Š Subik Kumar Shrestha
An academic study conducted as a part of the twelfth Architectural ASA exhibition (2009) at the Department of Architecture, Institute of Engineering, Tribhuvan University. By: Subik Kumar Shrestha Date: December, 2009
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Š Subik Kumar Shrestha
Table of Contents 01 Introduction to the research work 02 General overview of Tripureshwore and TMTC Architectural descriptions of the temple and the complex
Courtyard system of planning Sattals of TMTC from the perspective of elevations
03 Cultural significance 04 Analysis of TMTC as a place
Acknowledgements Environmental engineer Hutta Ram Vaidya for the information on River Bagmati Photographer Aman Shrestha Bhawesh Khanal for active discussions regarding the research John Sanday for the Teku-Thapathali Research Group Report—a study of temple complexes along the Bagmati Riverfront.
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Introduction to the research work This study, conducted in late 2009, illuminates the need of conservation for the betterment of contemporary Kathmandu, with a preliminary research of Tripureshwore Mahadev Temple Complex (TMTC)—a courtyard-based temple complex located in urban Kathmandu. This study was contextually sensible when it was actually conducted in December of 2009 and most certainly makes a lot of sense today in 2016 after the devastating 2015 earthquake. From a physical investigation, it can be affirmed that the earthquake caused major damage to the gajur (temple’s pinnacle) while all of the wings or the surrounding sattals (resthouse) have also been severely damaged. It should however be noted that most part of this article is based on the 2009 study and this study is equally relevant even in today’s context since most of the findings remain true today and not a lot has changed regarding the regular patrons’ daily activities, the dire architectural condition, and the role of such temple squares in any urban location. This article provides a general overview of TMTC and its architectural place in the midst of a dense and architecturally diverse neighborhood of Tripureshwore in Kathmandu. A qualitative assessment of the temple complex is conducted based on its architectural characteristics, urban design qualities, and socio-cultural significance in the larger community. Critical interpretations have also been imparted in regard to the conservation project that was initiated by a group led by John Sanday in 1993 . Finally, the present situation (in 2009) has been analyzed and the degradation within the complex has been interpreted—for example, a portion of the external sattal area being
leased to a motorcycle workshop that has greeted total devastation of the western exterior façade. The article is divided into four sections: (1) architectural description; (2) cultural significance; and (3) analysis of TMTC as a place. The architectural description is primarily based on the study of the sattals and the complex’s courtyard planning system. The cultural significance of the temple has been explained in terms of the history of River Bagmati and association with the temple, the nature of festivals being celebrated, and other important design/symbolic elements within the complex. The analysis features critical interpretation regarding the present condition of the temple complex and how the spaces have been used.
General overview of Tripureshwore and TMTC Tripureshwore is located within ward number 11 of Kathmandu Metropolitan City (KMC). As an important geographical and cultural landmark, the holy River Bagmati flows through the south from east to west. The city boasts architectural riches from the past and also represents the contemporary development of the Kathmandu Valley. From the famous “Trolley-Bus Station” to the much controversial “United World Trade Center,” the neighborhood has witnessed a lot of architectural changes in the past few decades. A presence of diversity in terms of architecture and mixed-use has aided in the vibrancy and uniqueness of the neighborhood and established this place as an important center of the Kathmandu Valley. The table describes some of the important landmark buildings/building complexes located in this neighborhood.
Tripureshwore Mahadev Temple Complex (TMTC) was constructed in 1817 AD by Queen Tripura Sundari whereas the sattals were constructed in 1819 AD. The temples and sattals were reconstructed after the 1990 earthquake. The temple complex at present has been left rather disconnected within the urban neighborhood, except for some inhabitants in the sattals, certain community facilities, and celebration of festivals. Its present ownership belongs to the Guthi Sansthan whereas it was previously owned by Raj Guthi. Observations have shown that the complex sattals are occupied during the day while the open space of the court remains rather empty except during special events. At the time of the field research, not much was obtained regarding the conservation efforts from the locality or the government. Rather than guiding the overall urban pattern (being of cultural, architectural, and historical importance), the complex is viewed as being isolated in the midst of an “unfamiliar” environment.
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Site plan of TMTC located within a dense urban neighborhood.
The view of Tripureshwore Mahadev Temple Complex (image credit- Aman Shrestha).
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Architectural descriptions of the temple and the complex
Building occupancy around TMTC.
