Rudravarna Mahabihar (Uku Baha)

Rudravarna Mahabihar (Uku Baha) Intoduction It is an acceptable fact that the tenets of Nepalese aesthetics were based on the doctrines and conventions of religious edifices that were transcendental and intellectual in character and idealistic in aim and purpose. In Rudravarna Mahabihar the space / time / light continuum are much better represented and understood in perspective than by other conventions. The process of development of such an affluent heritage in indigenous Newari society clearly illustrates the response of socio-cultural and religious demands. Bahal(In Nepali) and Baha(In Newari) are Buddhist institution- an ancillary, a shelter for Buddhist disciples. It can be ascertained that intention of the building is quite similar to Ajanta Ellora which exists in our neighbour country India. On contrary to other countries Nepal practices Bajrayana Buddhism which is derived from its predecessor Mahayana Buddhism. Construction of this architectural masterpiece dates back to 6 th century AD during the reign of Lichhavi King Shiva Dev with further renovation from subsequent ruler King Rudravarna. However Prof. Sudarshan Raj Tiwari an expert in this field has an opinion that it was not actually built in a Lichhavi period or by King Shiva Dev of that period since there are no solid historical evidence from the same period. He even raises doubts of any existence of Bahas during Lichhavi period. Nevertheless, one way of understanding origin and development of the monastery can be through its etymology. The full name of the monastery as according to the book by Pandit Hem Raja Shakya is Shiva Dev Sanskarit Okuli Rudravarna Mahabihar Uku Baha From the toponymal consideration of word Uku Baha which is the present name for this monastery we come across the monosyllabic nature of Newari language - Newari language has an Uku Baha Main Shrine ongoing tendency to shorten words. In Newari l and r are constantly interchanged. The word Baha also is a transformation of word Vihara. Often Baha is also squeezed and termed as Ba only. Okuli means cultures of Malla and Thakuri kings embodied in its rituals and customs. Also colloquially derived from Okuli, Wakuli in Newari means South-East which gives the direction of this monastery from Patan Durbar Square. Thus from the word Okuli in due course of time this monastery was given a short name Uku Baha and will be termed the same hereafter. According to David Wright (History of Nepal) the chronicle assigns the foundation of Uku Baha to King Shiva Dev, ruling from about 590-604 A.D. who later became a monk and in due course of time returned to his comforts and luxuries of a king with consent from his Guru. Then with the sanctions of his Guru built a Bihar (also a colloquial derivation of Vihara) and lodged his Guru in it. But contrary to this consistent belief that Shiva Dev retired in Uku Baha, DhanavajraVajracharya also an expert concludes that the place where Shiva Dev retired is Baudhanath of Kathmandu (with support of references made from Gopalarajavamsavali) adding more controversy over its establishment. 2 nd Jan. 2010 1

Uku Baha is located in Uku Baha tole a couple of minutes from Sundhara of Patan. Uku Baha is one of the oldest, best documented and best preserved Bahas of Patan. It has the greatest number of branches of all the Bahas in the Valley (twenty nine) and the second largest sangha(group of non-celibate monks formed in Malla period). In sculpting this genuine classic Nepalese artists and craftsmen personified such status. It reflects ambience of the Golden age of Nepal during the Lichhavis and Mallas in a timeless fashion to create a memorable impression to any of its visitors. The complex of Uku Baha comprises of three quadrangles. a. U Baha Gathica - Khanda Chuka Vihara b. Uku Baha c. Tago ChiBaha Yantarivi Vihara The Main Gate & U Baha Gathica The Main Gate The main gate to the complex has in north side consists of two large stone lions and a plastered gateway with two modern, plastered lions above, each holding a spear. To a casual onlooker the entrance gate might give an impression of a fortification rather than a gate for a monastery. There is an interesting fact associated with the establishment of this gate. Uku Baha was renovated subsequently by Gen. Chandra Sumshere the then Prime Minister and the de facto ruler from 1901 to 1929. A local from Uku Baha by the name of Dhirjanrisingh Shakya alias Gwara Company led the team for its renovation. To make Chandra U Baha Gathica Sumshere happy he designed the gate symbolically representing the name of Chandra Sumshere. At top of the gate is a Moon representing Chandra and below it are two symmetrically placed Lions holding spears representing Sum-Shere (lions alike). So we once more find Architecture governed by rulers rather than by the people during Rana period. From the main gate we come across the first quadrangle - U Baha Gathica. It is an enclosed courtyard, which faces the Uku Baha Main Courtyard seen from western side on south side. East and west side of the quadrangle has houses belonging to private owners. Inside the courtyard contains rwo shrines and a chaitya. According to John K. Locke, S.J. (Buddhist Monastries of Nepal) temple facing east is a modified shikhara temple, contains an image of Aksobhya who is Kwapa-dya of this branch. The other shikhara temple of stone, contains an image of Padmapani Lokesvara. Uku Baha The main courtyard Pilasters Neo classic element The main courtyard is a jewel for the Nepalese architecture. The pattern, opulence and variety 2 nd Jan. 2010 2

