Sri Pataleshwara Temple, Belur, Karnataka

“Travel makes a wise man better, and a fool worse.”

– Thomas Fuller, 17th-century British writer-historian

In the shadow of the massive, ethereally magnificent Sri Chennakesava temple complex in the beautifully idyllic township of Belur sits an irredeemably forgotten, incorrigibly damaged and irreversibly mutated shrine transformed irrevocably into a melange of brilliant new and tarnished old that does little justice to the ruined remnants of its original unparalleled medieval ornamentation and spatial structure. This is the diminutive, squat temple dedicated to the "Pataleshwara" aspect (“Lord of the Netherworld”) of Lord Shiva, the Hindu God of death and destruction – barely heralded by a whitewashed traffic square indicating its presence and a sum total of zero presence on the internet, the small square shrine visually appears to be a beautiful exemplar of the unsurpassed architecture conceived and commissioned by the Hoysala Dynasty and displays similar remarkable architectural and artistic features including an overspilling profusion of dexterously carved, highly ornamented sculptures, a spatially stellar geometric structure and a dense abundance of mythological and mythical entities, deities and anthropomorphic creatures. It is however not documented when the temple was constructed or who financed it.

Sri Pataleswara Temple - A confusing assortment of medieval ruins and modern fixtures

The sculptures are skillfully carved, the hallowed canopies surmounting them and the scrollwork bands of floral foliage that surround them are delicately detailed and the miniaturization of the features, be it the jeweled ornamentation of the divine draperies or the smaller figurines of inconsequential musician-dancers and celestial followers, is in itself unearthly. Yet the figurines and the temple’s numerous features visually portray an eventful, malicious past which entailed irretrievable injury and mutilation to them at the hands of brutally iconoclast Muslim armies originating either from the mighty, territorially supreme Delhi Sultanate (ruled AD 1192-1526) or the southern sovereign Bahamani Sultanate (ruled Karnataka, Maharashtra and Andhra Pradesh, AD 1347-1527). The shrine appears to have been irreversibly wrecked and what presently exists in its place is a framework of glistening white marble supporting in its midst the devastated remains of the original hallowed entity. There still exist, albeit surrounded and flanked by a redeeming skeleton of flawless white marble that does not even structurally adhere to the unusual configuration of the original graceful temple, the artistically superior doorjambs vividly blossoming into an intricately convoluted sculptural rococo depicting Lord Shiva dancing ecstatically to the tune of the celestial musicians flanking him amidst an eye-opening visual composition of sophisticated floral scrollwork and wave flourishes bearing as their apex the vicious jaws of a “Kirtimukha” (the ferociously wide fanged, lion-like face of an all-consuming demon conceived and originated out of thin air by Lord Shiva to destroy other, mightier demons) and eventually culminating in an elephantine mythical “Makara” on either side of the lintel whose skin and tail too transform into a sophisticated embellishment of foliage and elaborate artwork.

Poetry in stone (V3.0)

Embossed upon layers of elaborate foliage and geometric patterns once more culminating into fierce Kirtimukhas and horrendous skulls, are spellbinding realistic and artistically evocative sculptures of celestial guards and yak tail-bearers possessing tridents and drums wrapped with layers upon layers of serpentine foliage, draped with extremely fine jewelry and headgear that one would have been hard pressed to even be able to carve in soap and yet those tremendously skilled sculptors of yore crafted in stone. Lastly, there exists an array of divine figurines, predominantly Lord Shiva and Lord Vishnu (the Hindu God of life and nourishment) and their varied incarnations and aspects, most prominent among them once more being “Gajasurasamhara”/“Gajacharmambaradhari”, that portrays a sixteen-armed combative depiction of Lord Shiva wielding numerous weapons of death and devastation while dancing blissfully upon the decapitated head of the slain elephant-demon Gajasura whose flayed hide he triumphantly raises and brandishes as an enormous cloak while his family and followers gaze wide-eyed terrified and deferential. Opposite the shrine sits a brand new black granite statue of the bull Nandi, the mount of Lord Shiva and a patron of spirituality and religious dedication, reflecting the occasional explosive bursts of sunlight that escape the impenetrable veil of dark purple-black clouds traversing the atmosphere overhead. The shrine itself is surmounted by a large glittering glimmering marble statue of Lord Shiva and a layered, domed roof that would have been tremendously hard-pressed to prove its similarity to the immensely long pyramidal spires that crowned the Hoysala shrines.

