Pixelated Memories: Kolkata

Showing posts with label Kolkata. Show all posts

August 11, 2014

Metropolitan Building, Calcutta

“That magician whom I brought from Rangoon is a clever fellow. He has toured all over India as a circus conjurer. The bullet-proof jackets were bought at Whiteaway & Laidlaw’s stores, one rupee eight annas each. They are costing me a pretty penny, I can tell you.”

– U Po Kyin, a Burmese character in George Orwell's "Burmese Days"

The graceful but poverty-stricken existence and existential conditions of the massive, palatial Metropolitan Building, architecturally and artistically one of the most prominent and underrated of Calcutta’s iconic landmarks, at the corner of Esplanade Square has for the past few years become a concurrent theme for the city’s heritage enthusiasts’ unwavering devoted adoration and unequivocal criticism over lamentable governmental neglect and unsound conservation and maintenance principles – recently given a bright coat of dazzling white paint with glittering golden highlights for its numerous Victorian features, the handsome building that started out as one of the most well-renowned of colonial-era structures in the subcontinent couldn’t have seen worse days – portions of it, including the stained glass atrium, have collapsed and the striking structure has been declared unfit for human occupation while simultaneously being subjected to ever-deteriorating standards of maintenance with the removal of its original exorbitant Italian marble, damage due to water seeping to the expensively replaced woodwork and modifications in the interior layout – the only aspect that has probably remained unchanged in its history thereof is that the majestic structure has always housed a departmental store except for a brief interlude in recent past – it is a little known fact that the building began as Asia’s biggest departmental store in the form of headquarters of the famed Whiteway, Laidlaw and Co., dealers in the latest in English fashion apparel and renowned among the European community of the entire subcontinent (and the Anglicized native population who professed to an unabashed attraction towards European-style fine dressing), today it houses on its huge ground floor the Big Bazaar store, a retail outlet with branches in almost every Indian city promising to inundate the domestic lives of customers with cheap daily-use accessories as well as hundreds of thousands of billboard and print promotional advertisements.

Regally spread over two massive floors and custom-built by Calcutta-based contractors Mackintosh Burn Ltd. for their clients Whiteway, Laidlaw and Co., the building’s stately Victorian appearance is completed by the presence of three domed cupolas at the corners with clocks embedded in them, tall Corinthian pillars and impressive triangular facades mounted in the center of each face – at present the majestic domes, the ornamental urns that define the rooftop and the Acanthus leaves surmounting the pillar capitals have been drenched in a coat of glistening golden paint that contrasts with the dazzle of the rest of the building’s understated white to create a flamboyant appearance that in no way appears to be unharmonious to my untrained eyes – yet great hue and cry was raised, to no effect, when the visual modification was first perpetrated over the erstwhile all-white color scheme of the structure. Just as it might seem difficult to imagine the Esplanade square without the building majestically seated at its present prominent location, it has become equally difficult to imagine the building now without its glittering highlights. Having glossed over old photographs of the building, I find the present color scheme more heartwarming than the original grey-white monotonous appearance. I just earned several enemies in Calcutta’s heritage circle by confessing so! Nonetheless, as Mr. Ratish Nanda who heads the Aga Khan Trust's much-appreciated conservation-restoration work at Delhi's Humayun's Tomb complex once pointed to me – the purpose of restoration is not to enforce a color scheme or add features that you see fit, but to return to the original design and artwork after removal of such modifications and additions to go back to the artist/architect's original conception. Though I adore the new appearance and find it in general more attractive and eye-catching than the original, I cannot, in any case, support this highlighting on a heritage building since it goes against all laid-down principles of restoration and might well be equivalent to opening a Pandora's box with conservation and landscape architects giving free rein to their own wills of fantasy and beliefs regarding the monument/structure's appearance and layout.

