ANAMIKA

'(The Blog) With No Name', perhaps best described as a stream of notes and thoughts - 'remembered, recovered and (sometimes) invented'.

Sunday, May 31, 2015

An 'Oottupura' - to Save and Savor

Note:The Malayalam word ‘Oottupura’ means a refectory or dining hall complex, usually associated with a temple or palace.

I have known this old and massive (approx. 100 ft by 100 ft) building to the north of the Purnathrayeesa temple in Tripunithura for a very long time:





For as long as I can remember, I have heard of the structure being referred to as the ‘abandoned/old Oottupura’. It does stand next to the main Oottupura of the temple (a building very much in active use) separated from the latter by an open ground nearly 40 meters across – a space used as an ‘elephant yard’ by the temple.

The building's strikingly derelict state had always made it stand quite apart from the well-maintained religious edifices nearby. But I had never bothered to investigate further.

…until a few weeks back. A spell of extreme joblessness on a Sunday afternoon made me do a decco (or maybe "recce" is better) of the place. Walking around, I noticed that a portion of the massive tiled roof was sagging down, apparently from structural decay.



Peeping in thru a half-open window, I saw several empty beer bottles lying around. From a corner emanated a overpowering stench and incessant squeaking noises – clear indications of a teeming bat population.

I left things at that for the time being and decided to look online.

And here is the gist of what I understood (alibi: my comprehension of legalese is patchy. So, those who want primary sources should go to http://indiankanoon.org/doc/170393813/?type=print

or

http://timesofindia.indiatimes.com/city/kochi/Whose-oottupura-is-this-anyway/articleshow/25846716.cms):

A few years back, a court case was fought between the Devaswom Board (a state-controlled but semi-autonomous temple administration body) and the State itself. The Devaswom people want the building to be an integral part of the temple complex (and seek to buttress their claim with the curiously circular sentence: “it is indispensable for the Devaswom Board for its welfare and developments as it is badly in need of it”). The State apparently wants it to be converted into an art gallery (some say, a tribal art gallery). A large proportion of the devotee population backs the Devaswom maybe because they don’t like the idea of a secular art gallery (or maybe that of a tribal art gallery) close to the temple or because they see yet another instance of “the State tries to take over and secularize only Hindu religious property; it doesn’t dare touch the wealth of others”.

Both parties to the dispute agree that the building was indeed an Oottupura. The lawyer representing the State claimed in Court that it was handed over to the Govt. by the Maharaja of Cochin in 1960 for use by the Stationery Department and although that department vacated the premises many years ago (why they did so is not clear), it has remained Sarkari property and that the revenue documents support that ownership claim. The Devaswom says the Maharaja had no authority post 1947 and could not have issued an order giving away the building; however they do claim the Diwan (Chief Minister) handed over the Oottupura to the temple much earlier (1922, pre-Independence). Moreover they say that the revenue documents showing the building as State property are the result of an apparent error they had found and raised years previously and an enquiry was pending on that matter.

Everything said and heard, the court judged: (1) the building is an Oottupura because both parties said it was an Oottupura; and because oottupuras are attached to temples, it is temple property. (2) In 1960, India was a republic and the 'king' had no authority to hand over the building to anybody so it is not clear how the revenue records show it as Government land and this needs to be investigated and (3) if neither party is willing to amicably settle the dispute, they need to fight a full-fledged civil case which can drag on interminably so they had better patch up (4) Until an agreement is reached, no art gallery or anything can be opened there and status quo shall prevail.

My own outsider's take:

The building is not structurally linked to the main Oottupura - looks like it never was. The main entrance to the building appears not to have been from the present elephant yard separating it from the temple complex but from a road on the other side. The doorway on the road is fairly grand and the state emblem of Cochin has been embossed on the wall above. This emblem indicates (not proves) that the building was not conceived as a religious structure but a secular, governmental one (note: needless to say, both parties to one particular court case referring to the building as ‘oottupura’ does not in itself make it an oottupura). Elderly residents of the place distinctly recall the building being used around 1950 as a go-down or granary; some even think it had always been a sort of a state-run godown before the Stationary Dept days – like the many ‘pandiyalas’ in places like Mattanchery or Fort Cochin (some of the latter have actually become smart art galleries, thanks to the Biennale) – not a far-fetched thought because the site of the old Tripunithura boat jetty is but a furlong away. It was probably due to the secular nature of the building that the Diwan had to explicitly hand it over to the temple – why he did so and if he really had the authority to do so remains unknown (to self).

