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Hindu kitsch in times of unprecedented prosperity.
[Text by Gaurav Sood; picture by Akshardham temple authority]
The huge red sandstone and marble monument, visible from the nearby highway, stands alone, proud, and out of place.
The local road abutting the walled complex has a few informal ‘check points’ where men in plain clothes check cars. As our Maruti Zen lurches into the ‘complex’, the true enormity of the ‘operation’ – the beehive of activity that keeps this place running – becomes clear.
The complex employs at least a few hundred people (almost all men), mostly young, eager, full of self importance, and too prone to giving directions where none are necessary. The job of frisking visitors, shepherding them through metal detectors, collecting parking tickets, maintaining order, among other things, at this massive complex clearly leaves the workers flush with tepid excitement akin to what one feels when one stands in the back lines of a violent mob.
Swaminarayan Akshardham temple complex in Delhi is a large red sandstone-and-white marble structure built on a 100 acre plot on the Yamuna riverbed, opposite the disintegrating dingy hovels and narrow lanes of Pandav Nagar. The prodigiously carved temple, which took about five years to build and reportedly employed over 7,000 artisans during its construction, cost around Rs 2 billion (or about $50 million).
The construction of this gargantuan complex right on the dried up riverbed attracted the ire of environmentalists concerned about its impact on the river’s future sustainability. Their protests seemed a bit misplaced given that Yamuna is not more than a sickly nallah, and isn’t expected to do much better in the future.
However, it is widely believed amongst the knowledgeable elite that construction of the temple, as the first building on the riverbed, was a master move by babus at the Delhi Development Authority interested in opening up the riverbed for commercial development. Being a temple, the structure will never be torn down, and under in aegis corporate developers can furnish claims for future development.
The plan seems to have borne fruit with a Commonwealth Village for Commonwealth games scheduled in 2010 scheduled to come up next to the temple complex in the very near future.
The temple is run by the Swami Narayan trust or more precisely, the Bochasanvasi Aksharpurushottam Swaminarayan Sanstha (BAPS). The current leader of the group, Pramukh Swami Maharaj (which roughly translates to ‘leader’ ’saint’ ‘king’ respectively), is credited with inspiration for the temple. Apparently the guru had a vision in which he saw a temple near the banks of Yamuna, an erstwhile preserve of Mughal monuments, and voila in a few years, the dream was realized.
The complex, featuring a Disneyland kind 12-minute boat ride to allow visitors to sail through displays of Indian culture, and a large food court serving everything from Burgers (vegetarian) to Dosas, takes its name from the Akshardham temple in Gujarat’s capital, Gandhinagar.
The temple in Gujarat was the site of a deadly bomb attack, and hostage drama in 2002. Given the history, the temple in Delhi features extraordinary security measures – people are barred from taking in any electronic equipment, they are frisked thoroughly, and even asked to open up their wallets for inspection (strictly inspection, fortunately).
The Swaminarayan temple complex is a strange mix of architecture styles, ranging from Deccan to Mughal to Mewari. The intricately carved marble interiors are reminiscent of opulent Mughal tombs and palaces, the main building’s red sandstone facade seems to pay ode to Deccan style temples (most prominently Meenakshi temple in its ostentatious carving), while the boundary wall and supporting structure seem to be inspired by a mixture of Mewari and Mughal styles.
Walking on the tiled pathways perpendicularly crossing its wide lawns (reminiscent of Mughal garden layout), dotted with garish faux roman (painted cast iron with paint starting to peel) sculptures narrating major Hindu allegories, and showcasing prominent Hindu mythological figures, I caught myself staring at a boundary wall that seemed deceptively similar to Red Fort’s. Similarities to Mughal architecture aren’t that surprising given that Mughal architecture itself borrows heavily from (Hindu) architecture in Rajasthan during the 16th century, but the effect is ironic indeed.
The temple exteriors seem to have been carved to inspire awe rather than convey a more aesthetic sense of beauty. The impulse to impress is most clearly seen inside the carved white marble interior sanctum, generally the most unadorned place in a Hindu temple - in line with the philosophy that devotees symbolically leave the world behind at the sanctum and enter a distraction free meditative space. The effect of all the embellishment seems strangely contrived, much like that of sets from religious mythological shows on television.
More pointedly, as a monument to both Hindu pride and ‘Shining India’, it is appropriately both a religious monument and a theme park. Hindu pride stares at emptily from the narrative sculptural montages, the embellished shell, and the self-satisfied awed masses that congregate here. While ‘Shining India’ gleams in its insipidity in the food court, in the boat ride, in the musical fountains, and in the multimedia museum devoted to Hindu mythology catastrophically crossed with Indian history.
But then it is mere natural progression from gaudy television dramas based on religious epics to gaudy monuments inspired by the same mythological television dramas. It is a mere natural downward progression - to be precise- towards a not-so-unique blend of pride, philistinism, money, religious fervor, and entertainment.
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