"Gajasurasamhara" - The ecstasy of a triumphant God (V3.0)

While one notices the mutilation of limbs and the destruction of facial features and animal figurines undertaken by the Muslim armies, one also cannot fail to notice that the shrine has been converted to a translucent parody of itself, displaying prominently its original ornamentation and yet effectively failing to be evocative or resplendent in its present tastelessly ostentatious appearance – couldn’t it have been better preserved for what it was? Wouldn’t those sculptures and carved arrays have appeared several times more mesmerizing and visually appealing without the gaudy application of tons of unmatched marble that merely succeeds in bringing its despoliation and embarrassment to the surface instead of compensating it structurally or spiritually? Couldn't the ruins have been preserved as they were? One wonders if a centuries old shrine can be transformed thus right under the nose of one of the most enthralling temple complexes in the subcontinent, a proposed UNESCO World Heritage Site, then what about the unexplored, undocumented and nameless millions of medieval shrines and architectural/artistic paradigms scattered throughout the vast country?

Glitter!

Location: About 500 meters from Belur Bus stop, Hassan district (Coordinates: 13°09'46.3"N 75°51'49.6"E) 
Open: All days, sunrise to sunset
How to reach: Hassan is accessible from different parts of Karnataka by regular KSRTC bus and Indian Railways train services. It is approximately 180 kilometers or five hours away by road from Bangalore. From Hassan, Belur is located about 42 kilometers or roughly one hour away by bus at the end of a journey that does take one on certain thoroughly pockmarked stretches of road winding through hill-flanked barren plains and fields. Regular buses ply between Hassan and Belur throughout the day.
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 30 min
Remarks – Footwear is not allowed inside the temple complex and can be left outside the courtyard.
Another temple located in Belur - Pixelated Memories - Sri Chennakesava Temple complex, Belur
Another temple located in Hassan district -Pixelated Memories - Hoysaleswara Temple complex, Halebidu

R.K. Puram Trail, Delhi

Having visited all the major fortresses, regal tomb complexes and renowned shrines in Delhi, I wasn’t left with any sufficiently huge monument complex where I could cheerily spend an entire day (or at least, till the camera’s battery refused to go on anymore!) photographing, exploring and observing. Given that there are about 1300+ monuments scattered throughout Delhi, a majority in the unlikeliest of locations, it isn’t very difficult to hit upon heritage trails and filter out some groups of structures that stand individually isolated but in close enough vicinity to each other to be covered on foot in a few hours. One such trail is in R.K. Puram – now, R.K. Puram is a relatively well-off area, one of the few properly conceived, planned and executed localities in the city, and there are quite a few medieval tombs here sharing space with beautiful modern Hindu/Sikh temples, simplistic wall mosques and upcoming residential quarters – the last generating the well-documented urbanization pressure on the medieval structures and restricting most, if not all, of them to picturesque oases composed of small un/maintained garden tracts lost in a sea of humanity, commercial establishments, residential buildings and traffic-choked roadways.

Wazirpur Tomb Complex –

Huddled together - The five tombs at Wazirpur complex

Location: Sector– 5, R.K. Puram

Coordinates: (28.562767, 77.175042)

Wazipur Tomb complex, a congregation of Lodhi-era (AD 1451-1526) rubble-built structures located in R.K. Puram Sector –5 and nestled in an extremely small but beautifully landscaped green space consists of a cluster of five tombs the identity of whose occupants is unknown, two wall mosques (“qiblas”), a simplistic stepwell (“baoli”) (now) filled with rubble and garbage, an old well and a grave platform. One of the tombs here has been encroached upon by a family while the personalities buried in the rest are venerated by the local population who regularly leave behind reverential offerings – flowers, incense, earthen oil lamps (“diyas”) and sweets. The tombs are externally and internally exquisitely decorated with intricate stucco medallions skillfully crafted from plaster; the smaller wall mosque too has been ornamented with striking artwork and prettily niches, however the larger bears a rough rubble surface, unadorned and uneventfully executed. Surrounded by clusters of large trees – neem, ashoka, amaltas (Indian laburnum), arjun and frangipani, and inhabited by squirrels and several avian species like sparrows, pigeons and lapwings, the pristine little complex immediately proves endearing not because of the magnificent artwork or designs (which there aren't many), nor because of the superbly-maintained condition of the complex (which is only on paper), but because of the splendid silence and the charming serenity that it affords even to the most wretched of travelers and the most discerning of heritage enthusiasts. For further information, refer Pixelated Memories - Wazirpur Monument Complex

Munda Gumbad –

Munda Gumbad ("Bald Tomb") - A unique landmark on Delhi's cityscape

Location: Sector– 5, R.K. Puram

Coordinates: (28.561165, 77.178832)

