SOCIETY & SYNCRETISM
Attitudes in Shankhanidhi Group, Tipu Sultan Road, Dhaka.
Prelude: In 1558 the defeat of the great Spanish Armada, the mightiest invasion fleet ever
mounted against England unified England to a symbolic faith of Englishness and nationalism. The
article of faith assumed definite form with the establishment of East India Company and afterward
the British ascendancy to political power in Bengal in 1765. If we follow the British progress by
their monuments, these conquerors identified themselves with the Greeks and 6the Romans, who
erected trophies and superb buildings of every kind in all those countries, which felt the power of
their arms.
“During the Afghan expedition, the boast was made that for the first time since Alexander (!) the
banners of the civilised nation waved along the river.”
-( C.N. Parkinson,1888)
What all these buildings had in common was their architectural vocabulary – the classical style.
But, the transform of one type of building from one climate to another and new building materials
forced the builders to confront with some obvious problems. So they consciously changed their
tune to a new vocabulary – the Euro-tropical style.
The early British vision of ‘Self-rule’, which later envisaged by Lord Bentinck and favoured by
Lord Ripon, hoped for radical improvement in local administrative structure, in other word Rapid
Westernisation of India. A business class – the bourgeoisie, was replacing the Aristocrats,
leaders of fashion and arbiters of taste. Wealth put the means of patronage in the pockets of this
class and education let its members speak more and more in the accent of a cultured class. The
momentum of the British attitudes sufficed to propel a style well into the end of 19 th century and
the beginning of 20th century among the local leaders of the society. This time the Socio-cultural
factors trailed behind the uplifted class of the society and shaped their identifying vocabulary; we
call it the Euro- Indian style.
This article will discuss how these new social dynamics, new spring of ideas, new aesthetic
currents came together to bring about the Syncretism, a special language of classicism that can
be learned and used with a certain freedom. It is a study of part of the transformation of one
social attitude by another and prolonged crisis of responsibility and identity. The buildings
described here are more fascinating than beautiful. Nevertheless, they mark a point of
development of our culture, a development still in the process of resolution.
Backdrops of Syncretism In the semantic aspects of Colonial Architecture, the doctrine of
Vitruvian character hold its significance for much from Renaissance onwards, laid down in the
prototypes, treatises and handbooks. Within the code they offered such different alternatives as
Serillio’s Mannerism, Gibb’s late Baroque and Stuart’s and Revett’s direct acceptance of Greek
models continued up to the mid 18th century.
With the introduction of New-classicism and establishment of British political domination in India
around 1780, we are confronted with a new definition of style, it is no longer to be considered as
a code but rather a mode of expression. More attentions paid to the effect of style then to its
inherent characteristics. The magnificent large dimensions and the sharp profile associated with
heir Greco-Roman background represented the richest inheritance of the west. Architecture was
deliberately used to pronounce their growing domination on the political and cultural levels in
India; the classical columns become the symbol of progress.
“ Lekin, Lady, I every time happy this England. Horses gentleman, ladies gentleman and grass is
gentleman”.
-Maharajah General Sir Protap Singh of Indore.
Quoted from Lady Minto’s Diary.
Onset of Syncretism Though the Neo-classical buildings were suitable for climate, the climate of
India compelled them to deal with their task in a very practical way. The prototypes, taken from
Europe, were used as full-sized models on which the architects made to work by means of
addition and functional changes to bring about a type of colonial buildings we shall call the Eurotropical types.
Such a manipulation of the forms and images of the ancient glory has a vast appeal to the neoBourgeoisie of the Indian Society. The emancipated individuals rising to leadership through their
own efforts, inspite of accident of birth, tried to consolidate the social gains that has been made
by adopting the fashion for ‘things Western’ specially for their residences. It was a jump and we
should not forget that every jump leaves behind a gap; a gap to be filled up by cultural efforts to
cope with the new standpost.
“………..and a few very large, very fine and generally very dirty houses…… were the residences
of wealthy natives.”
-Bishop Heber, 1820.
It was a “Giant leap” when the Calcutta Madrasah was erected in given Doric style. Once again
the British conquered Bengal and the power of the conqueror is felt over the educational life. In
the field of Architecture the consequence are noticeable in mixed styles. The Indian Skeleton
structure was dripped into the European skin. Thus a very miss-understood process of Transcreation started from Classicism to Racial Classicism. The Socio-political conditions gave new
significance to the European Architecture, enriched the classical language with a unique dialect –
the Euro Indian Architecture.
