MODEL ANSWERS:
1. Trace the progress of architecture during the period of British India?
The British brought with them the Gothic style of architecture. In due course, it merged with Indian architecture and resulted in the Indo-Gothic style of architecture or Victorian style. Post-1911, a new style of architecture known as the Neo-Roman architecture emerged.
The progress of architecture under the British can be seen in the following stages.
Stage 1: Continuation of Regional Architecture Trends:
During this period, the decadent Mughal tradition was continued in places like Lucknow where structures like Bara Imambara, Sikandar Bagh, Kaiser Bagh, Naulakha Darwaja were built. A number of mosques and palaces were also built in Bengal and Rajasthan. In some other regions like Mysore, Baroda, Hyderabad, some structures were created imitating western style.
Stage 2: Second half of 18th & early 19th century:
During this period, public buildings were constructed in different cities by British engineers.These structures were usually modelled on contemporary or near contemporary buildings of England with slight adaptation to suit Indian conditions. Palladian and Baroque architectural styles were the prevailing styles in England. Some important structures built in this style were Saint John’s Church & Govt House, Kolkata and the Metcalfe House, Delhi (DRDO office now)
Stage 3: Second half of the 19th century:
This period witnessed a blend of Western and Indian architectural elements. Some important British architects who created ground for this were F.S Growse, Sir Swinton Jacob, R.F Chisholm and Henry Irwin. European elements characterised by Gothic and Neoclassical are seen during this period. Some important structures representing Gothic elements are the Writers’ Building & High Court building, Kolkata; Victoria Terminus, High Court Building & GPO building, Mumbai. Some structures with Neo-classical elements are the Town Hall & GPO, Kolkata; Town Hall & Building of Mint, Mumbai. This development is also known as Indo-Saracenic architecture or Indo-Gothic, Mughal-Gothic, Neo-Mughal, or Hindoo style. In fact, this was a blend of Indo-Islamic, Gothic and Neo-Classical; the last 2 favoured in Victorian Britain. The overall effect of this architecture was large structures, Bulbous dome, Pointed arches, Minarets, Spires (pinnacles), Vaulted roofs and Cupolas.
Stage 4: First half of 20th century
During this period the centres of activity were Mumbai, Kolkata and Delhi. Two important structures which were erected in Mumbai were the Gateway of India and the Prince of Wales Museum designed by the architect George Wittet.These structures show the influence of the indigenous styles of Gujarat and Deccan.
The 2nd centre of activity was Kolkata where the Victoria Memorial was erected. Its foundation was laid in 1906 and completed in 1921.It is built of marble and conceived in Renaissance style and incorporated certain Indian elements and motives. It was designed by William Emerson and Vincent Esch
The 3rd centre of activity was Delhi. It was decided to shift the capital of British India from Kolkata to Delhi in Dec 1911.Construction began in 1912 and the new capital was formally dedicated in 1931.The 2 chief architects involved in designing the Govt buildings in New Delhi were Sir Edwin Lutyens and Herbert Baker. Lutyens also finalized the design of the Mughal Gardens in the premises of the sprawling Viceroy’s Palace (now Rashtrapati Bhavan). The India Gate was also designed by him. At first the design was conceived in Neo-Roman style but finally it incorporated Indo-Islamic elements too. Example, huge dome like that of a Buddhist stupa in the Rashtrapati Bhavan, use of Indian motifs like lotus, bells etc.
2. Basaveshwara’s Anubhava Mantapa led to the birth of a religious movement fired with missionary zeal. Examine.
Basaveshwara was a 12th century socio-religious reformer of Karnataka who served as the Chancellor of the Exchequer in the court of King Bijjala of the Kalyana Chalukyas.
At Mangalavada, the capital of Bijjala, he gave discourses each evening in a hall called ‘Sivanubhava Mandapa’ (Hall of Siva experience) wherein he rejected Vedic authority, caste hierarchy, the system of four ashramas, a multiplicity of Gods, ritualistic priesthood, animal sacrifice, karmic bondage, the existence of inner worlds, duality of God and soul, magical practices, astrology, temple worship and traditions of ritual purity-pollution. He urged growing crowds of listeners to think rationally and worship Siva as the God within themselves (Ishta linga). His preaching deepened the foundations of the Veerasaiva faith and broad based its tenets.
The following factors marked off Veerashaivism from Saivism and made it a religious movement fired with missionary zeal-It emphasized equality in society. Individual worship and discipline were more important. Kannada was used in preference to Sanskrit. Greater value was attached to the teachings of contemporary mystic saints than to ancient scriptural texts.
The philosophy underlying Veerashaivism is known as Sakti Visishtadvaita.The Sakti in the ‘Linga’ (Siva) appears as ‘Bhakti’ in the ‘Anga’ (Jeeva) and the unity of Linga and Anga is the identity of Siva and Jeeva.This is technically called ‘Linganga Samarasya’ which could be achieved by following the path of devotion.
The development of Veerashaivism in Karnataka during the 12th century under the guidance of Basaveshwara, Allamaprabhu, Chenna Basavanna, AkkaMahadevi and a host of other Sivasaranas or mystic saints may be summarized as follows-
- The highest importance was attached for the devotion of Siva
- Women were given equal status and were allowed to have deeksha (initiation) and to wear the Linga.
- Varnashrama dharma was forbidden.
- Equal status was given to Harijans in society and religion.
- The dignity of labour ‘Kayakave Kailasa’ was emphasized amongst the followers of this faith.
- Religious literature in the regional language, Kannada in easy prose-poetry, called ‘Vachanas’ was developed. This literature greatly enriched Kannada language and literature.
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