Taj Mahal - The True Story

Taj Mahal – A Hindu Temple-Palace

By now you all know through my previous articles, the irrefutable facts and deductive logic which prove that Islam is evil right at its very foundation. It is not a religion, but a means to legalize rape, murder, loot and destruction! Given what I have shown in these previous weeks, no one should have the slightest doubt that the true followers of such a "religion" can only be called dacoits!

These dacoits have looted and raped many countries, but no country can tell a bloodier tale of muslim oppression than India! The muslim dacoits started their rule over India in 712 A.D. with the invasion of Mohammed Qasem and looking at the present situation of our country it still continues on today!

During their rule they looted and destroyed hundereds of thousands of Hindu temples. Aurangzeb himself destroyed 10,000 Hindu temples during his reign! Some of the larger temples were converted into mosques or other Islamic structures. Ram Janmbhoomi(at Ayodhya) and Krishna Temple(at Mathura) are just two examples. Many others exist.

The most evident of such structures is Taj Mahal--a structure supposedly devoted to carnal love by the "great" moghul king Shah Jahan to his favorite wife Mumtaz Mahal. Please keep in my mind that this is the same Shah Jahan who had a harem of 5,000 women and the same Shah Jahan who had a incestuous relationship with his daughter justifing it by saying, 'a gardner has every right to taste the fruit he has planted'! Is such a person even capable of imaging such a wondrous structure as the Taj Mahal let alone be the architect of it

The answer is no. It cannot be. And it isn't as has been proven. The Taj Mahal is as much a Islamic structure as is mathematics a muslim discovery! The famous historian Shri P.N. Oak has proven that Taj Mahal is actually Tej Mahalaya-- a shiv temple-palace. His work was published in 1965 in the book.

Taj Mahal – The True Story

However, we have not heard much about it because it was banned by the corrupt and power crazed Congress government of Bharat who did not want to alienate their precious vote bank--the muslims.

After reading Shri Oak's work which provides more than adequate evidence to prove that Taj Mahal is indeed Tejo Mahalaya, one has to wonder if the government of Bharat has been full of traitors for the past 50 years! Because to ban such a book which states only the truth is surely a crime against our great nation of Bharat.

The most valuable evidence of all that Tejo Mahalaya is not an Islamic building is in the Badshahnama which contains the history of the first twenty years of Shah Jahan's reign. The writer Abdul Hamid has stated that Taj Mahal is a temple-palace taken from Jaipur's Maharaja Jaisigh and the building was known as Raja Mansingh's palace. This by itself is enough proof to state that Tejo Mahalaya is a Hindu structure captured plundered and converted to a mausoleum by Shah Jahan and his henchmen. But I have taken the liberty to provide you with 109 other proofs and logical points which tell us that the structure known as the Taj Mahal is actually Tejo Mahalaya

There is a similar story behind Every Islamic structure in Bharat. They are all converted Hindu structures As I mentioned above, hundereds of thousands of temples in Bharat have been destroyed by the barbaric muslim invaders and I shall dedicate several articles to these destroyed temples. However, the scope of this article is to prove to you beyond the shadow of any doubt that Taj Mahal is Tejo Mahalaya and should be recognized as such! Not as a monument to the dead Mumtaz Mahal--an insignificant sex object in the incestous Shah Jahan's harem of 5,000.

Another very important proof that Taj Mahal is a Hindu structure is shown by figure 1 below. It depicts Aurangzeb's letter to Shah Jahan in Persian in which he has unintentionally revealed the true identity of the Taj Mahal as a Hindu Temple-Palace. Refer to proofs 20 and 66 stated below.

Taj Mahal Story

Akbar Khan´s passion for the story behind the creation of the Taj Mahal is very much evident in his latest historical saga. It is Naushad who stirs the soul with his splendorous compositions. The emotions stirred by the contemplative words in "Mumtaz tujhe dekha, Jab Taj Mahal dekha..." linger long after the movie is over.

It is sad to say though but the film does no justice to the melodious music that it adorns itself with. Akbar Khan has gone to a lot of effort to present a memorable and legendary love story but the trouble is that everything seems too staged to make it a touching romance. Flabby and overlong scenes of evil plotting and rebellion turn it into a bloated historical epic Burp burp.

Aurangzeb (Arbaaz Khan) imprisons his father Shah Jehan (Kabir Bedi) in his palace. A flashback reveals the details of Shah Jehan´s love story with Arjumand also known as Mumtaz Mahal Zulfi Syed as the younger Shah Jehan, Sonya Jehan The major obstacle to the love story is the villainous Noor Jehan (Pooja Batra) who desires for the prince to marry her daughter, Ladli Begum (Kim Sharma).