exercised here give any of its observer s sense magnificence. From U Baha Gathica we observe the façade of the central quadrangle. To a casual observer it might well seem as a usual façade of a Baha with tactifully placed windows - Pasuka Jhya(with five openings), Chhapa Jhya(Blind window for decorative rather than functional purpose) and Tiki Jhya (lattice window). But a closer observation might reveal the plastic embellishment as will have been gathered, is of a special character. While the intention of the building, as well as their surface treatment was fundamentally of Buddhist origin for the religion they served as on the other hand, certain Entrance to the main courtyard combination of art was appropriated from Neo-classical style of Rana period which had been appropriated View from Dalan during its renovation during the reign of Gen. Chandra Shumsher the then Prime Minister of Nepal. In the design of façade the craftsmen employed pilasters contemporary to the Rana period which might have influenced Nepali Builders during that time. The entrance of the main quadrangle is marked by two stone lions which are images of Harihariharivahana Lokesvara with the lion resting on an elephant which in turn rests on a turtle. One low plinth-step surrounds the building exernally. Over the doorway into the Uku Baha is a new wooden torana put up at the time of renovation in 1982. Records credits the renovation of that period to Prince Dhirendra, member of the former Royal Familiy of Nepal. It is said that the completion of the renovation had received special audience from the Royal family including former King Birendra, Prince Dipendra, ex-king Gyanendra, Prince Dhirendra along with Prime Minister and foreign dignitaries. This event depicts the importance of Uku Baha for a country like Nepal. The torana depicts the Buddha(Aksobhya), flanked by the Dharma (Prajnaparamita) on his left and the Sangha ( Avalokitesvara) on his right. The main quadrangle is filled with luxuriant representation of Metallic sculpture inside the courtyard mystical beings of metal and an extensive repertoire of varied motifs, such carvings are generally unobtrusive, but encompass some of the most consummate artistry in the monastery precinct. The monastery quadrangle is morphologically similar to a Palace and a commoner s House. But they differ in certain ways. Some differences accounts due to the function of Bihar as for residence of sangha and by its role as house of God. In Uku Baha monastery quadrangle, the use of gilt metal far exceeds as compare to somewhat modest use of metal in the other monastery quadrangle. As like the metal works paintings are also used 2 nd Jan. 2010 3

in the main courtyard for embellishment and didactic purposes. But the paintings are scattered and confined to some medallions or isolated panels. Carved struts support the roof which is overlaid with special tiles viz. Aenpa. When entering inside the U Baha we approach the entrance hall / a vestibule called Dalan opening into the courtyard with its two benches. Two other Dalans are situated in the side wings of the quadrangle. From Dalan we can see the main shrine, standing resolutely and telling tales of grandeur and passion of its creator. The quadrangle surrounds a sunken courtyard. This ying-yang relationship (open-to-sky-space surrounded by solid built forms and vice-versa) generates figure/ground pattern in which open spaces can act as areas of visual rest between enclosed volume. It is a site of artistic objects of metal and stone, some of the pieces being strangely incongruous. In front of shrine there are pair of horses, a pair of garuda and a pair of lions totally unlike any traditional temple lions. To west of these figures adding to the concourse is a standing life-size image of Juddha Shumsher Rana, Prime Minister of Nepal during 1934 who sanctioned funds for renovation after the great earthquake. Stretching north of the shrine is a row of traditional View of Quadrangle pieces. First is a Licchavi style Chaitya covered with a gilded metal canopy which has a row of small prayer wheels around it. Next is a stone Dharmadhatu mandala surmounted by a Vajra, a recess for the sacred fire, a metal lamp on a stand and an image of Manjushree with his ensemble. Next is a large image of devotee referred to as Ratna Maniju who made a substantial offering for the Baha. Next in the line is a Dharmadhatu mandala on an eight sided base and surmounted by a Vajra, another mandala and a votive chaitya. Front View Main Shrine To some extent opulence is often correlated with size. Uku Baha not as large as magnificent palaces of Mallas is of an exception. It shows its popularity and the donations it subsequently attracts which still continue. First floor of the quadrangle is white washed with lime-plaster Window of Quadrangle while ground floor is of exposed brick. The method of headers and stretchers is followed, care being taken that no two joints came over one another. Between the joints a mixture of clay is interposed as an adherent. In conjunction with statuary based upon Newari Architecture craftsmen also employed freely Neo-classical elements. The distinctively composite style thus evolved, which displays a fusion of Neo-classism of Rana period with Buddhist ideals. Main Shrine Rest of the quadrangle is used as workshop for members of the monastery; the shrine is in effect as a Buddhist temple. Main shrine houses the Kwapa-dya which means Protector-Deity. The shrine is taller than the rest of the building which is of three storeys with two roofs. The first storey has the usual five-fold window flanked by figures. Over the central of the five windows is a small torana showing Aksobhya. At end of façade are cast metal peacocks. Carved struts support the first roof. Five gilded chaityas rest against the 2 nd Jan. 2010 4

