The actual Taj story: how a monument’s history has been warped

A little over 60 years ago, Purushottam Nagesh Oak slept and dreamt. He woke up and claimed that the Taj Mahal in Agra was actually a Hindu palace going back all the way to 4th century. Friends of Mr. Oak, an English teacher-turned-lawyer-turned-journalist but never a historian, told him that the Taj Mahal couldn’t have been a fourth century structure as the technology employed in building the Taj in the 17th century didn’t exist back then. The fantasist turned a pragmatist, and Oak brought his argument forward by a few centuries. The Taj was now claimed to be a Hindu temple. This was in 1989. He wrote articles and a book too, but found no support from historians. Even the Supreme Court dismissed his claims as “a bee in his bonnet” in 2000.

But post-2014, history is like a revolving door, you enter and exit at your ease and pleasure. You pick and choose, you circumvent and invent. Dress it up as a movie and claim you are looking at history anew. That is how we get a movie like Tushar Amrish Goel’s The Taj Story, starring former BJP MP Paresh Rawal; just like we had The Kashmir Files and The Bengal Files, starring Anupam Kher and Mithun Chakraborty, all ideological partners of the Bharatiya Janata Party (BJP).

With The Taj Story, Goel goes where no historian has gone. Proof, evidence and knowledge amount for nothing as the director makes a case for the Mughal monument being actually a Hindu temple, much like the BJP leader Sangeet Som who called it alternately a Shiva temple and a monument built by a man who incarcerated his father. Mr. Som obviously couldn’t make out a Shah Jahan from an Aurangzeb and hence got mixed up. Much like Oak, oops, Goel, who sees no difference between history and mythology, facts and fantasy.

Recorded history

Talking of facts, the Taj Mahal was built by the Mughal emperor Shah Jahan after his favourite wife Arjumand Bano Begum breathed her last after bearing the last of their 14 children. Its chief architect was Ustad Ahmed Lahori. The land for her last resting place was procured from Mirza Raja Jai Singh of Amber who had inherited it from Raja Man Singh, a celebrated general of Akbar, who was Shah Jahan’s grandfather. Shah Jahan compensated Jai Singh with four havelis from the royal property for the massive haveli in which rests Mumtaz Mahal. His firman to Jai Singh, the latter’s agreement and the Mughal emperor’s subsequent letter of granting him four havelis in lieu of one, are all part of history; unlike the claim of The Taj Story which talks in terms of a massacre and genocide of the locals for fulfilling the wishes of an emperor and his consort!

The work on the tomb started in 1632 with the finest craftsmen from across the country and West Asia. The chief mason was Mohammed Hanif from Baghdad who earned ₹1000 a month for his efforts. The pinnacle was built by Qayam Khan of Lahore and its Quranic inscriptions were done by Amanat Khan Shirazi. The mosaic work was done by local Hindu workers. Above all, some 20,000 workmen toiled for 22 years to build the monument to love. Its white marble came from Jaipur, lapis lazuli from Sri Lanka, crystal from China and coral from Arabia. The monument uses the double dome technique, previously seen only in the Humayun’s tomb in Delhi, and never seen in the country before the arrivals of the Turks.

Not the first time

Over the years, many have tried to appropriate credit for its beauty and majesty. In the 17th century, it was claimed by many in the West that the architect of the Taj was Venetian Geronimo Veroneo, a jeweller by profession. Then came the claim by Mughal Beg in Tarikh-e-Taj Mahal that it was designed by Muhammad Effendi, an architect supposedly sent by the Sultan of Turkey. Effendi though was as much an architect as Oak was a historian. In the mid 19th century it was claimed that the monument was the result of the genius of Frenchman Austin de Bordeaux, a jeweller. However, Austin died in 1632, the year the work on the Taj began. With his death all claims of Austin being the Taj’s architect were buried. And facts began to be raised.

As for fantasy, well there is Goel’s film, never mind its claim of presenting the “untold history of the Taj Mahal”. The film, replete with stereotypes of kohl-lined, skullcap-donning Muslims aims at building a nation’s memory on unreasoned mythology, far removed from the well argued debates of history. Much like Oak’s view that Christianity was nothing but Krishan-Niti. Not game for any ridiculous claims in an insipid film which opened with a mere 14% attendance in the first show? Watch M. Sadiq’s 1963-saga Taj Mahal. Sure, you would remember its song, ‘Jo wada kiya woh nibhana padega’, penned by Sahir Ludhianvi and sung with much love by Mohammad Rafi and Lata Mangeshkar. Sadiq’s film with Pradip Kumar and Bina Rai in the lead cast, made no effort at replacing history with mythology.