A difficult find in the well-laid streets of R.K. Puram, the unbelievably massive but uncompleted tomb boasts of a slightly raised embossment in the center of its stone floor indicating the presence of a single grave deep underneath the high hillock on which it stands majestically. Located within a small square park immediately opposite the Kendriya Vidyalaya of the area, the huge tomb, with its unremarkably bare rubble walls that have been designed to give externally the semblance of a double-storied structure through the use of arched entrances, windows and ornamental niches, has been reduced to a miniature landfill by the nearby residents who dump polythene bags stuffed with domestic waste on a daily basis in the park and often alight fires to get rid of the excessive garbage. Peeping inside the tomb that has been identified to be a Lodi-era (AD 1451-1526) structure and watching the play of sunlight on the huge gaping hole that exists in place of the domed roof, one notices the employment of trabeate arches (stone ledges of gradually increasing sizes placed one over the other in ascending order to span space) for the wide doorways and squinch arches in the corners (to convert the square interiors into an octagonal and a sixteen-sided structure) to support the heavy dome and wonders why the handsome tomb was left incomplete – did the person who commissioned it face an unforeseen depletion of funds, or was there a change in the governance and the new administration looked down upon the person buried or the one who commissioned it, or perhaps some other calamity like a reign change or a miserable war? 

Locked away - Munda Gumbad interiors

One also wonders what would the tomb would have looked like if it were completed – the present structure betrays the conceiving of a gigantic dome resting on a sixteen-sided drum (base) and a filled up western wall that would have acted as a mihrab (wall faced by the devout while offering Namaz prayers since it indicates the direction of Mecca) – would the mihrab have been as wonderfully decorated with white marble, red sandstone and plasterwork as in several other monuments throughout the city, would the dome’s concave surface boast of stunning artwork in incised plaster, or would the walls have displayed a stone or plaster finish with an endearing use of eye-opening medallions and perhaps stone inlay work? The gentle, isolated giant of a tomb raises more questions than it answers – wish at least the locals could answer correctly about its location instead of making a seeker go around in circles!

Sri Venkateswara Balaji Mandir –

Location: Sector– 3, R.K. Puram

Coordinates: (28.558154, 77.181519)

At a slight walk from Munda Gumbad stands one of the finest temples in Delhi – boasting of an array of excellent sculptures depicting mythological and mythical entities, the Sri Venkateswara temple has been built according to traditional Hindu architectural practices and is detailed with design motifs and religious symbolism that is a landmark of South Indian temple construction. Apart from the lofty trapezoidal-pyramidal central shrine (“Gopuram”), passer-bys are also lured in the Vaishnavite temple complex by the numerous Garuda statues that mark the temple complex’s periphery walls – Garuda, a mythical being considered to be the steed of Lord Vishnu (the Hindu God of life and nourishment) is often depicted as a semi-bird, semi-human creature with a beak-like curved nose and huge, powerful wings. 

Sculptural extravaganza - Sri Venkateswara Temple

It is difficult convincing the priests and mendicants residing within to allow photography and even when the managing committee representative yields permission, clicking within the sanctum is out of question – anyway the temple remains locked in the afternoon and opens only in mornings and evenings, so I wasn’t even expecting the priests to open the sanctum for me. The singularly impressive sculptures that adorn the high soaring, pyramidal roof of the temple are unparalleled and display an impeccable diversity in terms of the figures represented and their features. There are several smaller shrines too within the complex, each topped by a slightly domed-roof done up with cross-patching patterns and also ornamented with divine figurines but the most common deity remained the Garuda that could be seen seated atop each small shrine along the front corners. The temple has been commissioned and is being maintained by the Tirumala Tirupati Devasthanams (TTD), an organization that also maintains several other temples throughout the country including the renowned Tirumala Venkateswara temple of Tirupati (Andhra Pradesh), and is dedicated to Lord Sri Venkateswara Swami (an incarnation of Lord Vishnu) and his consorts Bhumi Devi (Mother Earth Goddess and personification of fertility) and Laxmi (Hindu Goddess of wealth, beauty, prosperity and happiness). 

The entire pantheon consisting of the Lord and his consorts, guards and devotees, amidst religious symbolism and traditional motifs

Spread over 1.2 acres and built at the cost of 11.5 crores (115 million) rupees in 1979 on land granted by the government (renovated in 1994 and 2008), the majestic temple also consists of a “Nata Mandir” (music and dance hall) and a “Dhyan Mandir” (meditation hall). Through the exquisiteness of its rich idols and the unmatched skill that went into its fine construction, the temple has definitely found its way into my list of the must-visit shrines in the city, even though I too came across it without any planning or inclination – now am even hoping to take my mom there the next time we pass that way!

