DEPT. OF ARCHITECTURE AND REGIONAL PLANNING INDIAN INSTITUTE OF TECHNOLOGY, KHRAGPUR
AMOL SAMPATRAO HOLEY 09AR6022 UNDER THE GUIDANCE OF: PROF. JAYDEEP BURMAN
[TULSHIBAUG-MANDAI: THE LOSS OF SYMBOLISM] [ ABSTRACT Conveying certain facts or messages symbolically has always been attempted in various fields related to art. Height/ vertical elements have since long ages been a symbol of victory or power. This symbol was well incorporated when building the Tulshibaug Temple in Pune and again when building the Mandai to dominate the temple. Conservation should aim at not merely conserving the structures, but also the messages associated with them. t hem. ] 1
TULSHIBAG- MANDAI AREA, PUNE. INTRODUCTION The study area is a part of Shukrawar Peth, located in the very heart of Pune. It has been witness to major historical events in the city. A number of structures representing the particular eras in which they were built are present here, be it the Peshwa period, the British or the post Independence period. The area is a congested core of the city, with a number of markets thriving and flanked by busy roads like Laxmi Road towards the north, Shivaji Road towards the east and Bajirao Road toward the west. The markets range from a vegetable
market, ladies’ shopping lanes, and utensils market to jewellery and clothings markets. The area is always vibrating with life as it is a seat of a number of socio-cultural activities, like Ganeshotsav, Gokulashtami, Ram Navami etc.
LAXMI ROAD CITY POST
ARYAN PARKING VISHRAMBAUG WADA
TULSHIBAUG TEMPLE COMPLEX
MAHATMA PHULE MANDAI
BAJIRAO ROAD
MINERVA PARKING
NEW MANDAI
SHIVAJI ROAD
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The structures built in various periods of history, hold a number of symbolic elements in them. The most dramatic being the symbolism intentionally incorporated in the duo Tulshibaug Mandir- Mahatma Phule Mandai. To understand how the superiority of the British over the Peshwas was symbolised in Mandai one must first understand symbolism and how it is used in various fields and then the history of the city. The history will also reveal how the perception of symbolism has changed over the years.
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SYMBOLISM Symbolism is an art style developed in the late 19th century characterized by the incorporation of symbols and ideas, usually spiritual or mystical in nature, which represent the inner life of people. There is a systematic use of recurrent symbols or images in a work to create an added level of meaning.
In dance: the various ‘Mudras’ in Indian Classical
dance
Symbols give meaning to an object, plant, or animal. For example, the two upright stones in the Zen Garden could symbolize a man and a woman standing on the shore of a river. Symbolism began as a reaction to the literal representation of subjects preferring to create more suggestive and evocative works. It had its roots in literature with poets such as Baudelaire believing ideas and emotions could be conveyed not only through the meaning of words but also in their sound and rhythm. In symbolism concrete objects can be used to represent an
In Architecture: Jewish
abstract idea or concept.
Museum, Berlin. Symbolism through connecting lines and
Symbolism is the systematic or creative use of arbitrary symbols
void spaces
as abstracted representations of concepts or objects and the distinct relationships in-between, as they define both context and the narrower definition of terms. In a narrow context, "symbolism" is the applied use of any iconic representations that carry particular conventional meanings.
Verticality: has been the symbol of victory, power and might since ages In Religion: the swastika symbolizes, in various contexts: luck, the sun, Brahma
In Planning: Chandigarh, City as a human being
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HISTORY UNDER THE PESHWAS
The 1700’s when the Peshwa s ruled was the Golden Period in the history of Pune. After Balaji Vishwanath, the Prime Minister of the Chhatrapati of Satara, Bajirao I became the Peshwa. In search of a better capital town, he shifted base from Saswad to Pune in the early
1700’s. Shaniwar Wada was constructed, new wards (Peths) were set up, a number of Wadas came up, and the Katraj aqueduct which brought water from Katraj Lake right upto Shaniwar
Wada was laid. More importantly a typical ‘Puneri’ Brahmanical culture developed during the times of the Peshwas. Under the Peshwas not only did the city thrive, but also the Maratha Empire expanded and reached right up to the thresholds of Delhi. It is said that the history of the nation would have been quite different if the Peshwas had not lost to Ahmed Shah Abdali in the Third Battle of Panipat in 1761. The effects of the battle were deep. Apart from checking the expansion of the Maratha Empire, it gave a serious blow to the morale of the rulers as well as the general public. Map showing extent of the Maratha Empire (in yellow), under the Peshwas
TULSHIBAG MANDIR COMES UP: SYMBOLISM OF THE PAST GLORY It was in the wake of this hour that Naro Appaji Khire, an administrator in the Peshwa Court, decided to build a Ram Mandir in 1763. He owned a garden/ orchard called the Tulshibaug in Shukrawar Peth. The Ram Mandir came up in the corner of this garden. To symbolically remind the people of the glory of the Maratha Empire and to boost their morale in some way, the Shikhara of the temple was intentionally kept high. It is still the highest in Maharashtra. The temple was set in the then outskirts of the city, amidst natural settings of gardens and orchards such as the Khasgiwale Baug, Vishram Baug, with the Ambil Odha on the western side. A few wadas of the elite were also located here. Gradually the temple grew in 5
importance in the social life of ‘Punekars’, especially the ladies. It proved as a space of retreat for the ladies who were mostly indoors, engrossed in the daily chores. Tulshibaug thus had a great place in the socio cultural life of the city. There was a certain emotional pride of the citizens attached with it. Later other structures such as the Rameshwar temple built by the Khasgiwales and the Wishrambaug Wada came up in the area.
The height of the Shikhara of the temple: symbolising the glory of the Maratha history.
