摘要: Description　　Santiniketan, popularly known today as a university town, a hundred miles to the north of Kolkata, was originally an ashram built by Debendranath Tagore, where anyone, irrespective of cas

Description

　　Santiniketan, popularly known today as a university town, a hundred miles to the north of Kolkata, was originally an ashram built by Debendranath Tagore, where anyone, irrespective of caste and creed, could come and spend time meditating on the one Supreme God. Debendranath, who was father of the Poet, Rabindranath, was also known as Maharshi (which means one who is both saint and sage) was a leading figure of the Indian Renaissance. In a trust deed prepared in 1888, he declared: 'Apart from worshipping the Formless, no community may worship any idol depicting god, man, or animals; neither may anyone arrange sacrificial fires or rituals in Santiniketan.... No insult to any religion or religious deity will be allowed here. The sermons given here will be such that will be appropriate to the worship of the Creator and Father and will help in ethics, benevolence and brotherhood...' It was in this area that the Maharshi had a spiritual realization while meditating under a glade of Chhatim trees (Alstonia scholaris), which were the only vegetation in this arid land of Birbhum. These trees still stand with a plaque that says, He is the repose of my life, the joy of my heart, the peace of my soul. Chhatimtala as it is called is the spot that symbolizes the starting point of Santiniketan, which was to become his son Rabindranath's home and base fro activity. It is considered to be a hallowed spot and prayer services are held here on very special days. Rabindranath, too, like his father before him would sit in meditation here, under the chhatim trees during sunset.

　　ASHRAMA COMPLEX: Among the structures built by the Maharshi was the Santiniketan Griha or house and the beautiful stained glass Mandir, or temple where worship is non-denominational. Both structures built in the second half of the 19th century are important in their association with the founding of Santiniketan and the universal spirit associated with the revival and reinterpretation of religious ideals in Bengal and India. A beautiful garden was laid out on all sides of the Santiniketan Bari. The top-layer of gritty dry soil was removed and filled up with rich soil brought over from outside. Rows of various fruit trees and trees with extended foliage for shade were planted. The avenue of Sal trees, so familiar to earlier asramites as being Rabindranath's favourite walk, was planted at this time.

　　The other important structures built at a later date, after Rabindranath moved to the site of Santiniketan are, the Patha-Bhavana, with beautiful frescoes by Nandalal Bose and his students, Natun-Bari, built in 1902 by the Poet for his family, this simple thatched cottage was offered to Mahatma Gandhi's Phoenix school boys in 1915. Mrinalinidevi, the Poet's wife died before the house was completed but her name lives on in the nursery school named after her - Mrinalini Ananda Pathsala which is housed here. Dehali was built in 1904 and Rabindranath lived here for a while. Santoshalaya, a single-storey house with a tiled roof is named after Santoshchandra Majumdar, one of the first students of the Santiniketan Vidyalaya. Santoshalaya is a hostel for young students of the school. The walls of this house have frescoes prepared by artists of the twenties. Built out of a donation by Satyendraprasanna Sinha of Raipur, Singha-Sadan has a clock tower and bell that regulates the timings of daily routine for the asrama inmates. It was in this building that Oxford University conferred its honorary doctorate on the Poet. Purvatoran and Paschimtoran are the two buildings on either side of Singha-Sadana. Classes are held here. Dwijaviram is a house where the Poet's eldest brother, Dwijendranath lived. Gandhiji visited him in this house. Dinantika built in 1939, is an octagonal two-storeyed structure originally used as a tea-house with the staircase on the outside; staff members of Visva-Bharati would meet in the evening for a cup of tea and relaxation. The Cha Chakra, as it was called, was instituted in the name of Dinendranath Tagore by his wife, Kamaladevi. The walls of this house have colourful frescoes by Nandalal Bose. Taladhwaj, a round mud hut with a thatched roof built around a taal tree (toddy palm) with part of its trunk and its huge palm leaves stretching out over the top, was built for Tejeschandra Sen, a treelover who would even share his lodging with one! Old Santiniketan Press: In 1917, the citizens of Lincoln, Nebraska had presented to the boys of Santiniketan, a letter-press treadle machine which saw the beginning of the Santiniketan Press, from where the Santiniketan Patrika, a newsletter was printed. Chaitya is a small structure made of mud and coal-tar in 1934 resembling a typical thatched hut of Bengal, yet it carries a Buddhist name. Planned by Nandalal Bose and Surendranath Kar, this structure has a glass-paned showcase where newlycreated works of art were on display every few days. Ghantatala, resembling a gateway to a Buddhist stupa stands at the crossroads of Salvithika and the road leading to Cheena Bhavana from the Santiniketan house. A bronze bell hanging from the structure would, at one time, regulate the classes and other events held during the day. Gour-prangan: The open ground in front of the school building is named after Gour Gopal Ghosh, who was a student and teacher of Santiniketan. Certain ceremonies like the flag-hoisting on Independence Day and Republic Day are held here. On 23 January, the birth anniversary of Netaji is commemorated with rows of lighted lamps on the ground. Kalo Bari is a unique structure made of mud and coal-tar. Built as a hostel for Kala-Bhavana students, its walls and pillars have been decorated with relief work and is the handiwork of art-students over many years. Begun by Nandalal Bose in 1934, there are examples of Ramkinkar's works on the northern walls. Panthasala: In 1925 Hirabai, widow of Liladhar Thakkar of Bombay donated Rs 15,200 to construct a restroom for travellers and a well and water trough to provide drinking water to travellers and beasts. The rooms now house a book-store and Railway Reservation Counter. Ratan Kuthi was erected in 1924 out of a donation by Trustees of Sir Ratan Tata to be used as a residence for scholars who stayed and worked at Santiniketan. This building symbolizes the reverence to the personality of Rabindranath by the Tatas. Malancha: Built in 1926 by Rabindranath for his youngest daughter, Mira, the genesis of the Malancha house lies in the deep sense of sorrow and guilt that Rabindranath felt at the failed marriage of his daughter. He wanted this house, along with its gardens to be a solace for the lonely woman and together, father and daughter, they planned the garden.