Bijri Khan’s Tomb –

Location: Sector– 3, R.K. Puram

Coordinates: (28.558578, 77.181717)

Seated on its immensely raised platform like a rippling warlord and overlooking the continuous flow of traffic whizzing around it, Bijri Khan’s impressive tomb is perhaps the most massive “unknown” tomb I’ve ever come across in Delhi – built at an unprecedented scale and conveying a sense of uninhibited strength and fortitude, the gigantic tomb cradles in its huge bosom five simplistic, unmarked and unadorned cenotaphs. In the news in the recent past for all the wrong reasons – having been ignored by the authorities, standing in a miserable state in a forlorn corner of its own with its ornamentation lost due to the vagaries of time and nature, scaled on one side by a slum settlement and forgotten by most heritage and monument enthusiasts, the tomb saw a flicker of better days when it was “restored” (in reality only plastered over on the insides and landscaped around the plinth level) thanks to the Commonwealth Games held in Delhi in the December of 2010, only to revert to its original isolated and uncared for condition – the slum still exists and it is quite a feat to find your way from the slum side to the tomb, on the other side is a palm reader’s shack while a wide road runs along the front face. 

Enormity exemplified! - Bijri Khan's simplistic but humongous tomb

An iron gate bars visitor entry to the tomb enclosure but the guard quickly appeared after I shouted for him couple of times, and though he reluctantly let me in when I stubbornly refused to go away and brandished knowledge of Archaeological Survey of India (ASI) maintained monuments and laws, he became visibly agitated when I started clicking the structure claiming that he is not even allowed to let in people (yes, even those with genuine credentials), leave aside photography! Why, ASI why? Stepping through the gate and up the steps leading to the plinth, one is greeted by the sight of the guard’s innerwear drying on a clothesline – apart from that and the expensive illumination systems that appeared to have been perennially covered with a layer of mud, the tomb appears in a relatively well-off condition – even the interiors were spic and the plinth area was immaculately clean of debris and garbage unlike several monuments I already encountered on this trail. Sadly, the guard did not budge at all at the prospect of me heading upstairs to the tomb’s dome level and clicking – it would have been excellent to see that gigantic dome up close – in fact following this simple question, he began trailing me like a shadow lest I do something unpardonable, like perhaps clicking the other person who was snoring within the tomb’s precincts – how did he get permission to get in when others can’t?

Bijri Khan's tomb and its dwarf companion

There are no literary records available to indicate who Bijri Khan was – in all probability a very skilled military general or an extremely powerful noble – and why did he command such intimidating respect to deserve this giant tomb, but whosoever he was, he is extremely fortunate in death to have an ASI guard and then too such a diligent one – after all, there are literally hundreds of monuments decaying around Delhi’s ancient landscape! Along one side of the tomb, stands a very small structure, more of a "gumti" (little, domed room) than a tomb proper – though there is no grave within nor any other sign of identification or erstwhile adornment, it is conjectured that the structure functions in the capacity of a tomb – to whom it belongs is yet another mystery, perhaps to a servant or slave to Bijri Khan, or even to his favorite dog (yes, Delhi has its fair share of such inconceivable structures too!). Interestingly, if one is observant enough, one can spot a few signs of the original ornamentation along the front face, like a band of red sandstone chiseled to represent a line of geometrical flowers, besides the usual thick stone pillars carved up to create trabeated arches inspired by Hindu design motifs like auspicious vases and banana leaves that mark the entrances. It is hard not to be impressed by the enormity of the structure when even the red sandstone finial crowning the grand dome seems to convey a sense of superiority. Interestingly, the British, when they came to call the shots in the country, refused to be overawed by the tomb’s grandeur and converted it and the miniature gumti alongside too into fodder stores!

Somber bedroom - Bijri Khan's tomb interiors

Nearest Bus stop: R.K. Puram NAB (400 meters away)
Nearest Metro Station: AIIMS (5 kilometers away)
How to reach: Since the area doesn't lie on any existing metro line and the nearest metro station is actually very far, it is suggested to take a bus to R.K. Puram. Start at Wazirpur complex (refer Pixelated Memories - Wazirpur Monument Complex) and from there ask for Kendriya Vidyalaya school – Munda Gumbad is located opposite the school building. From here, proceed to R.K. Puram Sector– 3 bus stop – Bijri Khan's tomb is immediately at the bus stop, while Sri Venkateswara temple is a couple of meters away in one of the streets close to Bijri Khan's tomb.
Entrance fees: Nil
Photography/Video charges: Nil

Time required for sightseeing: Wazipur complex: 45 min; Munda Gumbad: 20 min; Sri Venkateswara temple: 30 min; Bijri Khan's tomb: 20 min.
Suggested reading - 

