SPACES OF CREMATION - THE INVISIBLE SACRED LANDSCAPES IN INDIAN CITIES

SPACES OF CREMATION -

THE INVISIBLE SACRED LANDSCAPES IN INDIAN CITIES

Research Paper Coordinator: Ms.Ritu Verma

RESEARCH PAPER IN ARCHITECTURE 2013-2014

Submitted by:-

02116901610/SSAA/B.Arch./10

SUSHANT SCHOOL OF ART AND ARCHITECTURE

GURGAON

SUSHANT SCHOOL OF ART AND ARCHITECTURE

SECTOR-55 GURGAON-122003, HARYANA

BONAFIDE CERTIFICATE

This Dissertation report is being submitted by Sanchit Arora , Student of Fourth year B.Arch. session

2013-2014, at Sushant School of Art and Architecture, Gurgaon as a partial requirement for the five year

B.Arch. degree course of GGS Indraprastha University, Delhi.

Originality of the information and opinion expressed in the dissertation are of the author and do not

reflect those of the guide or the coordinators or the institution.

Signature of the Student:

Roll No: 02116901610

Name: Sanchit Arora

Date:

Signature of the Guide:

Name: Ar. Thomas Oommen

Date:

ACKNOWLEDGEMENT

The satisfaction and euphoria that accompany the successful completion of any task would be incomplete without

the mention of people who made it possible and under the constant guidance of whom , I was able to complete this

paper.

I wish to offer sincere gratitude to my research paper coordinator Prof. Ritu Verma who gave me constant

guidance and support while writing this paper. I also, whole heartedly, want to thank my guide Ar. Thomas

Oommen for his positive comments and negative critique without which my research paper would be incomplete.

Needless to say I did not take on every change that my guide suggested but I am inspired by his vision , courage

and his unique way of approaching architecture and also understanding my obsession towards this topic.

I would also like to thank my friends especially Sakshi Dogra and my family whose constant support and

enthusiasm in my dissertation gave me the motivation to move forward and complete the report successfully.

ABSTRACT

TOPIC OF RESEARCH: SPACES OF CREMATION – The invisible sacred landscapes in Indian cities.

Keywords: opinions, perception, social taboo, cremation ground, sacred spaces, lost landscapes, farewell spaces,

psychology, spatial characteristics, cultural geography, paradigm shift.

Aim:

The attempt is to study the spatio-cultural characteristics pertaining to cremation grounds in the contemporary

Indian city and investigating possibilities to reclaim these cultural landscapes back into the city.

Objectives:

• Understanding the concept of death in the context of myths, rituals and beliefs related to death in

Hinduism.

• Study of intersection of rituals and its spaces- i.e. the spaces of cremations in India.

• Understanding such archetypal spaces as it exists traditionally.

• Understanding the condition of cremation grounds in contemporary New Delhi.

• Understanding the possible role of spaces of cremation in Indian cities.

Scope of Study:

Due to the multiplicity of beliefs related to the concept of death , the research paper is confined to the spaces of

cremation as it pertains to Hindus in the Indian scenario. The research study will through literature research

understand the major myths, rituals , rituals and beliefs related to death in Hinduism and its manifestation in space

using case studies of Banaras( Kashi) analyzing both , its architecture and context. Then the study will focus on

the contemporary conditions and patterns of use of spaces of cremation by primary case studies of major

cremation spaces in the city of New Delhi.

Why the Study is important at this point of time?

''Death is the only certainty in life , for to the best of our knowledge all things that live must one day die. Thus

death is and has arguably always been a crucial part of mankind's existence - whether we choose to dwell on it or

not.'' - Lindsay Anne Hall ( Death, Power and the Body)

Given the present scenario of cremation grounds (arguably a sacred space) resulting from increasing social taboo

and the stigma attached to death in our rapidly modernizing society , these cremation centres have become

segregated and dead spaces in the urban context. These spaces however , have a potential to become sites where

an interesting intersection of mortality and architecture can happen, which may have the power to communicate

man's temporal , tenuous and fragile existence on earth. More importantly it is important to explore what role

these spaces play in defining our cultural identity as a society.

Therefore, the uniqueness of death and its spaces in the Indian scenario needs to be studied both , critically as well

as naturally so as to envisage the role , these spaces of cremation can play in the contemporary Indian city.