Calcutta's pride

Jocularly christened as “Right-away, Paid-for and Co.” over its principle of not lending credit, Whiteway, Laidlaw and Co. derives its name from the two enterprising Scotsmen who started it in 1882 and ran an impressive business conglomerate with merchandise outlets at Calcutta, Shimla, Madras, Lahore, Burma and Shanghai; the much glossed over Calcutta outlet was the most popular one stop shopping center for British soldiers and administrative officers posted anywhere in south-east Asian colonies and was considered uber-posh and classiest amongst all the centers; the Co. was one of the first pioneers of the concept of "sale days" and introduced "Rupee Friday" in its Indian branches were customers could purchase several items each for one rupee; the accounts however began to dry up after India gained independence following the long and tenuous freedom struggle and the Co. was forced to shut shop and sell the beautiful building to Metropolitan Life Insurance Co. which explains the present nomenclature. At present, the building is owned by the Life Insurance Corporation of India (LIC) and the Big Bazaar operates out of the ground floor and the upper floors, referred to as Victoria Chambers when they housed Whiteway, Laidlaw and Co.’s administrative and official staff, have been quartered and given over to numerous tenants. Imagine my surprise when I first arrived at Calcutta by bus and deboarded at Esplanade (which happens to be one of the largest state bus terminals and an important metro station) and came face-to-face with this striking architectural specimen that most Calcutta residents have come to take for granted – never having read about it since it isn’t generally included in the list of important colonial-era landmarks and not understanding what such a princely structure is doing in the midst of the city, I ended up asking the passer-bys about it, most of whom themselves knew little or nothing! My eyes might have almost popped out of my head due to utter astonishment and surprise on learning that the handsome Victorian building is “just” another Big Bazaar store – thankfully my friends brought me out of my contemplation and we explored the entire area in much detail and observed all the happenings almost all day long. Since then, I have been to Calcutta numerous times and almost every single time end up clicking the building – usually the same shot over and over again – somehow the building, because of its antiquity, gracefulness and immaculately magnificent appearance despite all the loathsome modifications it has been subjected to and the irreverent maintenance conditions that have been heaped on it, attracts me to itself – in its miserably forgotten and ignored state full of gloominess and dejection over its future existence, and yet possessing an air of unparalleled stately splendor and unmatched glamour, the building represents Calcutta – antiquated, much modified from its original pristine state and struggling against its existence in a world that has galloped far ahead in times and yet claiming its fair share of admirers and enthusiasts who are forever willing to wage battles if their beloved is subjected to a single modification – be it the addition of the golden highlights to the building, or the enforcement of the white-blue color scheme for the city.

Though there isn’t much info available about Mr. Whiteaway, I did chance upon some interesting trivia about Mr. Robert Laidlaw who happened to be a philanthropist and a Member of the British Parliament and donated profusely to charitable establishments and schools throughout the country. He funded and helped maintain numerous World War I relief operations being run by Red Cross and several other charities.

Location: Esplanade (Coordinates: 22°33'48.8"N 88°21'05.9"E)

How to reach: The building is immediately opposite Esplanade bus stop and at a stone's throw from the metro station. Buses and taxis can be availed from different parts of the city.
Timings: Sunrise - 9 pm

Entrance fees: Nil

Photography/Video charges: Nil

Other landmarks located nearby -

Suggested Reading -

February 01, 2014

Standard Life Assurance Corporation Building, Calcutta

You don’t have to be a monument lover or a history seeker to appreciate the plethora of culture & heritage that remains strewn throughout the beautiful city of Calcutta – from the idol makers of Kumartuli to the bazaars of Ghariahaat, from the Chinese temples of Tiretti Bazaar to the Buddhism centers of Tangra, from the old Bengali households of South Calcutta to the ferry ghats around Howrah – the city oozes heritage through each corner & crevice. And what better place to look for heritage in this essentially old city than the British-developed BBD Bagh area (formerly Dalhousie Square)? If you are done with the Writer’s Building, Andrew’s Church & the General Post Office, you can always head down to tick off other must-see buildings – Reserve Bank of India, Raj Bhavan & so on – you cannot by any chance miss the captivating building belonging to Standard Life Assurance Corporation. One of the most striking buildings built by the British in the city, this splendid red structure, despite its present decrepit state, is a gem for the architecture & heritage fanatics – though plants & weeds seem to have overtaken the building’s dominating corner tower, its stucco artwork & ornamental figurines are still in a good enough shape to make passer-bys take notice & gape – so much so that I stopped the auto I was in to get down & photograph the building in detail! The structure was designed by the Mumbai-based architect Fredrick W. Stevens (who also designed the inspiring Victoria Terminus at Mumbai) and constructed between February 1894 – May 1896. An exquisite example of Victorian architecture, the fine details of the building cannot escape a onlooker.

An insurance building - what's its worth??

Though the building has been declared a heritage structure, much of it has gone to the dogs – portions have been abandoned; restoration and conservation work are unheard of; parts of the building appear to be under a spell that’s keeping it from running aground. The old windows have been taken over by air conditioner units & a poster hangs over the façade connecting its two units; the paint has become blackened over time and the walls appear dilapidated – yet the rust red building somehow manages to appear attractive. The domed corner tower is surrounded by miniature domed towers; the figures of a young lady carrying a lamp and a Grim Reaper carrying a skull are prominently displayed on the left and right side respectively of the circular arch above the entrance. The figures are said to represent life & death – it’s another thing that they are mostly obstructed by electricity wires hanging taut between the pillars opposite the building. It is rare to find artwork of such superior craftsmanship and skill even in a city as old as Calcutta; it isn’t rare to see such artwork crumbling to dust in the absence of proper maintenance and upkeep. The red brick façade is reminiscent of times long gone; the air conditioner-choked windows are topped by round ventilators which are flanked by cherubs holding the ventilator between them.