1. Incredibleindiaphotogallery.com - Illuminated Delhi monuments >> Tomb of Bijri Khan
2. Newindianexpress.com - Article "Lord Balaji temple opened in Delhi" (dated May 30, 2013)
3. Thehindu.com - Article "250 monuments identified for conservation" (dated Oct 13, 2010)
4. Thuglak.com - Article "Between slum and public toilet, a monument lies neglected" (dated July 12, 2009)
5. Timesofindia.indiatimes.com - Article "Bijri Khan's tomb lies in shambles" (dated May 23, 2004) by Arundhati Basu

Curzon Gate, Bardhaman

The documented history of the province of Bardhaman (aka Burdwan) in Bengal goes back over 2,500 years when the last Jain Tirthankar Vardhaman Mahavir stayed at a small hamlet known as Astikagram during his lengthy sojourn – the hamlet was immediately christened as Bardhaman in his honor and continued to exist in its simplistic, pristine state for over a millennium while the world around it changed and developed, emperors and local lords came and went, and territories changed hands. In 1657, when the Mughal Emperor Shahjahan (reign AD 1627-57) ruled over the vast subcontinent, Sangam Rai Kapoor migrated from Lahore (present-day Pakistan) to Bardhaman under express command of the emperor to take over, expand into a local stronghold and manage the affairs of Bardhaman. But that is not where our story begins – it fast-forwards two and a half century to when Maharaj Bijoy Chand Mahtab (ruled 1887-1941, under regency from 1887-1902 since he was only six at the time of crowning) ascended the throne of Bardhaman province and immediately ordered the provincial administration, lukewarm and largely undecided in transferring its loyalty from the ousted Mughals to the British colonists, to leave no stone upturned to serve and appease the British administration that had overtaken the country following defeat of the native forces in the 1857 Sepoy Mutiny/War of Independence – it is difficult to ascertain the primary reasons behind the Maharaj’s capitulation to the foreign forces but he could have been guided by sensitivity towards his subjects who would have benefited greatly, financially, academically as well as socially, by assisting the subcontinent’s masters in their entire capacity against localized revolts and freedom struggle outbreaks, or by the lure of personal achievements, monetary, social as well as statutory – either way, in his bid to keep his colonial masters content and satiated, the Maharaj, who was no more than a local well-paid and extremely affluent revenue collector (“zamindar”) enjoying a title (“maharaj”) that was under no circumstances hereditary, turned away from the freedom movement that was gradually gripping the country in a fervent and united stance – he was bestowed with the title of “Rajadhiraj” by Bordillian, the then Lieutenant-Governor of Bengal, in 1903 and “Maharajadhiraj” by Lord Minto, the then Viceroy of the subcontinent, in 1908 in recognition of the valuable assistance he provided against the revolutionaries and the revenue his province generated annually to keep the coffers of British treasury overflowing. The Maharaj’s chivalry and courage was hailed when he saved the life of Sir Andrew Fraser, the Lieutenant-Governor, from Bengali revolutionaries intent on assassinating the latter and he was awarded with further titles of KCIE (Knight Commander of the Indian Empire) and Indian Order of Merit (class III).

The splendid gateway and the bazaar adjoining it

The Maharaj commissioned the grand Curzon Gate (also referred to as Bijoy Toran, a play on the Maharaj’s name since it could be translated both as the Maharaj’s gateway or “Victory gateway” (Bijoy literally translates to victory), when Viceroy Curzon visited Bardhaman on August 16, 1904 as part of a tour to Bengal. The magnificent gateway, a huge Gothic-inspired structure, looks slightly out of place at the head of the typical Indian bazaar (market place) where it stands, but definitely fulfills its function by acting as a majestic gateway leading to the Maharaj’s palace, which is about a kilometer away on the road emerging from the gateway. The massive gateway’s central and largest arch is surmounted by spellbinding sculptures of three Greek women dressed in robes and personifying Education, Industry and Agriculture – the three ethos in which the Maharaj aimed to and largely succeeded in making his province sufficiently affluent, he himself being the first member of the royal family to formally attain educational qualification from the renowned Calcutta University. Each of the two smaller, side-arches is crowned by the statue of a lion seated regally atop a low platform. 

