JAGESHWAR DHAM, ALMORA

CELEBRATING KUMAON AND HIMADRI ARCHITECTURE

An Architectural documentation on Jageshwar Dham, Almora

PREFACE

The School of Architecture (SOA) of WUD went on a field trip to Shiva’s own townJageshwar Dham, Almora. This excursion in the valley of temples was for 6 days, from 31st October 2022 to 5th November 2022. It comprised 49 students, 2 faculty and the dean.

The students measured the roads, slopes, houses and in-turn drafted the respective drawings. They carried out the contour study and made the cluster plans as well. They studied the architecture of the Kumaon region and further investigated the vibrant color palette used in the houses. They also worked on socio-economic study and explored their daily routine, art and craft, dance and music, festivals, attire, the basic amenities and services of the town and so forth.

The aim of the study was to decode the urban morphology of the settlement, how, in the past, the temple complex acted as the main agent in drawing people and how it has, now, become the driving force of the town. The study also involved creation of possible nolli maps and figuring out how the town must have evolved. Surveying, measuring and mapping in the sloppy terrain were also done by the students along with interacting and documenting the local lifestyle.

ACKNOWLEDGEMENT

This has been an interesting and informative experience.

We would like to express special thanks of gratitude to our Dean, Dr. Shaleen Sharma; our faculties, Ar. Rajat Verma, Ar. Arzoo Kadian, Ar. Akshay Bhandral and Ar. Digvijay Singh, for providing the platform and facilitating this trip as well as for their guidance and support throughout.

Special thanks to our senior batches, too, for showering us with inputs and direction. This compilation would have been impossible without the hardwork of the batch 2020 and 2021.

TEAM MEMBERS

DEAN: Dr. Shaleen Sharma

FACULTIES:

Ar. Arzoo Kadian

Ar. Rajat Verma

Ar. Akshay Bhandral

Ar. Digvijay Singh

STUDENT CO-ORDINATORS:

Dipsi (20B0174)

Mayank Sardiwal (20B0220)

BATCH 2020-25

BATCH 2021-26

INTRODUCTION

1.1-SCOPE:

• Architectural documentation and analysis of houses and streets in mountainous or slopped terrain

• Documentation and analysis of construction and architecture techniques of temples complex

• Decoding urban morphology of the settlement

1.2- LEARNING OUTCOMES:

• Learnt the basics of urban morphology of the place, how, in the past, the temple complex acted as the main agent in drawing people and how it has, now, become the driving force of the town.

• Explored the creation of possible nolli maps and figuring out how the town must have evolved.

• Surveying, measuring and mapping in the sloped terrain were also done along with interacting and documenting the local lifestyle.

PRELIMINARY STUDY

The preliminary study consisted of rough drafts of the site from satellite softwares to get an initial idea of the site, accompanied by accumulation of site context from various literary sources.These sources mentioned the religious affiliation of the population toward Hinduism and Shaivism which originally emerged from the mythical beliefs obtained from the ancient manuscripts.These highly religious influences were strengthened by the erection of stone cut temples ,predominantly in the simple Nagara style of architecture.The most important temple of the region attained the spotlight in our documentation,namely the Jageshwar temple.Like all temples ,the temple belonged to the Nagara style which has a tall Shikhara surmounted by an Amalaka and a Kalasa crowning the square sanctum sanctorum following a carved doorway consisting of the Jyotirlinga.

The study of residential patches and the spine road that supported most of the residential development in the site was given due importance next within our itinerary.The initial maps indicated most patches to be developed on the verges of the spine, apart from one patch wherein the infiltration of development was close to nil.Residences were noticed to follow vernacular architecture.The population growth was observed to be stagnant,with the level of urbanisation ranging from minimal to zero. The main mode of communication of the population was Hindi, thus eliminating any efforts and enabling ease of communication for acquisition of relevant information.

The required materials for the study expedition were rounded off to measuring tapes,sketchbooks,initial draft maps and other required stationery.

