and temple equipment. Besides such sealed chambers there are many which are kept locked by the Government. The Public must raise its voice to have these opened or it should institute legal proceedings. Shree P. N. Sharma of Green Park, New Delhi who peeped through an aperture in these chambers in 1934 A.D. saw a pillared hall with images carved on the pillars.
Photo # 24: Burharpur is a very ancient historic city on the Central Railway between Khandwa and Bhusawal junctions. Burhanpur and the nearby Asirgarh (fort) used to provide hospitality to Hindu royals proceeding north or south on pilgrimage, weddings or military expeditions. Barhanpur has many magnificent mansions which are currently being described as mosques and tombs of alien Islamic invaders. This building is one such ancient Hindu royal palace captured by the Moghuls. Mumtaz died here during her 14th delivery around 1630 A.D. while she and Shahjahan were camping here. She is said to be buried in a Hindu pavilion in front of this palace.
Photo # 25: Mumtaz is supposed to be buried in this garden pavilion of the ancient Hindu palace (Ahu Mahal) 600 miles from Agra, in Burhanpur. Another version says that Mumtaz’s corpse was kept here exposed to sun, rain, and wild beasts for six months. The date of her death, the date of her removal from Burhanpur to Agra, and the date of her assumed burial in the Taj Mahal are all unknown because the entire Taj Mahal-Mumtaz legend is a concoction from the beginning to end. [Mumtaz was only one of several hundred wives and women that Shahjahan kept in his harem.]
Descriptions of the Photographs of the Red Fort and Other Buildings in Delhi and Elsewhere in India
Photo # 26: This tablet raised inside Delhi’s Red Fort by modern archaeologists proclaims that Shahjahan (who ruled from 1628 to 1658 A.D.) built this fort from 1639 to 1648 A.D. As against this see the [next] photo of the painting of Shahjahan’s time preserved in the Bodleian Library, Oxford. It depicts Shajahan receiving the Persian ambassador inside the fort in 1628, the very year of Shahjahan’s accession. Obviously the fort existed much before Shahjahan.
Photo # 27: The 5th generation Mogul emperor Shahjahan is credited with having built the Red Fort in Delhi. Shahjahan ascended the throne in 1628 A.D. This contemporary painting shows him receiving the Persian ambassador in 1628 itself, in the Diwan-i-Aam (Common Room) of the Red Fort itself. This painting preserved in the Bodleian Library, Oxford, was reproduced in the Illustrated Weekly of India (page 32) of March 14, 1971. Since Shahjahan was in the fort in the year of his accession, this documentary evidence disproves the notion that he built the fort. Compare with this the photo of the tablet in English raised inside the fort by the Govt. of India’s archaeology department asserting that Shahjahan built the fort during 1639-48. This is emphatic proof of Indian history having been thoroughly falsified during Muslim rule in India.
Photo # 28: The Red Fort in Delhi has in its Khas Mahal, alias the King’s apartment, the royal emblem of its builder King Anangoal. It consists of a pair of swords laid hilt to hilt curving upwards, the sacred Hindu pot (kalash) above the hilts, a lotus bud and a pair of scales of justice balanced over it. Dotted around are representations of the sun from whom Indian ruling dynasties claimed descent. At the sword points are two small conches considered sacred in Hindu tradition. Bigger conches may be seen at the left and right corners at the base. This royal Hindu insignia of the Hindu king who built Delhi’s Red Fort, is still there in the Khas Mahal pavilion. But even this visual symbol has been blatantly misinterpreted. The two swords laid hilt to hilt, curving upward are being inadvertently styled by ignorant guides, archaeologists and historians as an Islamic crescent. The sacred Hindu Kalash (water pot) on the hilts is never noticed. The lotus bud on the kalash represents royal wealth. The pair of scales is symbolic of impartial justice.
Photo # 29: This perforated marble screen inside the Khas Mahal (i.e. the King’s own chamber) in Delhi’s Red Fort, is a Hindu specialty. Such jalees are mentioned even in Ramayanic descriptions of palaces. Therefore some buildings claimed to be mosques in Ahmedabad which boast of such exquisite jalees (lattices) are Hindu edifices. The Hindu royal emblem mounted on the upper part of the jalee, disproves that the Mogul Shahjahan built the fort.
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 12th century 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.
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