Yep, you read that right - Pooja Batra plays mother to Kim Sharma. The casting choice looks as odd as it sounds. Batra and Sharma do not suit their roles and their off-key approach to their roles does not help The actresses should have remembered not to pout... They are in a period saga, not a song remix video.

The make-up department obviously could not be bothered to check whether their work is appropriate to the era or not (some of the make-up on any of the actresses look too modern). I´ll give them marks for knowing how to steal the show. Arbaaz Khan´s cameo is upstaged by a planted beauty spot on his cheek It looks like a gigantic raisin that will fall off any minute.

Some of the special effects is iffy especially those galloping deer in the forest. Dear oh dear, the digitised deer looked very lost. I think they wanted to go back to their computer home page. This adds to the increasing suspicion that one is viewing a rejected draft of a Disney romance. Akbar Khan´s treatment reminds too much of a fairytale - how many times do we have to see two lovers skipping towards each other in slow motion?

The Disney influence is most noticeable in the villainous character of Eitbaar Khan (who reminds me of Jafar Khan from Ron Clements’ and John Musker’s "Aladdin"). Eitbaar is a eunuch who is all dressed up in black and has nowhere to go. A croaky and evil eunuch. I have a niggling feeling that the oppressed and repressed eunuchs in today´s India will not be applauding this film anytime soon.

The influence of K Asif´s "Mughal-e-Azam" is apparent right from the voice-over introduction to the theatrical dialogue deliveries. Akbar Khan has tried to equal some of it in terms of grandeur and has given it a darker touch. Some scenes such as the moment when Shah Jehan sits down to eat dinner and finds his son´s head on the tray instead are unintentionally funny but the battle scenes are impressively staged in parts and realistically gory even. The occasionally refined camerawork and dainty photography further compliments the atmosphere of such scenes.

Nevertheless it is the central love story that is such a let down. Sonya Jehan makes a satisfactory debut but Zulfi Syed is more awkward and speaks as if he is reading from a piece of paper. Their characters go through the paces of falling in love just for the sake of it. Khan does romanticise their love story and spells it out with a hundred violins but he fails to bring out the inner nuances of their passion for each other.

It does spark up and the inner magic comes alive towards the end of the film when Kabir Bedi giving a much better performance than Syed portrays the shades of a man gripped by grief and encroaching death. But by then it is too late.

Angry strokes

Slice and violence: The fluid colours of Shahabuddin's work.

THE first thing that strikes you about Shahabuddin's work is the contrast of mood on a single canvas. Angry reds meet calm white spaces. Soothing blues confront despairing blacks. The energy of motion is overcome by an inert background. Silence meets violence.

It's not surprising that Shahabuddin's is the language of torment and aggression. Having spent his early years in the Mukti Bahini the Bangladesh Liberation Army, he is no stranger to violence and death. Among the first to hoist the flag of a free Bangladesh, he is also familiar with the triumph after the ordeal Today although firmly ensconced in Paris and away from his home country, this internationally acclaimed artist continues to revisit the early period in his life through his work. And many honours and accolades since torment continues to be his pet theme.

His current show, presented by Vickram Sethi at the Institute of Contemporary Indian Art in Mumbai's art district Kala Ghoda is in his trademark style of burst of energy suspended in space as animals and messiahs vie for the viewer's attention, alternating between canvases Proving to us, yet again, why Shahabuddin is considered one of the leading painters of our times.

Images from the past

Chasing cats, raging bulls athletes in flight wracking screams seem to echo images from a tumultuous past Figures are central to every work and the action is almost primeval Animals are seen poised for combat as in "Chase" The chase indeed is a recurring theme as the images of violence continue to stalk their painter Even the work "Affection" significantly is tainted with the colour of blood.And yet it is torment that makes its peace in the end.

The stalking panther is dwarfed by its still background, as are the horses in "Speed" "Festival" a work crowded with despairing victims of violence faceless and ravaged is almost Biblical in its depiction of the Saviour and yet ironical in title Despite the energy and the colours of gore the paintings have a lyrical quality almost and the motion of poetry The body of work seems to move from despair to hope and from action to serenity. Or vice versa.

CMA buys rare and expensive Indian statue

Photo provided by Cleveland Museum of Art This statue of the Hindu god Shiva purchased at auction by the Cleveland Museum of Art cost $4 million a record price The Cleveland Museum of Art has revealedit was the secret buyer of a rare 1,000-year-old Indian sculpture of the Hindu god Shiva sold by the Albright-Knox Art Gallery in Buffalo in a highly controversial auction on March 23 Bidding at Sotheby's in New York through the London art dealer John Eskenazi the Cleveland museum paid $4.072 million for the work a record price for an Indian sculpture.