Sculptures

Exquisitely sculpted, thick Corinthian pillars support the high pedestals while the pedestals that serve as the base for the pillars are themselves adorned with panels crafted out of incised plaster and displaying a very intricate, highly fantastical and ethereal representation of foliage, trees and flowers; A band of beautiful floral patterns runs along the central arch while the gateway’s top is ornamented with star-spangled medallion motifs – in its entirety, the gateway is undoubtedly a testimonial to the skill of the artists who toiled on it and dexterously conceived and executed a European style structure even though their chief preoccupation might have been crafting traditional and vernacular artistic and architectural specimens. The gateway leads to the aforementioned multifaceted bazaar where one can purchase numerous items ranging from food articles and sweets to clothes and accessories – walk straight in and you can also visit the famed Sarvamangala temple, a pretty Shaktipeetha and a well-known shrine housed within the premises of a huge mansion. 

The panel with fantastical representation of trees and foliage at the bottom of the gateway

It is of course another matter that in 1905, Lord Curzon announced the partition of Bengal into Hindu-Muslim enclaves leading to widespread riots and repercussions for the imperial administration. Soon thereafter, though Bengal was reunited into a single province, the Maharaj, sensing a shift in British policies that were bound to be greatly unfavorable to the Zamindari (revenue agent-landlord) system and would have depleted his resources and revenues in a single stroke, began associating with and funding the freedom struggle leaders. Following independence and the abolition of Zamindari system, the magnanimous descendants of Maharaj Bijoy Chand gave up their territories and palace to establish small cultivators and the University of Bardhaman respectively and themselves began managing the private companies and industrial institutions in which they were stakeholders and took active interest in commercial and real estate interests. The gateway still functions as a beacon, welcoming visitors to the city with its gentle, unassuming enormity and graceful artwork – after all, the Bardhaman railway station is so close to it that most visitors pass by it and marvel at its regal splendor whenever they emerge into the city.

The realistic lion and the skillfully-sculpted Corinthian pillars (bottom)

Location: Near Bardhaman Railway station

How to reach: If arriving from out station via rail, one can simply deboard and walk to the gateway. Buses and rickshaws are available from different parts of the city to the gateway.

Photography/Video charges: Nil

Time required for sightseeing: 10 min

Nearby attractions: Pixelated Memories - Kankaleshwar Kalibari, Bardhaman

Suggested Reading - 

1. Outlookindia.com - Article "Sita's Sweet Tooth" (dated Jan 15, 2007) by Jaideep Mazumdar
2. Wikipedia.org - Bardhaman Raj
3. Wikipedia.org - Company rule in India

Raj Bhavan, Calcutta

The gubernatorial house of Bengal, Raj Bhavan (“Regal House”), is an essential stop on the itinerary of any heritage enthusiast on a sightseeing tour of the historic British-built BBD Bagh Area (formerly Dalhousie Square) despite being out of bounds for visitors. Strewn with history from the colonial past with Gothic and Victorian edifices, beautiful churches, ancient cemeteries and impressive English buildings complete with exquisitely sculpted Corinthian pillars, ornamental statues, imposing facades and splendid interiors, BBD Bagh is one of the most renowned and endearing heritage zones in the city of Calcutta. As its centerpiece, the skillfully designed and laboriously executed enclave has the residences of the mighty – Raj Bhavan and Writers’ Building (office of the Chief Minister of Bengal, refer – Pixelated Memories - Writers' Building). By the numerous police officers on duty around Raj Bhavan, one is only granted permission to click the lovely cream-yellow facade from the streets afar and from the massive gateway if one happens to be unyieldingly adamant, like yours truly (unlike the superbly visitor-unfriendly Writers’ Building where photography is prohibited even from afar!) and hence one has to rely on old photographs and satellite imagery to achieve an idea of what the Governor’s residence is actually like. The largest and unequivocally the most highly adorned residence of a state head after the President’s House in Delhi (refer Pixelated Memories - Presidential House, New Delhi), the Raj Bhavan sits snugly in a colossal green space measuring 27 acres in the heart of the city and consists of a central domed rectangular core from which emerge four annexes connected to the core by quadrangular curved sections – the dome is not visible from the primary (northern) gateway since the raised triangular facade of the structure supported on six Doric pillars impedes the view from this particular side, however one can observe the giant semi-circular dome from the southern gateway.

The Raj Bhavan. At the bottom of the staircase is a Chinese canon brought by the armed forces following the First Opium War.