My thoughts may be flawed or invalid and may reflect my (real) personal bias towards the art-gallery idea. But one thing is absolutely certain: whatever any law-court or anyone says, the so-called "Status quo" simply cannot hold.

For the Forces of Nature follow a very different set of laws. Here is a glimpse of what they just did to what was a mere kink in the roof but a few days ago..



Yesterday, marshalling more than the usual energy (and a dash of desperation), one searched and found a way to sneak in and survey the vast rooms and crumbling corridors(*) - and even get up, close and perilously personal with the caved in roof:



But just like the case of the Jewish Cemetery (last post), one realizes that the building is less of a gloomy ruin than a showcase to that most resilient of phenomena - Life. And it is not just the bats; in the wildly overgrown inner quadrangle stands a robust jacktree, laden with fruit. Fallen leaves carpet the corridors and among them, bright scarlet and black millipedes keep their own noiseless tenor. Dense moss coats fallen pillars; creepers rappel up the sagging rafters ....





Thanks, Vimal and Ratheesh.

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(*) Even in a quick run-thru, it is clear that serious maintenance work has been done on this building until fairly recently: a few concrete pillars have been planted to bolster the ceiling, the walls have been whitewashed and electric wiring done - of course, the light bulbs and other fittings have been wrenched off by vandals and lie heaped like eggshells in the central courtyard.

Sunday, May 10, 2015

A Cemetery throbs with Life

From the Wiki entry on the 17th century Dutch Master Jacob van Ruidsael :

Ruisdael's landscapes are a polychronic lament for a stable past coupled with an unease for a profoundly unstable future. His 'Jewish Cemetery' pits a rogue natural world against the built environment, which has been overrun by the trees and shrubs surrounding the cemetery.... a lament for past mistakes made that have produced a present-day derelict landscape.

Here is a glimpse of Ruisdael's cemetery (search online for better images):



Another landscape, a banal photo taken a just few hours back by Yours Truly - it shows a wildly overgrown plot of about an acre in the very heart of Ernakulam, just behind St. Teresa's Convent and School. A wall surrounds the plot and to take the picture, one had to scale it with some effort.



What made me take the trouble was the chance discovery of a board there (I had walked past this plot hundreds of times over the last few years but saw the board only today):



From my precarious perch on the wall, I tried hard to push the encroaching creepers off the board but they proved too tenacious. However, one could still read the Hindi text in its entirety: "Jewish Cemetery, Kadavumbhag and Thekkumbhag (actually, 'Kadavumbhagam' and 'Thekkumbhagam' respectively; such mindless Hindification of place names would require Ernakulam to become 'Ernakul'). Under the protection of the Archeology Dept". Of course, no tomb, no inscribed stone slab, nothing was visible; everything rested beneath the vegetation.

Searching online, I gathered that Thekkumbhagam and Kadavumbhagam were the names of two Jewish settlements in Ernakulam and synagogues that catered to them; neither synagogue functions now. 'The Hindu' once published an article that says: "The State Department of Archaeology has ... protected the Jewish Cemetery near (the St. Teresas) Convent Junction".

Protected?! I would say yes, the plot certainly has been saved from the attentions of 'developers' (the likes of those who ate up the Jewish cemetery in Mala, for example). And whether one sees here the merciless assault of 'Rogue Nature' on Man's works or a manifestation of 'Mother' Nature's limitless fecundity and regenerative power is entirely up to the individual viewer. I, for one, saw in this cemetery as much Life as I had seen at the Manikarnika Ghat in Kashi - and left with the distinct feeling that those who sleep here must be quite okay with the present state of their resting place.

Thursday, May 07, 2015

Our Masters and THE Masters

Presenting some works by Classical Masters and how they have been referenced by some Modern Desi Masters in uniquely innovative ways.

To begin with, here is Michelangelo's allegorical marble figure 'Dawn' (part of the Medici tombs) alonside our own Kanai Kunhuraman's colossal Sankhumukham Mermaid. Click on the picture for a larger image.



And here is Titian's voluptuous Venus as she emerges from the ocean wringing out water from her tresses and a rather more demure but no less alluring Desi 'wringer'.



The latter figure above is a photograph of Mrs. Bijoya Ray taken by her husband Satyajit. I sense a correspondence between this pair of paintings and the Majas by Goya.

And this post signs off with one more masterwork - 'Aristotle contemplating the bust of Homer' by Rembrandt. A non-artits's humble hat doff to it is also visible elsewhere on this very page.