The new and the old

The triangular pediment above the circular archway is faced with more figures – the scene is from the Biblical “Parable of Ten Virgins” and makes up the actual logo of the company. The parable is unanimously attributed to Jesus Christ and appears virtually unchanged in all New Testament manuscripts. It stresses on the importance of preparedness under all circumstances – for death in the case of an insurance company, arrival of Jesus in the case of the original story. It goes something like this (Matthew 25:1- 13) –

(When asked for the signs of the second coming of the Son of Man, Jesus replied)

“Then the kingdom of heaven shall be likened to ten virgins who took their lamps and went out to meet the bridegroom. Now five of them were wise, and five were foolish. Those who were foolish took their lamps and took no oil with them, but the wise took oil in their vessels with their lamps. But while the bridegroom was delayed, they all slumbered and slept.

And at midnight a cry was heard: ‘Behold, the bridegroom is coming; go out to meet him!’ Then all those virgins arose and trimmed their lamps. And the foolish said to the wise, ‘Give us some of your oil, for our lamps are going out.’ But the wise answered, ‘No, lest there should not be enough for us and you; but go rather to those who sell, and buy for yourselves.’ And while they went to buy, the bridegroom came, and those who were ready went in with him to the wedding; and the door was shut.

Afterward the other virgins came also, saying, ‘Lord, Lord, open to us!’ But he answered and said, ‘Assuredly, I say to you, I do not know you.’

Watch therefore, for you know neither the day nor the hour in which the Son of Man is coming.”

One, two, three..ten virgins!

Colonial Life Assurance Company came into being in the year 1846 with the objective of providing life insurance to British citizens heading to one of the colonies – given lack of facilities in the colonies, the mortality rate was high and the British insurance companies were reluctant to allow their policy-holders to travel and work in the colonies under such conditions – Colonial Life Assurance treaded where no company had before – it offered attractive terms gauged according to colony-specific conditions. Business soon grew in leaps and bounds and in 1871 Colonial Life merged with Standard Life Assurance Company (formerly Life Insurance Company of Scotland) which had been into such operations since 1825 and was a leading name in this trade. Following the merger, the company located its head office in Edinburg (Scotland) and regional offices in Calcutta, Mumbai (then Bombay), Canada, Shanghai and Uruguay. The Calcutta office used to be housed in this very building.

One of the finest examples of Victorian architecture in the city and boasting of delicate artwork that remains unsurpassed except for a few instances, the building remains one of the least famous heritage structures in the city – even more famous than it would be the simple plaque installed in the wall of Presidency Hospital to commemorate Ross’s discovery of Malarial vector (it featured in the bestselling novel “The Calcutta Chromosome” by Amitav Ghosh).

Heritage defiled & obstructed!

A sign of the way history in general is treated in this country, the building stands in its solitary corner lamenting the presence of very few sympathizers in the crowd of thousands that passes it every day. Perhaps it wishes that the British had carried back their structures too when they departed from the country; perhaps it hopes for a better existence in near future – but then what hope does an old, broken building like this have in a country where plaques have to mention “Affix no posters” along the periphery of the Parliament House?? (Refer Pixelated Memories - Parliament House, New Delhi) I’m waiting to be proved wrong.

Location: BBD Bagh

Nearest Bus stop: Esplanade

Nearest Metro station: Esplanade

How to reach: One can walk/take a rickshaw or auto from Esplanade to BBD Bagh.

Entrance fee: Entry restricted - a few Govt. offices are still housed in the building.

Photography/Video charges: Nil

Time required for sightseeing: 20 min
Relevant Links -

Suggested Reading -

June 18, 2013

Sea Ip Club, Calcutta

Relegated to a corner where it can be conveniently forgotten amidst the bustle & noise that defines a regular day in the life of a Calcuttan, & accompanied by the ruckus raised by hundreds of vehicles that ply close to it, the din raised by the forever-chattering passer-bys, the peddlers trying to make some extra rupees & a heavy smoke that emanates from the vehicles as well as the smoldering piles of garbage heaped close by, the Sea Ip Club is unique – as a structure it is relatively young compared to many of its counterparts in this old (nay, ancient) city, as a relic of a culture it belongs to the Chinese community who are almost marginalized in the city that has been the bastion of Hindus, Muslims & the British, & as a symbol of faith it is referred to as a church/temple only by those who are not very intimate with its history (it is a “Quan Ti” or a men’s club, & not a church/temple even though it is used for congregational purposes by the Chinese community who have called Calcutta their home for almost two & a half centuries).