The documentation of Jageshwar Dham was taken up in great zeal inspite of the known negative degree temperatures onsite within the trip duration.Enough winter apparel was kept in stock to neutralise this predicted freezing temperature.

SOCIO-ECONOMIC STUDY

HISTORY:

History of Almora can be traced back to the ancient times of Mahabharata. However, the earliest historical account of the place is provided by a Chinese pilgrim of the seventh century.

The pilgrim wrote in great detail about a kingdom called ‘Brahmaputra’.

A kingdom was first established in this area by the Katyuri dynasty. The Katyuri dynasty reigned from Dwarahat in Katurya Valley. During those times, there was a small settlement in this area, not much of any political significance.

King Baichaldeo of the Katyuri dynasty, who reigned in the region where present day

Almora is located, donated a major part of this land to a Gujarati Brahmin by name Sri Chand Tiwari.

In later times, during the rule of the Chand dynasty, Almora was founded around 1560 by Kalyanchand at this place which he called ‘Alam Nagar’. It was also called ‘Rajpur’.

ORIGIN:

Ancient Almora was capital of the Kumaon Kingdom and was under Katyuri King’s rule at the beginning and later was founded by Kalyan Chand in 1568. The earliest inhabitants in Almora are believed to be Tewaris who supplied sorrelregularly to ensure cleansing of sun temple at Katarmal. Almora town was the administrative headquarters of the Kumaun district formed in 1815. In the 1960s Bageshwar district, Pithoragarh district and Champawat were part of Almora district. Pithoragarh was carved out of Almora on 24 February 1960 and Bageshwar on 15 September1997.

CULTUREFOLK ART

• Aipan is the most famous folk art of Kumaon. In recent times its popularity has grown.

• Aipan is not only an important folk art of the Kumaoni community but other ethnic groups of Kumaon, like Shaukas and Rungs, as well.

• Hence it also acts as a cultural link between different ethnic communities of Kumaon, therefore has significant importance

CULTUREFOLK DANCE AND MUSIC

• Many classical dance forms and folk art are practised in the Kumaon. Some well-known dances include Hurkiya Baul, Jhora-Chanchri and Chholiya.

FOOD

• The food is prepared over a fire of wood or charcoal which is believed to add additional nutritional benefits along with the healing water tendencies of the valley.

• Pahadi food which caters to their body needs to fight the harsh climatic conditions is loved by natives as well as the tourists. Some famous dishes include Bhaang ki Chutney, Bhat ke Dubke, Gehet ki Daal, Pinalu/ Gaderi, etc.

• A special Pahadi Thali is offered at restaurants for the tourists

FLORA AND FAUNA

• Walks through pine forests accompanied by the music of tiny rivulets of clear water, spotting a few rare flora and fauna and camping amidst thick deodars to reminisce about the (literally and factually) breathtaking Himalayas.

• The region is highly rich with over 4000 species of plants, having exceptional diversity in its vegetation accounting to its climatic variation aligned with elevations of its ranges and valleys.

• The flora can be defined as sub-tropical and sub-temperate forest The site is covered with Deodar, Oak, Rhododendrons and Pines.

• The fauna is enriched with wildlife like musk deer, snow leopard, blue sheep, thar, monkeys, etc. and birds like peacock, whistling thrush, chakor, monal, cheer pheasant,kokla, etc.

ELECTRICITY

• Uttrakhand Power Corporation Ltd. is responsible for electricity supply whereas Uttrakhand Jal Sansthan overlooks at the need of water supply. Three government hospitals including one female dedicated hospital is available. Uttarakhand Transport Corporation runs Buses from Almora bus station to major north Indian cities.

• As Almora came into picture the supply of electricity is good, they use only the thermal line provided by the government, there is no

WATER SUPPLY AND DRAINAGE

• They have a thin stream of valley through the house on the mountain where the liquid waste of the houses will be let out.