　　UTTARAYANA COMPLEX: North of the ashram area described above, is the enclave of Rabindranath's own houses, built over the last three decades of his life (1919-1941). Konark, originally a mud house was the earliest dwelling that Rabindranath built for his own seclusion from activity to provide a place for his own work. It contained an east facing verandah with rows of pillars used as a stage for plays and dance-dramas composed by the Poet. Natir Puja was first staged here. Since there were no walls in the central large room, nature was an effective backdrop. The Konark verandah was used for poetry readings by the poet. The Mrinmoyee Patio is a beautiful cemented floor with sitting arrangements. This was built on the foundation of the other mud house when it was pulled down. Rabindranath would sit in this open patio and write. Shyamali: the construction of a mud house was an experiment. Rabindranath wanted to see if instead of a thatched roof, which was always vulnerable to fire hazards, a permanent mud roof could be built. It was to be a low-cost structure and would serve as a model house for villagers. The walls were heavily built so that the weight of the mud roofs could be borne. One of the rooms was constructed by using earthen water-pots arranged inside plaster-casings to form its roof and walls. According to Rabindranath, this would keep the rooms cool as the hot air having to pass through these earthen pots would lose some of its heat. Keeping Rabindranath's ideas in mind, Surendranath Kar prepared the architectural plan and Nandalal Bose prepared the visual perspective based on the Borobudur style. The entire outside wall was decorated with beautiful relief work by Kala-Bhavana students under the guidance of Nandalal Bose. The Santals on either side of the main door and on the eastern corner were by Ramkinkar Baiz. Gandhiji and Kasturba stayed as guests in this house. Punascha, meaning postscript suggests the Poet's change of mind. Another house was built on the eastern side of Shyamali. He lived in this house for a short while but it was here that he created most of his paintings. Udichi is the last house built for Rabindranath. He felt claustrophobic, he said, and wanted a room to be constructed on four pillars. However, changes were gradually made according to the owner's needs. He took poetry classes on the ground floor. The most imposing house in Uttarayana, is Udayan. Uttarayana is the area where these five houses are located in. The gardens of Uttarayana were planned and laid out by the Poet's son, Rathindranath, a horticulturist by training. He planted in Uttarayan and in the surrounding area exotic plants and trees from other lands. The African Tulip (Spathodea campanulata) from Equatorial Africa, the Sausage tree (Kigelia africana) and Rhodesian Wistaria (Balusanthus speciosus) from Tropical Africa, the Baobab tree (Adansonia digitata) from Sub-Saharan Africa and the Caribbean Trumpet tree (Tabebuia aura) from Latin America are some of the trees that have survived in Santiniketan as have the ideas and research studies done by foreign scholars who came to Santiniketan. Udayan, unlike the other houses was conceived by Rathindranath, not the poet. When Rabindranath came to live in Konark, Rathindranath and his wife lived in an outhouse by its side. Starting from these modest and functional rooms the elaborate structure of Udayan was gradually evolved. Udayan has many suites of rooms─ each on a different level which gives this house its individuality. Distinguished visitors who have stayed here are Stella Kramrisch, Margaret Milward, Sir Maurice Gwyer, S. Radhakrishnan (later, President of India) and Jawaharlal Nehru. Guha-ghar/Chitrabhanu stands near the lake in the Japanese-styled gardens of Uttarayana. The studio or Chitrabhanu was built for Pratima Devi at a higher level of the ground and later the space below was converted into a room to be used as a workshop for Rathindranath. The workshop is a low-ceiling room and the entrance wall has rough stones on it and creepers growing over it giving it a resemblance to a cave-dwelling or guha-ghar.