Though there are masonry gates along all four sides of the vast lawns housing the palatial building, only the northern gateway has been envisaged as a grand, though simplistic, structure with an ornamental iron gate complementing the thick marble pillars crowned by decorative marble vases; the rest of the gateways possess cement-finished terracotta/brick sculptures of lions (atop central (largest) arch) and sphinxes (atop the smaller side arches) but simply fail to hold a candle to the northern gateway, probably because the statues are undoubtedly unrealistic or because despite their decorative appearance and much adorned surfaces, they are unremittingly not as grand as the intention behind their conceiving might have been. The present form and composition of the statues was arrived upon after much experimentation that continued for over a decade! Photographs depict how luxuriously regal the structure is from within and since I haven’t been inside (but would love to!) I am sharing photographs from the official website to display the same. On the north side, an enormously long gravel-lined walkway flanked by palm and other trees leads to a wide flight of stairs following which the building’s interiors can be accessed. At the bottom of the staircase rests a beautifully decorated Chinese cannon mounted on a winged dragon and brought to India in the year 1842. A plaque fitted on the cannon's plinth reads "Edward Lord Ellen borough, Governor General of India in Council, erected this trophy of guns taken from the Chinese, in commemoration of the peace dictated under the walls of Nan kin by the Naval and Military forces of England and India under the command of Vice-Admiral Sir William Parker and of Lieutenant-General Sir Hugh Gough (1842).", thereby commemorating the victory over the Chinese in the highly unethical First Anglo-Chinese Opium War that broke out as a result of the Chinese emperor’s opposition and punishment with regard to the pushing of massive quantities of illegal opiates into his country but was largely motivated by the British frustration at the Chinese trade framework which limited their influence in the region. The seal of Indian sovereignty – the Ashokan lions mounted on their pedestal and underlined by the national quote “Satyamev Jayate” (“Truth alone triumphs”) – can be seen embossed in gold on the northern gateway as well as the triangular pediment of the main structure – these replace the British coat of arms that once made up the insignia defining the Viceregal lodge, as noted by the renowned painters Thomas and William Daniells –

“Contiguous to the Esplanade is the Government House, a superb edifice, approached by four colossal gates emblazoned with the Britannic Arms” 

As witnessed from vintage photographs, the coat of arms belonged to the British government and the East India Co. (these were later removed in favor of the former) and featured on the triangular pediment as well was emblazoned on the front face of each annex. 

The simplistic yet marvelous northern gate. Notice the Indian administrative insignia emblazoned in gold on the gates.

Completed in 1803 after four years of laborious construction work, the grand building, then referred to as “Government House”, was a brainchild of Lord Wellesley, the then Governor-General of the British East India “trading” Company (which incidentally also owned vast territories and commanded a very powerful army). Prior to the construction of this splendid structure, the Governor-General used to reside in a rented country house that stood at this very spot and was owned by Mohammed Reza Khan, the Nawab (revenue collector/”Zamindar”) of Chitpur but was found to be unfit for regal residence by the Governor-General. Embarrassingly, though Lord Wellesley has been credited with gifting one of the most elegant colonial buildings to Calcutta, he was soon charged with misuse of Company funds for construction and furnishing of this extremely expensive structure and was recalled to England in 1805. Considered to be amongst the finest European architectural legacies in the subcontinent, the structure was designed by Captain Charles Wyatt and inspired by the Kedleston Hall of England (the ancestral residence of Lord Curzon, a later Governor-General and occupant of the Government House). It, however, differs from Kedleston Hall in several key aspects – the latter features only two annexes curving along its front instead of the four elegant pavilions curving symmetrically along each corner of the central building as observed in the former; nor does Kedleston Hall boast of a fusion of several architectural influences like spacious verandahs and colonnaded hallways.

Warm and regal - The Throne Room within the gubernatorial house (Photo courtesy - Rajbhavankolkata.nic.in)

The Neoclassical Raj Bhavan building has since housed numerous Governor-Generals, (following the transfer of governance from East India Co. to the Govt. of Britain in 1858) Viceroys, (following the transfer of British administration to Delhi in 1911) Lieutenant-Governors of the territory of Bengal and (following independence) Governors of the state of Bengal – it was only natural that several changes would have to be made to the structure to accommodate the requirements of these illustrious personalities while also modifying it to keep pace with technological and structural developments – thus somewhere around 1805 the metallic dome was added – it used to be surmounted by a sculpture of a female deity holding a spear and shield but it was removed to avoid lightning strikes – the dome has since been repaired and replaced several times, Lord Curzon had a small electric lift installed within even though the building only possesses three floors with a total of sixty regally furnished and tastefully decorated rooms; he also added the ornamental vases, each of which is over six feet tall (a fact not apparent from the gateways!), marking the roof and modified the color scheme from pale yellow to dazzling white, though at present yellow seems to be back in favor (I must point out that in comparison the new supposedly “gentle and soothing” blue and white color scheme being enforced in the entire city by the ruling Trinamool Congress (TMC) dispensation appears to be a highly garish eyesore, nowhere more apparent than in the elitist, elegant and warm BBD Bagh area). Several more cannons and guns were added as trophies around the main structure as the British established administrative and military control over new territories – Sindh (Pakistan), Mesopotamia (Iran), Punjab (India-Pakistan), Mandalay (Myanmar), Kabul (Afghanistan), Seringapatnam (capital of Tipu Sultan's kingdom at Mysore, from where comes the Governor-General's stunning throne) – I wish public entry to the complex was allowed if only to view these historic artifacts. A lesser proportioned “Garden House” was added in the huge lawns in 1977 when T.N. Singh, the then Governor, expressed unwillingness to stay in the main building citing its massiveness and opulent character. The most prominent of the recent Governors of Bengal, Gopal Krishna Gandhi, a forthright and extremely brilliant writer-columnist whose articles and essays I adore, had several environmental measures taken up in the complex, including solar panels and rain water harvesting systems.