Sea Ip Club

As the Chinese poured into Calcutta when it was modeled by the British into a colony, they began constituting clubs & groups catering to the social & cultural needs of the different demographics that formed the bulk of the recent immigrants. The community built a niche, an enclave for itself, complete with traditional architecture, customs, language & practices - there were dragon & lion dances to be seen, dragon motifs all around, paper lanterns embossed with Chinese characters, brilliantly painted homes, signposts & doorways. Chinese food with its unmistakable aroma & flavors became the most famous item, closely followed by the celebration of Chinese festivals – the New Year, Rice Pudding Festival & the Moon Festival. One of the largest groups that settled in Calcutta & became an inseparable constituent of its homogenous identity were the Sea Ip (“Si-yi”, literally “Four Districts”) who hailed from the Guangdong Province in China, spoke Cantonese & were exceptional carpenters. Members of the community set up the Sea Ip Club for recreational purposes with donations raised from amongst them in the year 1905. The Sea Ip Club is one of the largest of the Chinese Clubs in Calcutta, though not as large as the Nam Soon Club about which I have done a previous post here – Pixelated Memories - Nam Soon Club

Spread over two floors of a small red-colored building that looks more like a shop than a club or a religious structure, the Club boasts of a meeting place on its ground floor & a shrine dedicated to Kwan Yin, the Chinese Goddess of war, mercy & love (isn’t writing war in conjugation with traits like mercy & love an oxymoron??). It is the shrine that interested me when I chose to visit the Club on a chilly February morning a few days before the Chinese New Year. As I had feared, the Club was closed for some much-needed repairs & a cleanup drive as a run up to the upcoming celebrations. Thankfully, some of the local men of Chinese descent were present in the Club, discussing matters of family & daily life when I reached the Club. Following much persuasion, I was allowed to visit the shrine under the watchful gaze of the caretaker & cleaner of the Club (I think her name was Kamala, nonetheless apologies for forgetting not remembering it clearly).

The shrine consists of an idol of the Goddess seated within a much larger ornamentative frame that is crafted exquisitely & painstakingly in traditional Chinese style. Next to the larger frame is a smaller one in which sits another idol. However the idols are not alone in their placement – though they take up the prime center space within their respective frames & catch the eye almost immediately, the central idol shares space with several smaller porcelain idols of other deities while the idol in the adjacent frame is flanked by traditional Chinese porcelain vases.

Kwan Yin, the Chinese Goddess of war, mercy & compassion

More eye catching than the idols are their large, impressive frames that are carved with vegetation, dragons, humans & several species of birds & are decked with brilliant red Chinese lanterns & wind chimes. A large, golden canopy hangs in the front portion of the sanctum & beneath it rests a small table on which are placed more idols, candle-holders & a metallic joss stick holder. Except for the two idols within the shrine that look like they are made of metal, all the other idols in the sanctum are made of porcelain & painted in vibrant reds, blues & yellows. Near one of the walls stands a large cupboard stuffed with several more of the porcelain idols (there are “Laughing Buddhas” here too!!) that can be viewed through the glass display window. The walls are decked with several traditional ornamentations & hangings, including metallic plates that are surmounted on poles & marked with heads of metal reindeers, spears, fish motifs & bands of cloth embroidered with Chinese characters. Though the ceremonial red candles (“Lap Chok”) & the fragrant joss sticks (“Siang”) have all fizzled out even before they could burn properly, the sanctum is filled with their fragrance. The cleaner lady throws buckets full of waters on the windows to get the dirt off & inadvertently wets me too (thankfully no harm to the camera, though my wet socks ensure my feet are shriveled up & have turned pink by the end of the day!!).

Close up of the frame that encloses Kwan Yin's idol

On closer inspection, the idols within the frames look more Hindu than Chinese – wrapped up in pink clothes, a garland of marigolds & another of rupee notes round their necks, headgear resembling the traditional Hindu “mukuts” & LED panels to top the headgear which remind one of the peacock feather that Krishna (said to be an incarnation of Lord Vishnu, the Hindu God of life, sustenance & preservation) donned on his headgear. Are the Chinese trying to blend in with the local population?? Perhaps a better question would be why should they try to blend in & not preserve their unique & beautiful culture.

Sophisticated!!

There isn’t much to do except photograph the shrine, one can go out in the balcony that overlooks the space outside, but then except for a few hand-rickshaws stacked next to each other, the occasional beggars & the peddlers, & the steady stream of traffic that flows like a never ending stream next to the Club, there isn’t much to see here too. The cleaner lady asks me to get out of her way unless I wish to be soaked wet again. I humbly follow orders. Her wide smile enters her glistening eyes when I look terrified at the thought of being drenched with pails of cold water again. I realize that we are quicker in our movements when we are afraid (as in my exit from the shrine) than when we are excited (as in my clambering up the stairs to reach the shrine).