Methodology:

Figure 1.1

• The primary collection of data would happen through site visits, interviews, data collection and qualitative

analysis and studying the spaces of cremation in New Delhi.

• Collection of secondary data through the various agencies related to cremation or burial grounds and

interviews and consultation of experts in the respective fields.

Research will be primarily done through literature review of the concepts in Hindu philosophy related to death.

The study will then understand the rituals connected to death and its spatial manifestation using a case study of a

traditional space of cremation so as to identify parameters to study spaces of cremation and their relevance in the

existing scenario.

As mentioned before , the contemporary scenario in Delhi will be studied through selected primary case studies of

major cremation grounds. It will be analyzed through specific parameters generated through the initial part of the

study as well as general architectural parameters like context , location , ambience and experience.

Figure 1.2

Expected Outcomes:

The research paper envisages looking at the burning need to not only improve the image of the crematoriums, but

also provide it with a respectful platform in the eyes of the people and bring about a paradigm shift as well as

evolving the idea of a secular designed space in case of New Delhi.

LIST OF FIGURES Figure 1.1 The Methodology.......................................................................................................................................

Figure 1.2 Structure of the dissertation........................................................................................................................

Figure 2.1 The role of rituals.......................................................................................................................................6

Figure 2.2 Shiva, the Natraja.......................................................................................................................................7

Figure 2.3 Yama, the Lord of Death............................................................................................................................8

Figure 2.4 Kriyas, Karmas and Moksha......................................................................................................................8

Figure 2.5 The generalised structure for Hindu interpretation of Death-1..................................................................9

Figure 2.5 The generalised structure for Hindu interpretation of Death-2................................................................10

Figure 3.1 Varanasi ,Uttar Pradesh , India , Map......................................................................................................11

Figure 3.2 The city of Kashi (Varanasi)....................................................................................................................12

Figure 3.3 The sacred Manikarnika Kund.......... ......................................................................................................13

Figure 3.4 The Manikarnika Ghat..............................................................................................................................13

Figure 3.5 The Ganga Ghats, Varanasi......................................................................................................................14

Figure 3.6 The Macro Analysis of Ganga Ghats.......................................................................................................14

Figure 3.7|3.8|3.9 The Micro Analysis of Manikarnika Ghat.......... .........................................................................15

Figure 3.10 Death , Rituals and Spaces Diagram......................................................................................................16

Figure 3.11 Ritualistic description of Manikarnika Ghat (1-14 photos) ............................................................16-20

www.petermalakoff.com (source)

Figure 3.12 Spatial overlap by the Rituals at Manikarnika Ghat...............................................................................20

Figure 3.13 Death and Rituals structure....................................................................................................................23

Figure 4.1 The Macro study of crematoriums in New Delhi.....................................................................................24

Figure 4.2 The Lodhi crematorium- Google Earth Image(source) ...........................................................................25

Figure 4.3 The Punjabi Bagh crematorium- Google Earth Image(source) ...............................................................25

Figure 4.4 The Nighambodh Ghat- Google Earth Image(source) ............................................................................26

Figure 4.5 The Green Park Extension crematorium- Google Earth Image(source) .................................................27

Figure 4.6 Area usage graph- Delhi crematoriums....................................................................................................28

Figure 4.7 The Antyeshti Sanskara ,Pre and Post steps.............................................................................................29

Figure 4.8 Spatial relationship of Death and Rituals in cities..................................................................................32

Figure - Activity Mapping of Lodhi, Punjabi Bagh, Nigambodh Ghat and Green Park Ext (site pictures).......33-39

Figure 4.9 A hierarchy of the spaces in a Hindu crematorium.................................................................................41

TABLE OF CONTENTS

1. Introduction......................................................................................................................................1

2. Research Questions..........................................................................................................................4

3. Myths, Rituals and Beliefs : A cultural event....................................................................................

o Classification of the concept of death....................................................................5

o Understanding Death in Hindu philosophy...........................................................6

Karma, Moksha,Yama and Kriyas..........................................................7

4. Traditional spaces of Death ...............................................................................................................

o Indian Case study of traditional space - Varanasi, Uttar Pradesh....................11

History of the Manikarnika Ghat...........................................................12

The spatial analysis of Manikarnika ghat...............................................13

Cremation and Cosmogony....................................................................21

Death in Kashi - The analysis.................................................................22

5. A study of Delhi crematoriums...........................................................................................................

o Macro Analysis.....................................................................................................24

o Basis of Spatial Relationship - A Theoretical view..............................................28

o Micro Analysis .....................................................................................................32

6. Conclusion......................................................................................................................................41

7. Appendix........................................................................................................................................43

8. Bibliography...................................................................................................................................44

Word count - 11,118 words.