• They have bathrooms, where at the hill down they have a collecting tank made of cement where it is emptied once in a while through trucks,

• but when its come to the upper part of the hill the process is not known.

• When it comes to education they have 2 schools, one is just above there hill which is 1 km ahead road from Vriddha Jageshwar and another is 2.5km away on another hill.

• There is a college at the bus stand of the jageshwar.

• The water supply is from Jataganga river stream. They made collection points to supply water through pipes and t0 collection tanks, Slope pressure is used to supply water.

ACCESSIBILITY

• Direct road links with Almora (35 KMs), Haldwani (131 KMs), Pithoragarh (88 KMs) and Kathgodam are available. Kathgodam is the nearest rail head from the site situated at about 125 KMs distance. Pantnagar is the closest airport to Jageshwar at a distance of about 150 KMs. State transport, private jeeps and taxis can be hired to travel to these places. Any local travel is covered on foot and with help of horse cart in case of any luggage.

ATTIRE

Pichhaura is a notable traditional attire of women generally worn for religious occasions, marriage, and other rituals. Local handmade designs made in Almora, Haldwani and other parts of Kumaon use silk fabric and accessories made of pearl. Other dresses include Ghagra-Choli, Odani, Sarong, Khorpi, while the traditional wear of men includes Dhoti or Pajamas and Kurta along with turban. Woolen jackets and sweaters are common for both male and females during winter.

FESTIVALS AND FAIRS

The festivals celebrated with great enthusiasm gives out a small glimpse into the rich past and vibrant heritage. Phool Dei festival welcomes spring where pudding of jaggery is prepared. Summer is welcomed by Holi with fervor when goddess is carried under a silver umbrella. The cold streets of Jageshwar gets warmth from heart whelming devotion when people meditate whole night during Maha-Shivratri. Fairs are organized during March to April and July to August dedicated to Lord Shiva Many stalls and shops are arranged by localities to offer the pilgrims and tourists who visits to worship Lord Shiva

CONSTRUCTIONAL ANALYSIS

There are many ancient temples and buildings in the region which were constructed over a period of time under the influence of the local culture, topography, materials available, geo-climatic conditions, and seismic activity. The Garhwal and the Kumaon regions have different local languages, culture and traditions. The building styles have also evolved independently in both the regions due to such differences.

Uttarakhand is known for its heavenly nature that typifies the embodiment of spiritual travel in its very sense. From temples of mythological significance to historical worth, the state has its all. Uttarakhand is famously known as Dev Bhumi (Lands of Gods).

The basic factors which guide the local architecture of this zone are:

• Climate

• Materials available for construction and their techniques used

• easy access to building quality stone

• limited availability of good quality top soil,

• varying availability of timber and of water,

• extreme cold and snow in winter

Some of the construction elements that we noticed are as follows:

• The houses in this region are placed after careful site selection usually enroute to the pilgrim centers, near sources of water and in the areas which provide protection from the cold winds in winter.

• The traditional houses are built along the contours of the hills and are generally of two or three floors, having a rectangular plan

• Settlements are built in long linear pattern to allow maximum sun.

• They use vibrant colours so that even in the dark, visitors can see the residences.

• The beams and columns made of timber are intricately carved to improve the aesthetics.

• Approach to the living areas on the first floor is through the staircase on the side of the house.

• In Garhwal region, the overall settlement and the builtforms incorporate multi-utilization of the stepped slopes cut through the hills, and is governed by the close relationship between the man and nature.

• Clay and dung are abundantly used because of their insulation properties

thereby the rooms keep warm in winters and cool during the summer season. For plastering of walls (both outer and inner surfaces), mud paste is used

• Sloping roofs of the houses naturally drain the rain water

• Walls are typically made of stone while timber is used for structural purposes and slates are used for roofing. At some places, hand-made sun-dried bricks called Cob are used as load bearing walls.

• The living and cooking areas have low height and are provided above the cattle space, fuel and fodder space to provide warmth in winters.