The Reacting Group and Contest of the Reaction The different regions of India that had little in
the way of cultural tradition at all experienced the drastic process of creating palaces in the newly
introduced classical vocabulary. But places like Bengal and Rajesthan had richly developed their
own cultural identities, although in a declining state.
At the initial stage of the company rule, the existing pattern of social attitude was seen
sympathetically. But afterwards with the adoption of the strategy of ‘how India should be ruled’ by
interventionist like Lord Bentinck over conservatives like Warren Hestings, the attitude shifted
towards rapid Westernisation by initiating policies and reforms. This was not to convey the
benefits of West but to substitute the civilisation for local tradition. The then member of supreme
counsel of India Thomas Bibington Macaulay declared to create ‘a class’ in his words ‘of persons
Indian in blood and colour but English in taste, in opinions, in morals and in intellects’. The
Macaulaytic view of total confidence in the superiority of Western Civilisation worked in two ways.
Firstly, it helped shaping the British perception of Indian Civilisation in mid 19th century and
secondly, formed a rational and intellectual Indian attitude towards Indian Civilisation.
“ I had unusual opportunities of studying the mental condition of the educated class in one Indian
province…..here has been a complete revolution of thought, in literature, in taste, in moral and in
law. I can only compare it to the passion for the literature of Greece and Rome….the new
generation of Bangalies saw in the intellectual life of Europe a force to extend their mental
horizon.”
-Sir Henry Men, Vice-chancellor, Calcutta University.1871.
A spirit to use Indian forms in Indian buildings awoke through the enthusiasm for the Indian
Architecture in the late Middle of the 19th century because of two great events. They are the
foundation of Archaeological Survey of India in 1862 and the publication of Furgusson’s history of
India and Eastern Architecture in 1876. The British Architect and Indian builders in India began to
adopt Indian style to British Imperial and Classical buildings.
“ Two branches of the same human stock had settled in two widely separated land….. they were
the ancient Greeks and the ancient Hindus….but now they were meeting… as a result of English
conquest of India, because European civilisation was Greek in everything.”
- Swami Vibekananda, lecture Calcutta 1898.
After 1870, the debate between the interventionist and conservative revived over the old issue of
the role of British Empire about Indian tradition. But this time situation appeared to be different
and the matter remained unresolved. Through the cloud of this indecisiveness even the
government Public Works Department (PWD) produced a number of buildings in attempted
Indian style.
At the end of 19th century and the beginning of 20th century ‘a number of related motives’
determined the course of Architecture of India. They are firstly, the rise of Bourgeois in the
Bengali society; secondly, the prestige attached to the Classical Style; and thirdly, the
Government policy of Westernisation of upper classes with the development of India. Finally, a
new dimension opened up when architects worked for a new Imperial Style which emerged to be
Gothic. This in turn was developed into the so-called ‘Indo-Saracenic’ or the ‘Gothic- Indian style.
The Gothic-Indian approach made easier the adaptation of Indian forms, for they could be easily
placed to the Gothic frame, replacing its own rich ornaments. The multi-foil arches, clustered
columns, grouped domes like the encrusted carving of decorated Gothic, free standing minarets,
shikheras and chhatris all represented the Gothic counter part of Classical formula.
The new style was very swiftly adopted by some of the local rulers and the rising Bourgeoisie. It
had for them a double advantage: on the surface, it was Indian style and so enabled them to
acknowledge their cultural roots, but it was at the same time an Imperial style with British
sanction. They found the style as a means of being simultaneously Indian and progressive.
“The wealthy natives now all affect to have their houses decorated with Corinthian Pillars and
filled with English furniture.”
-Bishop Heber,1820.
Architectural Expression of the Syncretism The Mayo College at Ajmer, a school for Indian
princes, built by the Government in 1875, was given the new Indo-saracenic or Gothic-Indian
style by rejecting the Classical Greek temple plan. From then the princely India was actively
introduced to that style to be appreciated and reproduced onward. Most of the forms and details
on the building exterior, and certainly the most visible are Indian. The domes, the deeply carved
Bangaldar eaves, the balconies, the arches, the pierced screens and the mouldings are all
faithfully copied from Indian Architecture. They were taken as if from the pages of Indian
architectural history and replaced over the surface of an English country house. There was the
grammar of Western plan crowned by Indian elevation; Western pattern of size and proportion
containing the Indian social space divisions, of course if we agree to call it a grammar in anyway.