The plethora of porcelain idols that grace a side cupboard in the sanctum

The crowd of the old men gossiping downstairs has thinned, though it wasn’t even a crowd when I came in, I could have counted them on my two hands. Perhaps that says something about the Chinese community & their steadily diminishing numbers in Calcutta following migration in search of greener pastures such as Australia & Canada & a bid to avoid humiliating persecution & deportation during the Sino-Indian War of 1962. Today only about 3,000-4,000 Chinese are left in Calcutta, at one time there were more than 20,000. Though we Indians pride ourselves when it comes to ours being a secular, all-encompassing & all-accepting society, we haven’t been fair to the Indians of Chinese descent (they are Indians, as naturalized as me or my grandparents who came to India from Pakistan in 1947), a case that can also be made by looking at the sad state of the Sea Ip Club. Dejection often makes us look at the brighter side of things, I couldn’t find any except the hope that my article brings to light the state of a marginalized community & their places of congregation/worship to the notice of many who might be in a position to do some good. Amen!

Scene marked on one of the panels in the sanctum

Location: India Exchange Place (Extension), close to the Kolkata Improvement Trust (KIT) Building, Tiretta Bazaar Area (Pronounced Tiretti Bazaar)
Open: Sunrise to sunset
How to reach: From St. Andrew’s Church in BBD Bagh Area (refer post Pixelated Memories - St. Andrew's Church for identification), ask directions for Poddar Court, it lies straight ahead into one of the roads that emanate from the Church. From Poddar Court, ask for KIT Building, Sea Ip is next to it.
Entrance fee: Nil
Photography/Video charges: Nil
Time required for sightseeing: 30 min
Relevant Links -

Suggested Reading -

February 17, 2013

Nam Soon Club, Calcutta

The best things in life, though always close to us, are often hidden out of view by their simplicity. A few days before the Chinese New Year, I travelled to the China Towns in Calcutta to see the clubs (“Quan Ti”) set up by the first Chinese settlers to the country. These settlers came to India in the year 1780 as workers of the sugar factory set up by the Chinese sailor-merchant Tai Pak Kung aka Yong Achew who was granted land by the British. The British had then turned Bengal (& later the rest of the country too) into a colony, a trading outpost. The settler’s colony was christened “Achipur” after Achew – but Achew soon lost his fortunes & had to take heavy loans against his own personal signature from the British East India Company. Achew died broke & broken-hearted, however he stamped an unforgettable change in Bengal’s demographics - his fellow settlers soon moved out of Achipur & settled in the modern day Tangra & Tiretti Bazaar areas. Here they built more clubs - the clubs were set up with material donations from their communities & slowly took the form of temples dedicated to Chinese Gods (they were called churches during British rule). While other foreigners who arrived in colonized India have since disappeared, the Chinese stayed back & left a deep imprint on Calcutta’s society & traditions, especially the food & music. As the population increased, Tiretti Bazaar, once the largest Chinese settlement & an assortment of Chinese clubs, monasteries, opium-dens, gambling haunts, eateries & temples, soon turned into a maze of narrow, claustrophobic streets that wind back onto themselves & induce a feeling of being lost & trapped.

The small but striking doorway leading to the courtyard of the Nam Soon club, painted red & green & featuring the name of the club in Chinese characters, is a blink-and-you-miss thing despite its out of place decor & colors. Just like the Black Residence in the Harry Potter franchise, this doorway too is so well hidden that even those specifically looking for it would have trouble locating it.

Found it!

I visited the six clubs located in the Tiretti Bazaar area & the last & the most impressive was the Nam Soon, located at the far end of a narrow street lined with hand-pulled rickshaws & meat shops. The largest & the oldest among all the Chinese clubs in Tiretti Bazaar, Nam Soon was built in 1820 & has since been preserved in its original state. It boasts of a large courtyard, rooms for travellers & the aged, a vibrantly painted & well-maintained shrine, & a small school imparting the knowledge of Chinese traditions & language to several young children of Chinese descent. The club was originally built for the members of the Chinese provinces of Nan Hai, Phan Yu & Shun Tak who share similar traditions & compatible customs. Some of the members donated the idols & the objects used for rituals, others helped monetarily – the names of all these donors are preserved in the club still. Initially only men could register themselves as club members – the womenfolk had to depend on their husband’s/father’s membership at the time of ceremonies. But now the clubs have been thrown open to all.

Glitter glimmer

Inside the club, the presence of the young girls & a single boy is a welcome relief – not for reasons you might come up with!! But because all other clubs in the area have either none or very old residents. All the people, except for the caretaker who was very old, in the Nam Soon were in the age group 14-17 – strikingly beautiful, with Mongoloid features, jovial smiles & an amazingly fluent command over English. The boy insisted that the club was closed at that time of the day, but some magic words (“Delhi”, “Writer-blogger” & “Documenting”, not necessarily in that order) ensured the caretaker welcome me in gladly.