"I'm elated" Timothy Rub director of the Cleveland museum said Monday by phone from New York calling the sculpture a new centerpiece of Cleveland's highly regarded collection of Asian art "This is the crowning of my career" said Stanislaw Czuma who retired in 2005 after 33 years as the museum's curator of Indian and Southeast Asian art and who urged the museum to buy the work "From every level you approach it this is a fantastic acquisition " In a written statement Martin Lerner a retired curator of Indian and Southeast Asian art at the Metropolitan Museum of Art in New York called the Shiva "one of the most important Indian sculptures to have come on the market in recent memory " Carved and polished in dark gray granite the life-size sculpture depicts the Hindu deity Shiva known as "the Destroyer" as he shares identity with the deity Brahma known as "the Creator " Czuma called the work a superb example of best artistic period of the Chola Dynasty which dominated southern India from the 10th to the 13th centuries The Albright-Knox set off a bitter civic controversy in Buffalo last year when it decided to sell the Shiva and dozens of other important pre-modern works to raise money for its relatively modest endowment of $58 million "We sort of went through a war here," said Louis Grachos, director of the Buffalo museum.

In March a N.Y. State Supreme Court judge dismissed a last-minute lawsuit filed by an ad hoc group called the Buffalo Art Keepers which tried to stop the auctions The Albright-Knox has raised $22 million so far by selling works of ancient and Asian art with the Shiva fetching one of the highest individual prices The museum will use the money to boost the portion of the endowment restricted to art purchases and will focus on buying works of Modern and contemporary art its principal focus Grachos said there was "absolutely" no other way to raise millions of dollars for the endowment than by selling artworks that no longer fit the museum's core mission He said he was delighted that the Shiva will go to Cleveland rather than in a private collection or a museum overseas Knowing that the work is a short drive away from Buffalo takes some of the sting out of the sale he said "Although it's left home it's not gone far away " he said.

Rub said he hoped to exhibit the sculpture later this year alongside other important works from the museum's collection of Indian art The museum is mostly closed for a $258 million expansion and renovation although it is open for special exhibitions and classes The Albright-Knox acquired the Shiva in 1927 as a gift from a donor who bought it from the respected dealer C.T. Loo The work's "provenance" or ownership history places it beyond the reach of contemporary laws aimed at preventing the looting of ancient artworks Czuma said the sculpture probably adorned an outdoor niche on the north side of a major temple in southern India but it is not known when the work was removed He said it was the finest of a group of five major stone statues of Shiva as Brahma acquired by American museums before World War II The sculpture combines the attributes of Shiva as the destroyer and Brahma as the creator to encapsulate the Hindu belief in death reincarnation and progress toward perfection Czuma said In the sculpture Shiva is sitting on a double lotus blossom He has a third eye and four heads each looking in one of the cardinal directions Czuma said The deity's four arms indicate his special powers Two of his hands hold a lotus and a rosary The other two hands are positioned in gestures of blessing and teaching.

"The carving is fantastic " Czuma said "You almost feel the flesh of the image It was a really great master that created it "

Lotus Sculpture

In five of his eight hands he holds a noose mace drum cobra and trident The trident represents the Hindu trinity of Brahma Shiva and Vishnu It is also said to represent the threefold qualities of nature creation preservation and destruction He holds a cobra symbolizing the power he has over the most deadly of creatures Snakes are also used to symbolize the Hindu dogma of reincarnation.

The drum represents the rhythmic sound to which Shiva dances and ceaselessly recreates the universe The front left hand is in the abhaya-mudra the "fear not" gesture made by holding the palm outward with fingers pointing up The front right arm is across the chest in the gahahasta (elephant trunk) pose with the wrist limp and the fingers pointed downward toward the demon Apasmara.

Lost Wax Method

The “Lost Wax Method” is the only technique used by the artisans of Lotus Sculpture to create our Bronze statues All of the artwork is one of a kind and is never reproduced on a large scale Bronze casting in south India and Bangladesh is a skill passed on from generation to generation Lotus Sculpture's artisans are the descendants of the famous Chola and Pala schools of bronze casting of 8th to 13th centuries.

Lotus Sculpture assures you that our sculptures are the best quality coming out India and Bangladesh today To give you an idea of the amount of time and delicate work that goes into the production of each piece we would like to outline the creation process for you.