S p a c e s o f C r e m a t i o n | 1

INTRODUCTION

“ Death is a law, not a punishment” - Jean Dubos.

“Not often does architecture have the power to communicate man’s tenuous existence on this ground”

- Ken Worpole (The Last Landscapes)

“If death is undeniably a universal phenomenon, then why is it constantly exorcised and shunned in our daily

experience”

- Gian Giuseppe Filippi

(Mrtyu – Concept of Death in Indian Traditions)

Death is unknown and it is final. It is a sort of alchemy in that it changes us in an instant into something

completely new. Spirit, soul, and mind flash away, and what was once a living body becomes a new creation." The

corpse represents, among other things, a threat to social order, an economic burden to the family, an offense to

sight and smell and an affront to hopes of eternal life."1 It has enduringly offered anthropologists a unique

theoretical confusion where it concerns humans and their personhood . Also as humans, death is a destination we

all share and it makes us realise our mortality and eventually lead us to better acceptance and understanding. In

this sense the rituals of death and the spaces they are conducted in have a deep significance. For it is through

these rituals and these spaces that the rare intersection of life and death takes place , where the living are forced to

encounter and contemplate the mortality and fragility of life while simultaneously putting them in touch with the

sublime of the absolute.2 These spaces and rituals are simultaneously for the living and dead , public yet intimately

private and personal. And precisely because of this complexity and relevance to the living , the rituals of death ,

the treatment of the dead and the spaces of these rituals are special cultural events that strongly reflects the core

worldview and beliefs of a society.

Everyone is touched by death in some way; either directly or indirectly and in any case “Everybody in one

way or another; is afraid of death.”3 Spaces of cremation therefore could be relevant as sacred landscapes that find

the connection between the varied conceptions and in a culturally constructed geography or help develop a

complex symbolism exploring the poetic , narrative and ritualistic aspect of architecture. This is because as Blinda

1 Stephen Prothero.Purified by Fire - A history of cremation in America 2 Suprio Bhattarjee, Domus,THE SPACE OF THE ‘IN-BETWEEN’ 3 Fiefel & Branscomb, 1973


Straight says death is ''a terrifying rupture into mundane existence , death demands a response on the part of

individual and communities.''4 .

In India, a land of deeply held beliefs and long followed religious and ritualistic practices, death is given a lot

of importance. It has been argued that in Hindu mythology, "death isn't opposed to life as it is commonly held in

the west." 5 but is only an entrance to another cycle of life. This very belief makes the ritual related to death both

critical (because it is a period of entry into the next life) and natural. Although Yama, the God of Death is a deity

who inspires dread and talking about Yama is avoided , he is also seen as the mysterious and unknown principle

of transformation.6 And as Gian Guiseppe quotes “ What stands out in India is the inability of death to cause the

similar fear in the souls of the Indians.”

Death is therefore natural and part of life, an entry into something important (be it next life) according to

Hindu mythology. However in the contemporary scenario, these spaces have become blind spots in the urban

context , lacking an identity even though the continuous loop of birth and death makes them heavily used. Perhaps

, this is because the dead are cremated , and there never really has existed a tradition of explicit 'monuments' and

grand architecture for that very purpose. The architectural expression of cremation grounds in the urban scenario

therefore is an intriguing question which may force us to go back and investigate traditional spaces of cremation

without any distinguished boundaries like the (Ghats)7.

And even in these contemporary spaces of cremation , there is a critique that the act of cremation is reduced

to a mere set of ‘tasks’ to be performed in a certain ritualistic order and offer no relevance to the living

accompanying the dead. Arguably there exists a certain gap between the deep rooted myths and beliefs that lie

behind the rituals of death and the spaces of cremation. But why are these myths , beliefs and rituals and the

spaces they are set in important ?