“The ancient philosophies are being re-exploited and their modern scribes and professors are
increasing in numbers and fame……..What is to come out of this strange amalgam; who can
say?
-Lord Curzon, letter to Max Muller, 1899
.
A degree of uncertainty about the character and aim of the style remained among the cities.
Whether it is an authentic revival of Indian style or an achievement of fusion between Eastern and
Western tradition, a style created through synthesis or both. The fact is that, it is neither. It is not
an authentic revival because the revived forms are merely sprinkled over the gothic frame and it
is not a proper fusion, because a satisfactory synthesis is not achieved. They do not resolve into
a new Architectural Logic. The end product is not a compound but a mixture, a mixture which
cannot be called a mastery of tradition, rather it is using that tradition as a store of riches, to be
plundered without the impediments of taste and understanding.
But in spite of this un-masterly mixture and modifications arising from the response to the
attraction of exotic style they possesses some inspiring qualities that we cannot deny. Firstly,
though the Indian forms are often wrongly applied, they are usually faithfully copied in
themselves. The architect did study the finest examples of Indian design, they engaged local
craftsmen to help them execute the details. Secondly, however unhistorical those details are
grouped, they are often grouped with great panache. This is especially true in case of the
Shankhanidhi group of buildings in Dhaka. The builders took the scissors and pasted every
features of Indian tradition over a European structure, producing, no doubt, a supremely
picturesque and boldly dramatic group of buildings.
Case study
Historical Aspects:
Rise of Bourgeoisie in Dhaka in the Middle of the 19th century gave ways to many opportunists for
their luck to be tried. Such one being the Shaho-Banik family which settled in the Nababpur area
of the city. Shaho-Banik means a class of businessmen who trade in spices and herbs. It is said
that s ‘Shankha’ or Conch-shell once found in dream by one of the family members brought great
fortune to their business. The days of prosperity began sometime at the beginning of 20 th century
when the family business was looked after by three brothers – Lal Mohon Shaho- Banik, Bhajo
Hari Shaho- Banik and Gouro Netai Shaho- Banik. From then on, they used ‘Shankhanidhi’ or the
bearer of Shankha as family title and symbol of Shankha as family and business logo to show
respect to the talisman of their wealth.
The group of buildings came into being during this time (1920-26). The three brothers with their
overpowering success in business made huge real-estate properties in and around the city. They
also indulged themselves in local policies and humanitarian works.
Analysis
Shankhanidhi group of buildings comprises several structures along the northern side of Tipu
Sultan road stretching from the Nawabpur Road corner to Rankin Street corner at the old part of
Dhaka city. Of these, four structures are chosen for this article. They are a. Shankhanidhi Lodge
b. Nat Mandir c. Bhajohori Lodge and d. Radha-Vinod Mandir. These were erected during a time
when the Gothic-Indian or Indo-Saracenic style had set a firm grip on the Indian Architecture
where Classicism became obvious and tradition revived. Dhaka being an important outpost of
British Empire could not defy the force, which found its place boldly in these buildings. They show
traditional grouping around courtyards and treatment in fenestration within the Classical
framework o proportion, features and methods of construction.
a. Shankhanidhi Lodge:
The eldest brother Lal Mohon Shaho- Banik erected this two-storied multi-court building in 1921.
It followed traditional courtyard organisation with delicately ornate street elevation. The front
façade bears the testimony of Greco-Indian influences. The central bay is hexta-style with double
height Corinthian columns providing grandeur and image of a high status. Side bays with three
openings on each floor and pilasters in between were treated with foliage bringing drama to the
composition like the Baroque- Rococo predecessors.
b. Nat Mandir
Situated to the east of Shankhanidhi Lode, this temple like structure was erected by the youngest
brother Gouro Nitai Shaho- Banik for his relaxation and entertainment. It is an enclosed type
structure elevated on a five feet high platform, symmetrically composed and having a central hall
preceded by a veranda. The style adopted in its fenestration shows high resemblance to the
Gothic-Indian approach. Exterior openings with multi-foil arch, group columns, kalasa base to the
columns, high platform showed much to its pre- European attachments. Use of foliage pattern is
treatment of the crowning pediment to bring motions to the composition along with tendency to lift
upward, the two point octagonal domes, owed much to the Indian interpretation of the Gothic.