first roof with a sixth set in front of them. Low façade of next storey has five false windows. Each short struts support a lattice work, over-hanging balcony which in turn supports the gilded copper roof. The use of gilt metal is on both the tiers of the shrine and also on façade of ground floor. Roofs are entirely sheathed in copper gilded with fanciful gajura, rows of human faces, metal streamers. The shrine door, doorway and torana above it are also of gilt copper. Such doorways are splendid monuments to the Nepali art of metallurgy and contain miniatures of great artistic and iconographic importance. From the roof hangs a single banner which reaches down over the lower roof. King Shiva Dev in sixth century performed his initiation rites, a custom followed by several later Lichhavi kings of Patan. The practice was discontinued until King Rudra Malla revived it in thirteenth century. Remaining quadrangle Struts in North of Monastery Quadrangle The remaining buildings of the quadrangle have retained the style of a baha- a two storeyed court style building. Its floors are divided into different rooms overlooking the courtyard. Two doors flank the shrine itself, one leading to the large nani(courtyard) behind and one leading upstairs to the main agam of the baha. The eastern wing and the western wing both have an open space on the ground floor with doors at the either end leading to store rooms, or to the area upstairs. The façade of the upper storey of these two wings has a triple window over each doorway and a five-fold window in the centre. Some of the exquisite wood carving, like struts depicting willowy goddesses standing upon dwarfs or demons, dates to the early fourteenth century. Tago ChiBaha This is the complex directly behind Uku Baha. It has a large chaitya known as Yatalibi chaitya in the centre and no Kwapa-dya. It is one of the branch of Uku-Baha. The nitya puja(day to day processions) is performed morning to evening in turn Tago Chibaha Yantarivi Bihar. It has no festival separate from the annual festival of Uku Baha itself. Preservation and conservation issue The complex of Uku Baha can be said to be in a satisfactory state. People of Uku Baha have exercised great care; they even have established a Rudravarna Preservation Committee which handles day-to-day cultural and religious practices along with maintenance of the monastery. Protection of the Monastery is conducted by the joint effort from its Sangha (Group) they even have a team dedicated at night for its protection but they lack co-ordination from local law enforcement agencies. Acting President of Rudravarna Mahabihar Preservation Committee Mr. Dharma Raj Shakya is unsatisfied due to indifference from Lalitpur Municipality and Dept. of Archaeology for preservation of this monastery. He stresses on need for further co-operation and co-ordination from such Governmental bodies. Mr. Naresh Man Shakya of Mahabauddha Baha, a branch of Uku Baha suggests more promotion campaigns for such heritages for income generation of community and preservation of our heritage - both tangible and intangible. Both Uku Baha and Maha Bauddha Baha have a strong co-ordination for Tourist attraction. This has resulted in an opportunity of income generation, 2 nd Jan. 2010 5

sharing of benefits and livelihood improvement for people residing around both of these Bahas - a symbiosis resulting in preservation of these heritages also its promotion as well as economic development through utilization of available local resources. These sites can be taken as models for development of a particular place through its Architecture. Such practices are encouraged to be done for other Bahas of Patan which lack such co-ordinated effort. Although it might be a social process of commoditisation of our heritage it is very relevant and needed in present context for a country like Nepal. Dr. Rohit K. Ranjitkar, Nepal Program Director of Kathmandu Valley Preservation Trust (KVPT) states that prolongation of such structures depends upon its maintenance. Although specific studies are to be done, he is of the opinion that the main cause of deterioration is moisture. It may due to roof leakage or dampness from ground. So moisture prevention is necessary. Conclusion Rampant urban population growth has already overwhelmed existing utility systems of Kathmandu and barbarized the traditional city form. Nevertheless, Rudravarna Mahabihar is a monumental architectural structure and is seen as a nexus for the tourism development. Historical preservation goals are to be served if the needs of local inhabitants are to be fulfilled. Many other recommendations can be developed as subsidiary activity which is beyond the purview of this paper. It is safe to say that no device old, middle-aged or modern has failed to find a place in Patan s Uku Baha. The structure represents the golden age of Nepal an ensemble of its glorious past, treasure produced by the artisans from the City of Artists called Patan. Acknowledgement Prof. Dr. Sudarshan Raj Tiwari, Institute of Engineering, Lalitpur Dr. Rohit K. Ranjitkar, KVPT, Lalitpur Ar. Punya Sagar Marahatta, Lecturer, Institute of Engineering, Lalitpur Mr. Dharma Raj Shakya, President, Rudravarna Mahabihar Preservation Committee Mr. Naresh Man Shakya, Resident, MahaBauddha, Lalitpur. References Shakya, Hem Raja. Rudravarna Mahabihar Chhagu Addhyan. Yala: 2538 Buddha Jayanti Samaroha Samiti. Locke, John K. Buddhist Monasteries of Nepal, Kathmandu: Sahayogi Press Pvt. Ltd, 1985 Slusser, Mary Shephard. Nepal Mandala. New Jersey: Princeton University, 1998 Korn, Wolfgang. The Traditional Architecture of Kathmandu Valley. Nepal: Bibliotheca Himalayica, 1976 2 nd Jan. 2010 6