Here be dragons!

Like its outside, the club is very spacious on the inside too. In front of the shrine stand three red tables over which hangs a golden canopy. The canopy depicts Chinese scenes, complete with buildings topped with curving roofs, humans & birds. The last of these tables is embossed with birds, foliage & lions in deep golden, lush green & blazing yellow. All the décor in the room is blood red & a panel extends along the side walls through which thin poles project vertically. Each of these poles is vaulted by Chinese symbols – spears, fancy daggers, sacred scrolls & such. One pole on each side is fixed with a very thin, golden-painted plaque depicting mythical battle scenes, held in place by small, golden replicas of reindeer heads.

But all that glitters...

The shrine is made up of three separate altars – the central, being the largest & more elaborately ornamented, houses a large idol of Kwai Yin, the Chinese Goddess of war, mercy and love. The other two altars house the idols of Kwai Yin’s war companions. As is the custom in Chinese churches, a large bell & an even larger drum hang on either side of the entrance. On one of the side panels is affixed a yellow Chinese man in a martial position & holding a hook in his hand – the man might have looked like a warrior were it not for his bulging belly & blood-red eyes!!

Vibrancy!

Back in the courtyard again, the children had started practicing the dragon dance – the girls were wearing dragon costumes & enacting scenes to the beats of a drum that another girl beat. There were two dragons – a large green one manned by two girls & a small pink dragon manned by a single girl. The boy informed me that they were preparing for the Chinese New Year performance & got busy clicking pictures of his friends. I looked at the eldest girl (who was the green dragon) dancing for permission to click - a smile & a nod made my day. Mesmerized I looked on (& photographed) as the two dragons moved to the beats – the green one being cowed down by the pink one. The performance lasted twenty minutes after which the girls took a small rest before starting again – it was then that I took my leave from the group & walked out of the club.

Happy Chinese New Year!

For a long time I walked, & thought, about the club, its beautiful girls & deep colors of tradition. A foreign language & traditions, resounding in the heart of what is largely a Bengali Muslim locality. The feeling of transportation to a different world, a different culture system, is so complete that the structures receding into the depths of anonymity leave a mark on the visitor – a deep respect for the varied cultures in this diverse country is blossomed. Infecting everyone with its contagious happiness, the club stands as a forgotten oasis in the middle of a crumbling poverty-stricken locale.

Location: Tiretti Bazaar Area
How to reach: From Esplanade Bus/Metro Station walk or take a taxi to Writer's Building. Turn right from Andrew's Church & walk straight. Ask for Kolkata Telephone Kendra - across the street on the left of the building is a narrow lane that leads to Nam Soon. Nam Soon is at the very end, tucked between other crumbling buildings & usually hidden from view by the wares hung out by other shops.
Open: All days
Entrance Fee: Nil
Photography/Video charges: Nil
Time required for sightseeing: About 30 min
Relevant Links -
Another Chinese church/club nearby - Pixelated Memories - Sea Ip Club
Other monuments/landmarks in the immediate vicinity -

November 27, 2012

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 –

Suggested Reading –

October 07, 2012

Sacred Heart Church, Calcutta

When you are sitting in a class, being bored to death, almost everything else seems interesting – the colors of the leaves outside the classroom, the various bird songs being played out, the behavior of people around yourself & such. Thoughts come floating into mind, unfettered like clouds, memories come flashing, you think, you feel & occasionally you start writing (or doodling, as in my case). This time it was different, I had just returned from Calcutta, & was lost in thoughts about the places I visited, the photographs I took, the people I met. I reminisced about John, the organ player at St. John’s Church (see http://pixels-memories.blogspot.in/2012/09/st-johns-church-calcutta.html for more details & photographs of St. John's Church), about the policemen at Writer’s Building (see http://pixels-memories.blogspot.in/2012/09/writers-building-calcutta.html), & also about the foreigner priest at Sacred Heart Cathedral. Soon my thoughts drifted to Sacred Heart. The church, looming over one of the most crowded areas of Calcutta, & yet isolated from its surroundings – one of those places that somehow become invisible to passer-bys & tourists alike, not many people tread its peaceful grounds, & yet the church boasts of a hospital & a basketball court. In fact the only signs of life in here were the patients flitting in & out of the hospital, & the kids playing a lively game of basketball (all of whom stopped to stare at yours truly who was perhaps intruding upon their peaceful lives by bringing a camera in their midst). The courtyard first led to the charitable hospital & then the church. Two statues – one of Jesus & the other of “Mother of Sorrow” (referring to Virgin Mary), both placed in small enclosures (European-style chattris they might be), demarcated the pathway from the basketball court.