　　INSTITUTES OF VISVA BHARATI: In 1922, Visva Bharati was inaugurated as a Centre for Culture with exploration into the arts, language, humanities, music and these are reflected in diverse institutes that continue in their educational programmes, which are based on the founding principles of excellence in culture and culture studies. As originally intended, these serve as institutes for Hindi studies, Hindi Bhavan, Sino Asian studies, Cheena Bhavan, centre for humanities, Vidya Bhavan, institute of fine arts Kala Bhavan, and music, Sangit Bhavan. The structures in these institutes constitute a myriad of architectural expressions which are as diverse as the Kalo Bari, a mud structure with coal tar finish and sculpture panels, Mastermoshai studio, a single storied structure built for the first principal of Kala Bhavan, Nandalal Bose, murals and paintings on Cheena and Hindi Bhavan, created by the illustrious artists like Benodebehari Mukhopadhyay, Nandalal Bose, Surendranath Kar, Somnath Hore with active involvement of students.

　　SRINIKETAN: Also in the core area, is Sriniketan, an Institute for Rural Reconstruction founded in 1922 with Leonard Elmhirst as its first Director. Surul Kuthibari: Rabindranath purchased this building in 1912. The house was often used by the Poet as a retreat and here, in solitude, he would write. It housed the Sriniketan office and is associated with Leonard Elmhirst and Kalimohan Ghosh. In front of this building on a wall, Nandalal created a mural depicting Halakarshana a ploughing festival introduced by Rabindranath to honour the tiller of the soil. Sriniketan also houses the very significant institutes and farms that are in continued use: the Silpa Sadan, a centre for village crafts; Palli Samgathan Vibhaga, the centre for rural reconstruction; Palli Siksha Bhavan, a centre for education for village children and adults; Rural Extension Centre, that conducts research in organic and innovative farming techniques and animal husbandry.

　　The Santiniketan Aesthetic

　　For Rabindranath, who was essentially a poet and artist, the realization and the expression of beauty was the supreme objective in human life. His concept of beauty, according to true Indian tradition, was inseparably connected with truth and goodness. Whatever is true and noble in life, nature and art is also beautiful. Thus, aesthetic sensitiveness, in the true sense, is a fundamental aspect of spiritual education. A proper aesthetic culture should also include the perception and expression of the beautiful in human life and social conduct, as well as in art and literature. Rabindranath stated in no uncertain terms that man's sensory encounter with the environment was as important as his mind's enquiry into its inner mystery, and any worthwhile society should provide for both. Nandalal Bose (1882-1966) took it up as a challenge. For him, with the right effort, all members of a community, whether housewives, working men or schoolchildren can be creative of sorts within their talent and potential. So he gave attention to all, inducing them to learn alpona, batik, leather-craft, picture making with simple units; besides he tried to bring cleanliness and order into the campus, considered elegance to its building and interiors, visual variety and liveliness to its festivals and dramas, a distinctive graphic image to its publications, even set standards of refinement in personal and group conduct, so that, at one time he managed to bring to the place a special aesthetic aura, the hall-mark of which was a dynamic simplicity, an artless art. The frescoes on many of the asrama buildings were created at his initiative; he would involve his students in this work. The murals on the lives of medieval saints which Benode Bihari Mukherjee (1904-80) created in Hindi Bhavana in 1946-47 was the artist's magnum opus. In 1972, even after he lost his eyesight, he made a large ceramic mural in the Kala-Bhavana campus.

　　Most of the houses built after 1919 in Santiniketan and all the five houses in Uttarayana were designed by Surendranath Kar (1892-1970). Santiniketan was acutely short of funds and the asrama had to observe utmost economy in all matters. Surendranath took up the challenge and improvised a kind of architecture that was functional, inexpensive and conformed to the quiet aesthetics of the place. Its hallmark was a sense of austerity, simplicity, elegance of proportion and sparing use of detail. His attention to function, avoidance of flamboyance, a low-keyed elegance and appropriateness to the environment appealed to all.

　　The landscape of Santiniketan is dotted with sculptures by Ramkinkar Baij (1906-1980), largerthan-life figures of Santals who were in reality part of the landscape. A Santal family, complete with dog, a group of workers running along at the call of the mill, their clothes flying in the air, a thresher, all situated along the main road. When Ramkinkar created Sujata, an elongated figure of one of the disciples of Buddha, he placed it just a little distance from the seated Buddha. Nandalal planted Eucalyptus saplings in the area, knowing that one day these tall trees would be a perfect setting to Ramkinkar's Sujata. It was Nandalal Bose, who created an environment where art would be a part of life and the children of Santiniketan have grown absorbing these beautiful monuments as they have the oxygen in the air.