The plan of the central temple is a typical threetiered roof temple construction built in the traditional Newari style but dating from the Shah period. The main concept is the panchayan — ‘pancha’ referring to one central god being surrounded by four other ‘demigods;’ Ganesh, Vishnu, Surya, and Bhairab in this case. The central temple is dedicated to Lord Shiva. The image in the central shrine is the ‘Shiva Linga’ and there are four associate miniature temples set on each corner of the base of the main platform. The temple is erected on four level plinths as opposed to the one, three, or five patterns of traditional Newari temple architecture. Courtyard system of planning The courtyard architecture is an important aspect of Nepalese architecture. This open public square present ubiquitously in Kathmandu hosts social activities of daily, secular and, religious importance. The floor of this courtyard space is laid with traditional bricks of different patterns each of twenty-five square inches. The courtyard is the main communal spaces of the complex and also contains: (1) eighteen shrines representing Hindu gods and goddesses; (2) stone pillar with Queen Lalit Tripura Sundari (north); (3) Nandi (west- the bull representing Lord Shiva’s mount); and (4) trishul (south- the trident representing Lord Shiva’s weapon). Apart from these, the temple complex also contains a Tulasi math (holy Basil tree), and a Rudrakshya tree (ancient plant bearing religious importance). The entrance to the complex on the eastern side is through a subway from the main Tripureshwore Marg which is paved in traditional
brick. Sattals of TMTC from the perspective of elevations A sattal is a long rest house usually constructed for associated priests and their assistants around any temple complex. The priests are responsible for performing the rituals, everyday activities of the temple, festivals and for the protection of the temple itself. A Sattal creates a courtyard space around the temple with its four wings (sides) in all of the four directions. Usually at the ground level, open arcades of columns (dalan) are present which, forming a resting place commonly known as pati. The sattals of TMTC are two-storied and contains residential units on the east and southern sides. Traditionally, sattals provided accommodation to the families undertaking the responsibilities of the temple and sheltered the pilgrims, homeless, and poor families as a short term accommodation. Between 1912 and 1972, it was also used as an orphanage. Few of the spaces were used to store religious equipment for ceremonies and feasts as well as shared agricultural tools. At present, around ten families reside in the sattal in a very restricted manner. The details in the elevation of TMTC’s sattals are impressive with carved balcony windows at the upper level supported on the rows of double carved columns which open up the lower half of the building as a pati for public occupations. The upper floors originally provided accommodation for the temple attendants. The 1934 earthquake brought devastation to the temple complex—a result of natural calamity. But today, it is in dete-
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The sattal in the entryway. riorated condition due to misuse, lack of sponsorship, and lack of maintenance—a manmade calamity as will be discussed in the later section. The north wing consists of fourteen bays and was destroyed by fire in the year 1993. Today, this wing is the most active, consisting of a museum, elderly club, and a free dental clinic. An entryway leading to the residential neighborhood beyond the TMTC is also present. A small section of adjoining pati has been partially rebuilt in the southern wing to provide a half-height storage space on the upper level where religious objects related with the temple’s rituals are stored. The spaces are also being used for residential purposes. The east wing is badly damaged towards the southern end whereas the other portions of the wing are intact. The major entryway (with regard to the numbers of visitors and relation with the main road) on the eastern wing is facilitated
Restored northern wing. with dalans on each side. They mainly facilitate religious activities frequently taking place in the complex. One of the most common uses is to perform religious changings (Bhajan). This wing also consists of fourteen bays and is home to most of the inhabitants living in the complex. The west wing was severely damaged after the 1934 earthquake, especially toward the middle area. The upper floor was [poorly] reconstructed to form a half height space with rough brickwork and primitive window details. A mono-pitched timber roof structure covered with corrugated tin sheeting covers the [newly] constructed space.
Cultural significance The specific pujas held in the complex are: (1) Teej brata; (2) Krishna janmasthami puja; (3) Shivaratri puja; and (4) Dashain puja. It is a temple complex
combining residential units on the four sides, Lord Shiva’s central main temple, and statues of gods and goddesses. Other important structures are a large trishul (trident), two stambhas (pillars) with figures on top, a statue of Bhairab near the entry to the tiered temple just as the stairs end, and a huge bell. There are, in total, eighteen small temples (the name of fourteen being identified by the author) scattered all over the courtyard containing various gods and goddesses of Hindu religion. In 2005, the Boy’s Union Club initiated the repairing works. The small temples contain stone images of (1) Bayudev; (2) Kuber; (3) Bhringi; (4) Chandeshwori; (5) Ishaan; (6) Shiva; (7) Brahma; (8) Ganesh; (9) Indra; (10) Aagneya; (11) Birbhadra; (12) Yamaraj; (13) Nirtitti; and (14) Sesh Naag.