Sacred Heart Church

The Sacred Heart Church was established by one Mrs. Pascoa Barettoe Souza in fulfillment of a vow of hers. The construction of this Gothic building took 2 years to complete, & it was thrown open as a Roman Catholic Church for the native Portuguese community in 1834. The church was renovated in early 1970s. I walked in the church, the prayer chamber is separated from the outer chamber by a grille & a door. When I reached the priest was leading a prayer, there were only two nuns & three devotees singing along with him. The prayer was sung very melodiously, the tenor rising & falling alternatively, the high bass of the priest’s voice merging with the sweetness of the nuns. I waited in the outer chamber for the prayers to end, observing the customs & manners all this while. Small benches & some chairs were the only furniture in the small outer chamber, several idols adored the walls & medallions depicting the life & struggle of Jesus hung from nails around the room. In the end, the priest closed his prayer book & kept it adoringly in a small curtain-covered cupboard in the wall behind the altar, the nuns went individually to each devotee, they seemed to know each other personally since the nuns called the visitors by name, & placing a hand on each person’s head they recited small couplets.

One of the statues & the medallions in the outer chamber

The priest was quick to grant me the permission to photograph the interiors, provided I was discreet about it. Soon I was left alone in the prayer chamber on the priest’s orders. I had a quick look around & started composing my pictures from different angles. The prayer chamber too was very small, rows of benches were placed in straight lines.

Altar view..

A golden cross & several candles & incense rested upon the stone altar. The altar itself was emblazoned with designs & patterns. Soon the caretaker returned & started packing the cross & the silks to be kept in a side room. After a few more minutes, I stepped out into the outer chamber, allowing the caretaker to lock the door.

The Cross

I had company now. A visitor came & sat in the outer chamber, praying reverentially with head bowed & hands clasped. Soon it was time to go, I step outside to again come face-to-face with the chaos & humdrum of Calcutta.

& the visitor

The kids still played basketball, the patients & their relatives still moved in & out, & the guards still sat lazily next to the gate – only no one stopped this time as I again entered their quite lives, with my camera pointed towards the statues of Jesus & “Mother” lining the courtyard, & also towards the hospital’s foundation stone, set in the wall next to its entrance. The hospital had come to life now, the church had closed. But to a true believer, can a church actually close??

The church is closed..

Location : Sidho Kano Dahar Street, near Esplanade Bus Terminus
How to reach : One can simply walk from Esplanade Bus Terminus - walk straight away the Oberoi Hotel & towards the golden-domed Metropolitan Building, at the first intersection on the right, the church stands close to Tipu Sultan Mosque (see http://pixels-memories.blogspot.in/2012/09/tipu-sultan-mosque-calcutta.html for more details & photographs). Taxis & buses can be availed from different parts of the city.
Open : All days, Sunrise - sunset
Entrance Fee : Nil
Photography/Video Charges : Nil
Time required for sightseeing : 30 min

September 27, 2012

Writers' Building, Calcutta

"The British had the idea, when they built grand buildings in India, that the very grandeur might help preserve the institutions they housed once the British had departed, as they knew they one day would.. All seem to say, monumentally, Keep me as I am."

– Simon Winchester, "The Legacy" (1997)

In the dramatically-charged political games of the past few days, almost all the shots seem to have been called either by Delhi or Calcutta (read Chief Minister Mamata Banerjee). If there is one place in Calcutta where the security and discipline appear at par with the area that surrounds the Indian Parliament (refer Pixelated Memories - Parliament House, Delhi), it would be the stretch of land housing Writers' Building (Bengal Chief Minister's office) – convoys of police vehicles and siren-bearing white ambassador cars (which have come to be associated as symbolic of high-ranking ministership and bureaucracy) do the rounds regularly, while armed, rifle-toting officers with several more guns in their holsters patrol the region. Photography is totally prohibited (!!). The only difference that the place bears with respect to the Parliament area is that it is not cut off from the rest of city and is, in fact, located in the midst of a densely populated, immensely crowded locale known as BBD Bagh where pedestrians and private vehicles share road space with taxis and vendors and shops selling cigarettes and cold drinks compete for side space with small, makeshift food outlets selling omelettes and parathas (Indian bread). Even the policemen manning the place are extremely polite and would immediately give one the permission to snap a photo or two and even guide one to the corner from where clicking photos is allowed, provided one looks earnest (or desperate!) enough.