UNDER THE BRITISH In 1818, the British took over the Peshwas and the city came under the rule of the Whites. Although the British based themselves in the Cantonment, the older parts were affected due to some of their policies. The Shaniwar Wada was largely neglected, and finally a fire razed the palace to the grounds. A number of new structures came up in the vicinity of the Tulshibaug Temple complex, like the Nagar Wachan Mandir which is a library and the City Post. It became difficult for the Tulshibaugwales and the Khasgiwales to maintain the huge gardens. Maintaining the temple complex too became difficult for the Tulshibaugwales. The ‘Owrya’ or the spaces in the outer walls of the complex were rented out as shops for revenue generation. A utensils market soon picked up, owing to the presence of ladies who used the complex as a
Shops came up in the temple precincts to
social interaction space.
generate revenue for maintenance of the temple
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MANDAI COMES UP: SYMBOLISM OF MIGHT A vegetable market thrived in front of the Dilli Darwaja of Shaniwar Wada. The British decided to relocate it. The site selected was in front of the Tulshibaug temple, where once was the Khasgiwale Baug. This move received tremendous opposition from the local leaders like Mahatma Jotirao Phule. It was argued that the revenue being spent on constructing it was unnecessary and unjustified. The British were adamant, and the structure, then known as the Reay Market came up. The British knew the importance of the Tulshibaug temple. They intentionally chose a site opposite the temple. To symbolise their might, the height of the structure was kept taller than the shikhara of the Tulshibaug Mandir. The overall form of the market as well dominated the temple building, which looked feeble in front of it.
The form and height of Mandai dominating the Tulshibaug temple: symbolically showing the might of the British.
Finally the Reay Market was constructed and slowly accepted by the public. Initially the central octagonal spire housed the Pune Municipal Office. The eight arms still house a vegetable market.
POST INDEPENDENCE: LOSS OF SYMBOLISM After Independence, the boundaries of Pune began to expand and the population grew. The markets continued to prosper, now with a greater speed. Mandai was already absorbed in the fabric of the town, well accepted by the people as their own. In fact after Independence, the fact of irony is that Mandai was renamed after Mahatma Jotirao Phule, the very one who had opposed its construction. INCREASE IN CONGESTION The area is bounded by Shivaji Road, Laxmi Road and Bajirao road. All three are major connecting routes. There is always heavy traffic on these routes. Apart from this traffic, the area itself attracts people to the markets. To ease the traffic conditions, Shivaji Road and Bajirao Road have been declared one way. In spite of this the congestion continues to grow. 7
The parking conditions are bad. Two parking towers had to be built for accommodating the growing number of vehicles. These parking towers show absolute
no
consideration
for
the
heritage
monuments around them. The Aryan Parking Tower near Mandai
Tulshibaug Market Lanes
LOSS OF SCALE This area having a mixed land use has a high population density. The British built the spire of the Mandai taller than the Shikhara of Tulshibaug temple. Now taller structures surround the Mandai. No height restrictions are imposed on the new structures coming up. The original scale of the area no longer exists. The width of the roads continues to remain the same in spite of the increase in traffic and heights of the structures.
Loss of scale: leading to loss in the symbolism.
SOCIO CULTURAL The Tulshibaug – Mandai area holds an important position in the socio- cultural life of Pune. A number of festivals like Ganeshotsav, Janmashtami and Ramnavami draw people from all over the city to this area each year. 8
The most significant festival is Ganeshotsav. The most important ‘Ganeshotsav Mandals’ of Pune like the Dagdusheth, Mandai, Hutatma Babu Genu Mandals are in this area. This festival pulls thousands of people who come in the evenings to watch the decorations done by
these Mandals. At the end of the 10 day festivities, a procession leaves for the ‘Ganesh Visarjan’ (immersion of the Ganesh idol in the river). The traffic needs to be diverted for these activities each year. These Ganeshotsav Mandals also organise Dahi Handi during Janmashtami festival. This event also attracts thousands. Ramnavami is being celebrated in the Tulshibaug Temple since a long time.
Religious festivals attract thousands to the area.
OTHER ISSUES The structures as such are well conserved. Both the Mandai and Tulshibaug are structurally still sound. The temple complex maintains its sanctity, and is a total contrast to chaos outside. But the residential and commercial structures in the temple complex seem to be ageing. Since the whole temple complex is privately owned by the Tulshibaugwales, the Pune Municipal Corporation can do little in this context.
Additions like nameplates and digital clock on Mandai. Billboards blocking view of Mandai from strategic locations.
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The PMC has put up two name plates bearing the name ‘Mahatma Phule Mandai’ and a digital clock on the Mandai. These are visually damaging the beauty of Mandai, as they do not respond to the architectural style of the structure. Billboards, advertisement boards are erected haphazardly, barring the view of the structures from many places.
RESTORING THE SYMBOLISM
Controlling the traffic congestion. o
The proposed widening of Shivaji Road should be implemented.
o
The road connecting Shivaji Road and Bajirao Road should be made one way.
Imposing height restrictions on the future constructions. o
From certain parts, Mandai still has clear sky for background and is not overpowered by taller structures behind. Without height restrictions even this will be lost.
Controlling the positions and heights of advertisements, billboards.
Due to lack of space in Mandai, many temporary stalls are erected in the precincts. o
Well designed stalls which will respond sympathetically to the architectural character of Mandai should be provided.
o
The heights and positions of these stalls should not bar the view of Mandai.
REFERENCES Avinash Sovani, Harawlele Pune. Samita Gupta, Jayashree Diddee; Pune Queen of Deccan http://www.cleanlanguage.co.uk http://en.wikipedia.org http://www.librarything.com
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