“A native proverb sums up the attractions of Kashi in the three words: Ranr, Sanr, aur Seerhee.[i]” (Bells,Bulls and Broad Stairs)
James Prinsep (1799-1840), a trained architect, archaeologist, numismatist, and epigraphist is known for his path breaking contribution towards Indian history by deciphering the Brahmi and Kharosthi scripts in 1837[ii]. Born on 20 August 1799 in Chelsea,[iii] he arrived in India in 1819 at the age of 21 on 26 November 1820[iv] as an assistant Assay Master at Banaras under the able supervision of Professor H. H. Wilson.[v] James considered Banaras as a repository of both Hindu learning and superstition[vi]. He engaged in massive engineering works such as the draining of the pools and swamps, building a bazaar, a stone bridge over the River Karamnasa and repairing the Alamgir mosque.[vii] Prinsep was a proficient artist and illustrator, his “Views of Benares” comprises a detailed visual map of the city along with census information,[viii] embodying the colonial historiographical tradition.
He eloquently describes his fascination of Banaras in his journal: “The music and bells of a hundred temples strike the ear with magic melody from the distance, amidst the buzz of human voices; and every now and then the flapping of pilgrims’ wings is heard as they rise from their crates on the housetops, or whirls in close phalanx round the minarets, or alight with prisoners from a neighbour’s flock… Then, as night steals on, the scene changes, and the twinkling of lamps along the water’s edge, and the funeral fires and white curling smoke, and the stone buildings lit up by the moon, present features of variety and blended images of animation, which it is out of the artist’s power to embody.”[ix]
‘A Preacher Expounding The Poorans in The Temple of Unn Poorna, Benares’ (Plate 1) is from the first part of 'Benares Illustrated' drawn on stone by L. Haghe. James writes of this plate: “...here we have a priest sitting in the corner of the temple teaching the people; not performing a stated stipendiary duty, but denoting his life to the holy office and trusting to the voluntary donations..for his maintenance ..His Singhasun served alternately as a bed, a table and a pulpit. When a sufficient congregation assembles..The Priest commences his exposition by first chanting the text in Sanskrit from detached leaves of the sacred Potee, he then translates it...The architecture of the Unna Poorna Temple is a sample of the mixed style now prevalent: it was built about 60 years ago...Unna Poorna is the name of the consort of Shiva, typified as the Goddess of Plenty; from similarity of her name and attributes, it has been suggested that she is identical with the ANNA-PERENNA of Roman mythology.[x]” In this vertical composition of Lithograph Prinsep has shown the transient setting of the central porch of temple using light and shadows to symbolise the serenity of the holy realm .We see a Brahmin priest recognisable with his shikhara choti, Vaishnava tika, janeu, ubhyansik white shawl and white dhoti, seated in padmasana and teaching from the ancient texts, identified with the palm leafed patrikas, to a group of devotees. The jali of the garbhagriha along with the sinhasana of the priest are perpendicular to each other proving with a three dimensional effect.
The angles of the composition are sharp yet pleasant to the viewer's gaze. The stance of the pandit is in harmony with the vertical shafts of the mandapa, his sinhasana placed between shafts gives a picturesque view of the 'exotic' feature of Indian temples. In the foreground a small step has been shown leading to the verandah of the porch marking a spiritual escalation to the place of worship. On the relatively darker side of the composition we see seven female figures with varied age groups, most of them clad in sarees with their head covered. Prinsep has rendered each face emoting a different feeling and expression united by their cumulative gaze on the palm leafed patrikas. In the group of devotees, Prinsep shows an elderly woman with wrinkled face and drooping cheeks, woman in ardha vilochana with her head turned towards the priest while holding a vessel in her hand. A woman with her back towards the viewer walks ahead of her. The anatomy of figures and their expression are rendered realistically. The different age groups of the women are noticeably distinguished with features and stances. The setting emotes a feeling of devotion, reverence and gratitude eloquently.