• A wooden structural frame is made and locally available stone is infilled for making the walls.

• Floors and ceiling of the building are also made from the wooden planks.

• The balcony mostly 75cm in width in front of the house forms an integral part of the building.

• Likhai carvings on windows. There are swans, lotuses, creepers, and geometrical patterns. The suva, or parrot, is an auspicious symbol that appears often in folk songs and stories in Kumaon

• Chajja over windows for shading and protecting against rain.

ARCHITECTURAL ANALYSIS

• Kumaon is one of the two regions and administrative divisions of Uttarkhand, a mountainous state of northern India, the other being Gharwal division.

• The traditional building technique of Kumaon Region called ‘KOTI BANAL’.

• There are two distinctive types of houses found , which are Row house type and Single House type. Most of the old houses of Kumaon have stone walls, mud floors, slate roofs and patangans [courtyards of gray stone]. The staircase is tucked on the front facade. The roof is of large slate stones supported by wooden beams. Surface and narrative crafts on a wall and door.

• Settlements are usually linear blocks or individual units. They are homesteads with agriculture lands surrounding the settlement. The lower storey is low-ceilinged base- ment and houses the cattle. The walls are made of local stone and wood and daubed with mud. The roof is of large slate stones supported by wooden beams. The staircase is tucked on the front façade. It is usually of stone and has 5-6 steps leading to the upper floor. The entrance porch is either open or covered with cantilever upper floor. The peculiar feature of all these houses is that they have a paved porch/ floor in the front of the house where many activities spill over during the day.

• A door is called kholi; a room, khand; the front reception room, tiwari; the space behind the house, kuriya; a row of houses together, bakhal or kholo. A rubble-masonry wall made of slate (pattdar) and coated with mud plaster (made with red soil); and the roof (pakh) is a timber truss finished with local slate. Mud is mixed with cow dung and other organic additives for thermal insulation. The flooring is made of wooden planks supported with wooden trunks as beams and then smeared with a paste of cow dung and clay. Doors and windows are commonly made of loheta and surai and in some cases of kedar [deodar cedar, sal tree, tun wood .

Jageshwar Temples also referred to as Jageshwar Temples or Jageshwar Valley Temples, are a group of 125 ancient Hindu temples dated between the 7th and 14th century, near Almora in Almora district of the Himalayan Indian state of Uttarakhand. The valley has several temple clusters such as the Dandeshwar and Jageshwar sites. Some locations have attracted the construction of new temples through the 20th century. They predominantly illustrate the North Indian Nagara style of architecture with a few exceptions that show South and Central Indian style designs, many are dedicated to the god Shiva, while others in the immediate vicinity are dedicated to the god Vishnu, Shakti goddesses and Surya traditions of Hinduism.

Jageshwar is a Hindu pilgrimage town and one of the Dhams (pilgrimage regions) in the Shaivism tradition. The site is protected under Indian laws and managed by the Archaeological Survey of India (ASI). It includes Dandeshwar Temple, Chandi-ka-Temple, Jageshwar Temple, Kuber Temple, Mritunjaya Temple, Nanda Devi or Nau Durga, Nava-grah temple, a Pyramidal shrine, and Surya Temple. The site celebrates the Jageshwar Monsoon Festival during the Hindu calendar month of Shravan (overlaps with July–August) and the annual Maha Shivratri Mela (Shivratri festival), which takes place in early spring.

AARTI

Aarti at Jageshwar Temple is done for 45 minutes at the time of sunset. During this time, the atmosphere of the temple becomes enchanted by the words of music and shlokas. Shivaling is bathed and anointed is done by the priest of the temple.

The prasad for the temples are made by the people ..who live at the top of the hill near the temple.