An aerial view depicting the central core topped by the metallic dome, the triangular facade supported by the six Doric pillars and the four annexes (Photo courtesy - Panoramio.com/sandipanoramio)

The richly decorated offices and the lavish residential quarters are accommodated in the four annexes; the complex also maintains, in a corner of its lawns, a small cemetery dedicated to the gubernatorial pets that deceased during the tenure. Besides a “Throne Room” (where once princes and visiting dignitaries were received but today the Governors are administered oath of office), the structure also boasts of several huge and colonnaded banquet halls, visitor rooms and conference chambers, each of which is lined with precious artifacts and magnificent paintings besides rich carpets, comfortable seating arrangement, luxurious chandeliers and expensive wooden furniture thereby completing the lavish royal appearance deserved by the Governor (based on the photographs available on the official Raj Bhavan website, see site link at the end of this post). Of course, one can argue that such extravagant show of splendor and affluence is sick and demoralizing in a poor state such as Bengal where the government makes headway in providing the most basic civic amenities only after receiving millions of rupees worth bailout packages from the central government, but – one, the (nominal) head of the state needs an exclusive, lavish residence in accordance with her/his position, and two, duh, people aren’t after all allowed within the massive structure! (except occasionally, like the recent much written about, open invitation to visitors by then Governor M.K. Narayanan). 

Lavishly luxurious - One of the several drawing rooms (Photo courtesy - Rajbhavankolkata.nic.in)

It is interesting to note that while the British no longer run the country and the Governor is only the titular head of a state with the actual legislative power resting with the Chief Minister, the landmark gubernatorial houses in every state are still referred to as “Raj Bhavan” or “Government House” – definitely a colonial legacy in nomenclature which has been adopted to modern vernacular utilization. The Raj Bhavan at Calcutta has been the site from where some of the foremost personalities of their time legislated over the entire country and several eminent Governors managed affairs of Bengal; it is also the site for the undertaking of several key projects and signing of several important treaties and orders. The majestic structure proved to be a pinnacle of European construction in the magnificent city and has undoubtedly been paid a grand tribute by Lord Curzon (who happened to be a discerning visitor and pro-conservation administrator of several endearing historic structures throughout the subcontinent) through his words – 

“(It is) without doubt the finest Government House occupied by the representative of any Sovereign or Government in the world.” 

Flamboyant! (Photo courtesy - Flickr.com/Chiradeep Mukhopadhyay)

Location: BBD Bagh Area (formerly Dalhousie Square)
Nearest Bus stop: Esplanade
Nearest Metro station: Esplanade
How to reach: Buses and metro can be availed from different parts of the city to Esplanade from where one can walk/take a taxi to Raj Bhavan. One can also take a taxi from any part of the city to Raj Bhavan/BBD Bagh.
Entrance fees: Nil, but visitor entry strictly disallowed without prior written permission from the authorities or appointment with the Governor.
Photography/Video charges: Nil from the outside. Again, prohibited within the complex.
Time required for sightseeing: 20 min
Relevant Links – 

1. Pixelated Memories - Presidential House, New Delhi
2. Pixelated Memories - Writers' Building

Suggested Reading –

1. Kolkataonwheelsmagazine.com - Raj Bhawan: A Magical Palace
2. Rajbhavankolkata.nic.in - Official website of Raj Bhavan, Calcutta/Kolkata
3. Telegraphindia.com - Article "Raj Bhavan welcomes with ‘na... na’; Cops know not you are invited" (dated Feb 12, 2013) by Subhajoy Roy
4. Timesofindia.indiatimes.com - Article "Raj Bhavan resurrects Empire's lost insigni" (dated Masr 10, 2012) by Jhimli Mukherjee Pandey
5. Victorianweb.org - The Raj Bhavan (Government House), Kolkata, India
6. Wikipedia.org - First Opium War (1839-42)
7. Wikipedia.org - Kedleston Hall