‘Temple of Vishveshvur, Benares’ is plate 6 of ‘Banaras Illustrated’ 1833 (Plate 2). Prinsep writes “This view is taken from the south-west corner of what is now the Jumma Musjid..The dome and the minaret surmounting the Hindoo walls are the work of AURANGZEBE,and the tombs are of the same date. The lingam of the Vishveshvur was looked upon as the genuine type of MAHADEO..fell from heaven, converted into stone[xi]. James Prinsep’s hypothetical reconstruction published in 1831[xii], partly based on the description of the deities worshipped there as imagined in the Kashi Khanda(Plate 3). The lithograph (Plate 2) shows a mosque built over the dilapidated Vishveshvur temple surrounded by three buildings, the Bishwanath temple on right, the Mahadev Dandapan temple on left and a pen hall with a domed roof called ‘baikunth’ or heaven at the center.[xiii] The massive bulbous dome of the Gyanvapi mosque is topped by an inverted lotus, kalasha and amalaka.
The adhisthan and jangha of the temple are intact with pancharatha evidence as noted when Prinsep narrates “Part of the Hindoo temple remains: it is not formed on the principle of the arches, but by successive protrusion..cutting off angles laterally, so as to change the square into a polygon”[xiv] The figures in the composition are placed cinematically with their gazes diverted towards the outer East side, either in deep thoughts or anticipating someone’s arrival. The shikhara of the temple has been cut and chiselled into cornices and squinches with lotus bud projections to support the dome. At the center we see a huge pishtaq decorated with lotus buds and a subsidiary multi-foiled exquisitely ornate arch.
In the compound two tombs of the Aurangzeb Era are shown. The Vishveshwara temple underwent several stages of destruction and reconstruction. The Vishveshwara temple was rebuilt in 1585 for a third time at a third site under the supervision of Narayana Bhatta, a scholar and compiler of the Tristhalisetu.[xv]. Queen Ahilyabai of Indore built the present Vishvanatha temple in 1775-76.[xvi] In 1781, Warren Hastings instructed Magistrate of Banaras, to erect naubat khana[xvii]. Following this trend a 24 bayed pavilion sheltering the sacred Jnanavapi, was contributed by Rani Baijabai of Gwalior in 1828[xviii]. A decade later in 1839 the embossed gold sheets cloaking the spires and dome were added by the Sikh Maharaja Ranjit Singh of Lahore.[xix]
‘A Brahmin placing a garland on the holiest spot’ (Plate 4) is the frontispiece from James Prinsep’s ‘Benares Illustrated’. Of this plate he writes: “The churn-padooka is said to mark the spot in which he alighted; is distinguished by the figure of two feet cut in white marble, in the centre of a round slab, probably intended to represent the chukr or discus...”[xx] Manikarnika Ghat marks the confluence of Vaishnavism and Shaivism. As per popular belief Lord Shiva as boatman helps dead souls across the Vaitarni and whispers the prayer of the crossing, taraka mantra, in the ear of the dead helping them attain Moksha.[xxi]It is an important Shakti Peetha[xxii] housing the Vishnu Charan Paduka ( Impression of Lord Vishnu’s foot) along with the Chakrapuskarini Kunda[xxiii] .The kunda represents the world’s first pool, which was dug out at the dawn of time and filled with the sacred water of Lord Vishnu’s perspiration to perform fierce tapasya[xxiv]. As per puranic mythology when Ganga arrived at the heels of Bhagiratha, the Chakra Pushkarini Kunda was present. This is a horizontal composition imbibed with three dimensionality using horizontal parallel lines enhanced by the sloping roofs of the buildings and looming shikaras of temples. For the first time we see shadows of humans included in the frame. In the foreground we see the Vishnu Charan Paduka which is remarked as the “'holiest spot in the sacred city”' by James Prinsep[xxv]. On the left, steps of the ghat have been shown leading directly to the kund. Men are shown wearing either only white dhotis or covered in shawl dhoti and pagdis denoting their status.