MANTRAS AND RITUALS

According to Shiva Purana, Shiva’s worship in the form of Shivalinga is the best means of liberation in this Kaliyuga. He is both saguna a definite form) and nirguna (without definite form) and his worship in any of these forms are equally beneficial. The basic law of nature behind the ship of Shivalinga is that everything comes from nothing and goes back to nothing. Shiva ally translates to that which is “not”. The entire galaxy is just a tiny ant in the mighty universe. rest of it is a vast emptiness that is known as Shiva. So it is the womb from which the universe was born and into which it will go back. In Shiva Purana, it is told to practice manana, shravana, and kirtana to get closer to the divine force that Lord Shiva Himself. ‘Manana’ means uttering the Shiva mantras or prayers, contemplating or meditating upon the grandeur and significance of Shiva or the sacred texts of Shaivism, and then performing similar activities. “Shravana” listening to others about Lord Shiva and Shaivism and Kirtana means singing the glory of Lord Shiva. With these, there are a few rituals which are performed to appease Shiva.

ARCHITECTURAL STYLES

These temples were made in different styles like the flat roof, phamsana or pidha style, squire type of garbagia and antral in the basement, Nagar or Rekha-shikhar style (Indo-Aryan style), Ghalara style, Valabhi style, etc. Though manufactured in different architectural styles sometimes it becomes difficult to categorize these in a particular style; because these temples were manufactured over a long period and were severally conserved and preserved also. Hence; its original shape, size, and style cannot be decided in particular. Here, it is also noteworthy to say that in 1972 Vajpai (Vajpai, 1972:177) gave a theory of a new architectural style of temples in Uttarakhand, which was nomenclatured as “Himachala Style” by Shri Krishna in 1991 (Krishna Deva, 1991-93-118), which has its significant specialties. Kathoch (1981:12-13) has discovered a manuscript named “Vastushinomani”, written by Shankar who was a teacher of Garhwala-king Shyama Shah. It was written in c. 1620 C.E. and is based on the scriptures like Vishnudharmottar Parana, Matsya Purana, Agni Purana, Vrihat Samhita, Narada Samhita, etc.

With this, it can be concluded that there was a specific and classical architectural style of Uttarakhand which received more development after the Gupta period. It is evident from the ancient temples of this area that the Himachala Style was one among those many styles which had flourished as different temple architecture styles after Gupta period and which reached to its zenith in the regime of Katyuri-Kinga (740-1100 C.E.). According to folk lore, the Katyuri Kings used to construct a temple, or a naula or armashala every day.

After doing this only they took their daily meals. The local traditions and Jagara stories say that the number of Katyuri Kings was around nine lakhs. Probably Katyuries were ancestors of Kanindas )and their social structure was that of tribes. It is also proved by the local traditions and Jagara tales. So the temples situated at Jageshwara or its nearby places can be named temples of Katyuri Style also. The Archaeological Survey of India has divided these temples into three categories: (1) Katyuri Period (c. 8-10 cent. C.E.), (2) Later Katyuri Period (c. 1114 cent. C.E.) and Chanda Period (c.15-18 cent. C.E.).

The local people at Jageshwara adopted into their pantheon many Brahmanical deities, particularly Shiva and her consort Parvati or Shakti. The one hundred twenty-four temples of the Jageshwara group, three temples of Kubera, and fourteen (sixteen) of the Dandeshwara groups were constructed with strict architecture. These can be divided into four categories on the basis of their construction techniques and architectural styles-

1.FLAT-ROOFED STYLE

This type has a characteristic flat roof, which can be compared with the style of temples stracted in the early Gupta period and was used in smaller temples like the Kubera group, Dandeshwara group, etc. The temple of Narayan-Kali in District Almora and a few small temples at Lakhamandala are boleworthy. These temples are simple and less impressive. These are also considered to be of an earlier date. These temples don’t have the full composition of Hindu temples, as these sist of the only main sanctuary with neither the mandapa nor the portico. The Candida temple in the Dandeshwara group and a few small temples in the Jageshwara group can be referred to in this context.