Red and majestic - Central wing, Writers'

Locally referred to as Mahakaran, Writers' Building ironically neither houses writers nor is actually just a single building but a cluster of red-colored, massive four-floored brick structures that stretch in a line adjacent each other. The symmetrical terraces of some of these megaliths are decorated with numerous exquisitely-crafted sculptures and the façade of each, emblazoned with gold three-headed Sanchi lions, symbolic of national sovereignty, portray an impressively inspiring appearance. Designed by the architect Thomas Lyon and funded by Richard Barwell who was a member of Governor-General Hasting’s (officiated 1773-85) administrative council, the central structure was constructed sans any architectural features or decorations between 1776-80 with the purpose of housing British East India Company's clerks and writers (now you get the name, eh?). But the classic epitome of grandly imposing European architecture in India did not begin in its present form – according to British journalist Geoffrey Moorhouse, back then Writers’ looked like a “shabby hospital, or poor-house”. Additional wings were constructed later on, and several other decorative features such as the iconic pillars (each 32 feet high) and the splendid statues, designed by William Fredric Woodington, were added. The Greco-Roman architecture, complete with decorative Corinthian pillars and cream-on-red highlights have since then become one of the most stunning sights in the entire cityscape. By 1970, all 13 four-floored wings were complete (though only the central five, which functioned in the capacity of a guest-house, a worker’s accommodation and a training college during different time periods, are considered heritage structures).

Consisting of three plasterwork statues each and representing the four pillars of a society-state (justice, commerce, agriculture and science), four painstakingly-detailed sculpted clusters line the terraces – each cluster boasts of the Greek deity associated with that particular domain in the center flanked by a European and an Indian practitioner of these professions on either side – thus there is Zeus depicting justice, Hermes depicting commerce and Demeter and Athena portraying agriculture and science respectively. Several other sculptures, such as those of Minerva (the Roman Goddess of learning and justice, arts and crafts, wisdom and courage, poetry and music, here illustrated robed and holding a owl in her outstretched left arm) and majestic regal lions, too adorn the roofs of the superstructures.

The pillars of a society (Photo courtesy - Wikipedia.org)

Large underground parking lots (also manned by policemen, so don’t try taking photos without permission) exist opposite the sober building complex while a small, hyacinth and garbage-clogged fresh water tank, locally known as Lal Dighi and disturbed only by a couple of flawless white ducks, exists behind it. The Dighi, whose immediate proximity and facilitation of a visually spellbinding composition prompted the choice for the building's location, is separated from it by short stretches of grassy green lawns enclosed within railings interspersed by shimmering steel poles surmounted by equally unblemished, glittering globes – the monotony of the sprawling green is punctuated by red pedestals on which sit black-brown bronze statues (a dense treeline exists only along the peripheries, perhaps to avoid security issues) – passer-bys use a well-trodden, garbage-flanked path running next to the Dighi as a thoroughfare, affording only the scantest attention to the massive inspiring buildings (including the shimmering dome of Calcutta GPO, another august colonial architectural legacy, refer Pixelated Memories - Calcutta GPO) standing on the other side, as if they are relics of a nearly-forgotten colonial past and not administrative legacies that continue to play an extensive role in national and state politics (Edit 2014 – Chief Minister Mamata Banerjee has decided to undertake an exorbitantly expensive revival-upgradation plan for the majestic complex and most of the ministries and state departments have been shifted (for the time being) to another building (follow links in the end), further downgrading Writers' Building's bureaucratic and administrative standing, but nonetheless once more pushing it into the spotlight, especially with regards the concerns over the loss of heritage character and ornamentation and also the lack of sensitivity on the part of the artists and conservation authorities involved in the project with respect to the building's original appearance, intentions and artwork). Entry within the building is prohibited by permission and there is a limit to how much one can photograph it from outside, given the heavy presence of police personnel and the unrelenting stream of traffic and pedestrians. Soon one realizes that it is time to take leave and turn oneself towards the other architectural gems that hide in plain sight in the surrounding labyrinth of wide streets and snaking alleys. One hopes to someday return again.

Notice the statue of Minerva surmounted on the triangular pediment

Location: BBD Bagh
Nearest Bus stop/Metro station: Esplanade
How to reach: Walk/avail a bus/taxi from Esplanade which is efficiently connected to all parts of the city via a road, metro and tram network.
Entrance fees: Nil during office hours (9 am to 6 pm), but entry prohibited by prior permission/valid reason
Photography/Video: Prohibited, unless one obtains permission from the policemen on duty
Time required for sightseeing: 20 min (from outside only)
Other architectural/historic heritage structures located in the immediate vicinity -

Suggested reading -

August 11, 2014

Metropolitan Building, Calcutta

February 01, 2014

Standard Life Assurance Corporation Building, Calcutta

June 18, 2013

Sea Ip Club, Calcutta

February 17, 2013

Nam Soon Club, Calcutta

November 27, 2012

Raj Bhavan, Calcutta

October 07, 2012

Sacred Heart Church, Calcutta

September 27, 2012

Writers' Building, Calcutta

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