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One of the mini temples in the complex (Ganesh). Each of them represents the demigods and considers Lord Shiva as the supreme god. The individual small temples are roughly 5’ in height and 3’*3’ square in base, whereas the plinth is one foot and nine inches high. The devotees usually make a visit to all of these shrines once they visit the temple complex. The Trishul (trident) represents the weapon of Lord Shiva. It is situated on the northern side of the courtyard. This iconic element also contains an axe and damaru just below the trident. It is around twenty-three feet high. A tortoise representing kurma or the second avatar of Lortd Vishinu is present on the ground level. This avatar of
The trishul. Lord Vishnu represents the creature which could withstand the whole weight of the earth as being portrayed in the TMTC. There are two stambhas (statues) within the temple complex placed on top of the huge stone pillars. The base of the southern statue consists of the kurma as well. The west wing area contains the stature of the ox (the vehicle of Lord Shiva) whereas the statue of Lalit Tripura Sundari is located in front of the southern wing.
The stambha with nandi (bull) on top and kurma (tortoise) on the base. A traditional element ghanta (bell) present in temple complexes of the Kathmandu Valley, is situated on the southern side of the temple among the temple plinths. It dates back to 1957. The temple symbolizes the Hindu culture to call upon the lord and show reverence. Since the puja is conducted twice each day, the bell is rung before the puja so as to call upon the gods. The bell is supported by a huge stone pillar and a supporting member.
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Analysis of TMTC as a place TMTC is used as a communal space indeed but people visit here commonly during few festivals only. The change in trend and life style of the people has brought upon a greater change in the value of this place. Commercial zones are becoming a rather good social space than these temple complexes. Very less public participation is being observed. Apart from the local residences of the sattals, the elderly people who visit the club, and the people on the museum, very less locals except Lord Shiva’s devotees visit the complex on regular basis.
The traditional bell.
Poor condition of the wings.
are being degraded and yet, there is no sign of any government approach to protect this valuable asset. The tiered temple, however, has been recently renovated from its degraded state. Situated on the restored north wing, the museum holds different traditional musical instruments. It houses nearly 330 of the ancient traditional Nepali instruments from all parts of the country. The museum was established in 1995 and was shifted to the current location about two years ago from the Bhadrakali temple. It is a very good initiation that our local instruments are being preserved here. It houses some of the biggest type of instruments of the world.
The temple wings have been ruined on each side as evident from even a casual walk around the complex. The southern wing is recently renovated so is comparatively conserved. Other wings were to receive similar restoration works, but perhaps the negligence of the Guthi Sansthan and the government authorities might have left the work unfinished. With the passage of time, the sattals
Inside the cultural museum on the restored southern wing.
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According to Mr. Hutta Ram Vaidya, the two Shiva Lingas on the entrance from the main road was placed to block the passage of large vehicles so as to stop the illegal sand thieving from the Bagmati River. The two Shiva Lingas were in a deteriorated condition, so were placed as entry marks. Today, they are situated on the northern side act as a main entrance to the temple complex. There were further two lion statues on the southern entrance of the complex which is now said to be kept in the Gaddi Baithak at Singha Durbar ever since a Rana ruler took it away from there. At that time, the stone lions were in a ruined state but it is a controversy as to why the ruler took such important stone structures for manifesting them in their palace instead of repairing and maintaining the glory.
The Tulasi math and Rudrakshya tree present within the complex need to be preserved; however, the Rudrakshya tree is in a good state. Water supply is being provided by the tanks established on the eastern side of the court, possibly an initiation of a government firm.
At present, a motorcycle workshop has been established on the exterior façade of the north wing, which is definitely and illegal move for economic benefits. The lack of genuine care by the responsible authorities is one of the reasons for these kinds of establishments to be motivated. Some years back, the inhabitants of the Sattal on the north wing were all evacuated for the renovation works, only to make way for such commercial activities.
The two Shiva linga marking the main entryway.
The tulasi math.
Encroachment— a motorcycle workshop on the exterior.
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