2. REKHA LATINA STYLE

This is also called Rekha Shikhara style or Nagar Style or Indo-Aryan style. Other temples constructed with this style are Dwarahata, Kataramala, Baijanatha, Gopeshwara, Adi Badri, Lakhamandala, etc. The Jageshwara and Mrityunjaya temples are curvilinear in outline; the latina style is composed of a series of superimposed horizontal roof slabs and has offsets called latas. The edges of the shikhara are interrupted at intervals with grooved discs, each one demarcating a ‘story’. The surface of the entire ‘shikhara’ is covered with a creaper-like tracery or interlaced work composed of diminutive omamental chandrashala. These temples are square at the base. These have dwianga (two parts) named bhadra and karn-ratha. The shikharas are square at the base and walls curve or slope inward to a point on top.

3. PHAMSANA SHIKHARA/PIDHA OR PYRAMID STYLE

It has a simple vedibandha and jangha; showing four plain doorways and four stout corner pillars of ornate Rucaka type. The jangha is terminated by a pattika surmounted by a heavy kapotapali. The Phamsana consists of only two kapotapalis crowned by an amalasaraka. This temple may be dated to the first quarter of the eight century. Two temples of similar form, design and dimensions to the northeast of the Jageswara temple are collectively known as the Baleshvara temples and individually as the Lakulisha and Baleshvara, both face west. Each has a square garbhagriha, Phamsana of nine tiers, and is preceded by a short kapili, accommodating a doorway, roofed by a shukanasa that is crowned by a gajkranta simh

4.VALABHI/ BALLAVI/SAKARADEVAL STYLE

This style is also called gajaprishthakar (back of an elephant). Temple built in this style in Jageshwaraare Nava Durga (Fig. 9)and Chandika temples. This temple at Jageshwara is dedicated to Navadurga. Facing north, the temple is a rectangular Valabhi structure of c. 14x10 ft. Its sturdy handsome Valabhi is c. 30 ft. high. The temple is entered through a pair of ornate Rucaka pillars flanked by plain engaged pilasters. The jangha is plain save for ornate cantoning pillars and two flanking the entrance. These are of Rucakatype with ghatapallava at base and top. They support a plain pattika at the top of the jangha capped by a kapotapali. The malasthanas show grasmukha or ardharatna surmounted by ardhapadma.

MOTIFS

The motifs and designs are inspired by the religious beliefs of the community and the natural resources around them. They generally include conch shells, creepers, floral patterns, swastika, footsteps of goddess, geometric designs and figures of gods and goddesses.

Type: relief carving

Origin: natural forms like leaves flowers, geometric forms curved lines

Layout: borders( repetition in one direction)

Remark: temple unit entrance carvings

ELEVATIONS

ELEVATIONS

DWELLING UNITS

• The houses in this region are placed after careful site selection usually enroute to the pilgrim centers, near sources of water and in the areas which provide protection from the cold winds in winter.

• The traditional houses are built along the contours of the hills and are generally having a rectangular plan.

• The characteristic features of the traditional architecture found in this region are dictated by the immense availability of stone and timber in the areas.

• Walls are typically made of stone while timber is used for the structural purposes and the slates are used for roofing. In rock house’s no glue is used they only stable the stone one after another ( rubble masonry)

• The floors are made of wooden planks or mud, for insulation and occasionally stone slabs are also used.. 6 feet height of a floor

• The buildings are placed along the contours in the stepped terraces with large openings in front of the building

• The intricate wooden carvings on the doors and windows give coherence and unity. Saal,Deodar and chir used in house for making windows and doors

• 7-8 people per house

• Patwari have all the records of Plans, measurements, and other information of peoples.

HOUSE-01: RAJ MAHAL

FRONT ELEVATION

LEFT SIDE ELEVATION

RIGHT SIDE ELEVATION

FIRST FLOOR PLAN

GROUND FLOOR PLAN

FRONT ELEVATION

LEFT SIDE ELEVATION