c. Bhajohori Lodge
Built sometime around 1925, this two storied building is a symmetrical enclosed structure having
three rooms arranged centrally side by side and run by corridors all along the periphery. It is
supposed to be built for residential purpose although frequently staging of Bengali Dramas was
reported. Stylistically, it belonged to something between Greco- Indian and Gothic Indian. The
parapets have been delicately treated with triangular pediments incorporating traditional Jali
creating a rhythm of verticality along the skyline. The projecting semi-circular balconies in the
central bay with half-dome capping in the side reminds of treatments in the Mughal Architecture
soaked with Hindu influences. Columns in the upper storey derived inspiration from pre-Islamic
Hindu temples.
d. Radha-Vinod Mandir
Of all the buildings in this group, the most successful attempt of fusion between Indian and the
Western styles was evident in this structure built as the Shankhanidhi family temple. Organised
along a central courtyard the main sanctuary is placed centrally as the northern termination. In its
elevation facing the street, the central bay, except the third level is grafted with the Indian skin
borrowed from various chapters of Indian Architecture. The entry columns, owed much to the
North Indian temple columns supporting a balcony above with multi-foil arch and projected eaves,
remind of the Mughal pavilions. Above this, a projection is held by Hindu brackets. The parapets
are crowned with ‘Chouchala Kiosk” providing a glorifying example of Gothic influence in Dhaka’s
Architecture. Arches used in the ground floor openings clearly show Gothic approach, while at the
upper storey of the side bays, openings are European: arcuated and moulded into Indian Multi-foil
look. The railings of the gallery at the upper floor being inter-woven by twisted steel columns, are
a reminiscence of the Romanesque influence. These columns support a flat roof with projecting
eaves used in the palaces of the Rajesthan region. It may be mentioned that ‘Shankha’ motive
has extensively been used as a feature of ornamentation and symbol of the family status
wherever became necessary in the building facade.
Continuity of the Spirits A part of the rhetoric of Indo-Saracenic or Gothic-Indian movement was
that it would arrest the disintegration of Indian tradition, that it would sustain Indian Architecture
and so fulfil an imperial obligation to the subject people.
The method of construction was entirely different from the Indian traditional method, by which a
co-operative group of craftsmen shared responsibility for both the design and execution in the
site. Though an imposed distinction was made between a designer and a builder; some
measures were taken to involve the Indian craftsmen in the designing, leaving all or at least some
of the details and decorations to them. This did not work as solution to the crisis of continuity of
Indian Architectural tradition. But it raised the question to bring about another more fundamental
revival; one which handed responsibility for design back to the Indians. The craft revival, which
may be seen, in some measure, as a counterpart to William Morris’ Contemporary Art and Craft
movement in England which leads to today’s new perception of traditional Architecture – more
derivative and less imitative.
The movement to re-establish the identity of our Architecture is now well established. But it will
never be wholly successful unless and until it progresses reasonably beyond mare imitation and
might become even harder if we fail to understand our past in a new way. The enduring values of
our own tradition that the modern movement taught us to abhor must be recovered. Our society
once reacted for the revival of its past glories through Syncretism, now once again it should react
for it, keeping in mind the destiny of the future that is still in the womb of time.
References
1.
2.
3.
4.
5.
6.
S. Nelsson,1968: European Architecture in India (1750-1850).
G.H.R. Tillotson: The Tradition of Indian Architecture.
N. Ahmed,1986: Buildings of the British Raj in Bangladesh.
Karl Marx, 1947: Notes on Indian history (1664-1858).
N.C. Choudhury, 1988: Atmyaghati Bangali.
A.L. Basham, 1975: A Cultural History of India.
Prepared by:
Md. Ali Naqi
M. Mohibul Arefeen Khan.
Khulna, 1995.
Diagram
Influence of Indian
Climate, building material
Influence of Indian
Philosophy, culture, living pattern
EURO-TROPICAL STYLE
EURO-INDIAN STYLE
VITRUVIAN
CLASSICAL
VOCABULARY
EUROPEAN
REACTION
GRECO-INDIAN
STYLE
LOCAL BOURGEOSIE
REACTION
GOTHIC-INDIAN
STYLE
COMPOSITE
STYLE
Showing the different relationship of the colonial styles that has been developed in India.