James Prinsep has included the typical bamboo chattris raised on platforms along with the mandapa and shikhara of Tarakeshwar temple and Baba Mashan Nath temple, with four subsidiary chattri like shrines. This is the first ghaṭ made stone stairs in 14th century; and was rebuilt and repaired in 1730 under the patronage of Bajirao Peshava, and in 1791 Ahilyabai Holkar rebuilt the entire ghaṭ.[xxvi] In the background we can see the domed octagonal towers of the Lalita ghat on the left, Baba Mashan temple on right and the Gyan Vapi masjid identified with its bulbous dome and several shikharas of various temples in a cluster (Plate 3).
‘Manikarnika Ghat Banaras from the River’ (Plate 5) by James Prinsep 1832. This lithographic composition highlights the Manikarnika ghat with Tarkeshwar Mahadev temple at the center with several stone platforms topped with bamboo chattris and canopied pavilions surrounding it. The setting is portrayed with emphasised solemnity and serenity, the exception being the larger number of figures are shown here. Ganga River is displayed as calm and composed with ripples reflecting the sunlight enhancing the mystic and sublime nature of the setting. Prinsep has laid emphasis to heighten the symmetry of the ghats with an approach to display architectural facades in harmony with the natural settings of the Ghat. The stoned pavilions have been displayed stylistically with none of them overlaying each other rather systematically positioned providing a holistic essence of the ghat. The viewers gaze shifts amongst the figures who have been given adequate positions in the lithographic frame. Parallel to the Tarakeshwar mandapa is a pillared closed pavilion with a bangaldar roof. Next to it lies an open pier pavilion having a plain roof, these must be the part of the residential complex of Brahmin priests. On the platform diagonal to the Tarkeshwar Mahadev temple, a huge bamboo chatri is seen with a seated Brahmin priest underneath clad in white garments and janeu. At the steps of the temple we see devotees’ circumambulation around it. In the Mandapam we can clearly see an old priest resting his left arm on the railing while the right hand is placed on his forehead.
At the horizon is the shikhara of Ratneshwar temple built by Baijabai of Gwalior in the Gujarati style[xxvii].Prinsep writes “In the rains the temples are submerged to the cornice..many Hindoos are bold enough to swim through an impetuous current and to dive under the porch and doorway for the honour to continue their customary worship.[xxviii]” This temple built in pancharatha consists of an inner sanctum, half-form of pavilion, and four pillars standing in three directions. This temple represents an example of Chalukya temple, the stones are locked in notching that gives a look of monolithic structure. The Tarkeshwar Mahadev Temple was built by Queen Ahilyabai Holkar of Indore in 1795.[xxix]The temple is rectangular in plan supported with the base of six pillars. Tarakeshvara is propitiated after the completion of cremation rites. The sculptures include Surya, Durga, Ganesha and Vishnu in the four corners. This Shiva image, in the forenoon decorated with a five headed mask made of bronze, provides liberation to the departed soul by putting sacred verses in the ears.[xxx]
James Prinsep’s representations embody the colonial historiographical tradition that used architecture to render this story without critical investigation. His work drew upon selective indigenous interpretations, but was coloured by a colonial insistence on authenticity and timelessness. Prinsep has meticulously documented the various ghats of Banaras along with their architectural edifices. The intricate detailing with the features and components of buildings, forts and along with ghats and temples paint a picturesque view reflecting harmony and sanctity of the sacred city. James focuses on anatomy and expressions while briefing on individual movements and postures which help bring out the true essence of what he wants to emote in his representation.
His work drew upon selective indigenous interpretations, but was coloured by a colonial insistence on authenticity and timelessness. These sketches incorporate the picturesque settings of the ghat along with the architectural facades in a stretch. In some cases a facade is given the prominence in other instances it gets clubbed up with numerous other establishments narrating the richness of the landscape and continued history and traditions.
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