''Often remarked as the great equalizer, yet experiences of death are quite different and quite unique to the

historical moment in which we live. In other words despite the fact that mortality is common to all , the death that

you and I experience is particularly modern.''8 The modern which can be argued to be a more "western" idea of

dealing with death therefore is significantly different from the Indian way of looking at these spaces. This is

because , while in the west the immaterial or the mythical forces have faded away to the current "rational" modern

outlook, in India they co-exist9 .The question then becomes, does the cultural geography have an important role to

play when it comes to these spaces of death? And Jean Baudrillard says that ''There is an irreversible evolution

4 Bilinda Straight- Death , Grief and Cross-World longing 5 Davis, Richard (1988) “Cremation and Liberation: The Revision Of A Hindu Ritual”. History of Religions, Vol.27 6 Gian Giuseppe Filippi , Mrtyu – Concept of Death in Indian Traditions 7 Ghats - A flight of steps leading down to holy water 8 Lindsay Anne Hall - Death, Power and the Body , Virginia University Publications 9 Immaterial forces - Spirits ,Gods, Demons.


from savage societies to our own: little by little, dead cease to exist. They are thrown out of the group's symbolic

circulation. They are no longer beings with a full role to play, worthy partners in exchange and we make this

obvious by exiling them further and further away from the group living". Similarly, are the spaces of cremation

which had great symbolic value in the city , being thrown out of symbolic circulation in the contemporary city ?

But at the same time Bhattarjee quotes ''Sometimes in an unconscious manner, an act of building can overcome

the resonance of the space, its spirit and its purpose.'' This raises the question about the appropriate role of these

spaces in the current cultural geography of the Indian metropolis and could there be a distinct typology, that can

transform these formerly invisible and marginal landscapes to places that have a more visible cultural and secular

role ?

“Death is an abstract, philosophical subject to study, which is tackled from a speculative point of view, and to

which no immediate efficacy is attributed”

- Gian Giuseppe Filippi

(Mrtyu – Concept of Death in Indian Traditions)


RESEARCH QUESTIONS

• What is the symbolic role/meaning of spaces of cremation in the Indian scenario ?

• How do spaces of cremation operate, qualitatively and functionally in the contemporary Indian city

specifically Delhi ?

• How are their roles different or similar from the more traditional examples like Kashi ?

• Is there a need for reinterpretation of these spaces ?


CHAPTER ONE

Myths , Rituals , Beliefs And Identity:

Death A Cultural Event

Classification of the Concept of Death

"Death poses a challenge to all kinds of ontological10 security .Everyone at some point must see death as a part of life. The loss of a relative or an acquaintance illuminates the transient and finite character of everyday life and threatens conceptions both of an actual and enduring individual and of a similarly enduring collective identity" 11. Death is a highly personal event but according to Kastenbaum (2006) , death can be thought of or classified into three broad ways.

• Death as an event - Here death is something that happens and it happens at a particular time, place and in a particular way .Death is an event that cuts off a life. In this context of life, place and cause of death can be recorded on a death certificate. This usage does not concern itself with mysteries or explanations.

• Death as a condition - It is viewed here as a non-reversible condition in which an organism is incapable of carrying out the vital functions of life. Here the main focus is to establish the termination of life particularly bringing the medical context to it and those signs of termination are obvious to all the observers .

• Death as a state of existence and non-existence- Death is what becomes of a person after death. Here the concern is neither with the event that ends life nor with the condition of the body at that time but the focus is on the form of existence that is though t to prevail when a temporal life has come to its end. The context of religion providing explanations of 'life' after death is symbolized here.

And perhaps because of its all encompassing impact, many scholars (Van Gennep,1960| Myerhoff,1984) have argued that rituals , beliefs and rites circumscribe death , always and everywhere. "The rituals , beliefs and myths unite the participants both with each other and with situations and collectives beyond themselves , such as relatives at other places , ancestors and rising generations" 12. Rituals bridge the gap between past, present and future and diminish the threat that death poses. Reimers for instance quotes that ''In and through rituals the deceased and the bereaved become anchored in a specific common culture, in a specific value system and world-view , which is expected to persist , regardless of the demise of its singular constituents''. Furthermore , rituals provide respect and are tools for construction of an individual and collective identity.

Different cultures and different religions employ a variety of rituals. The funerary rituals of Hinduism are not the same as the Islamic rituals and ''how people choose to make their last farewell and choose to

10 Ontology - philosophical study of being and existence. 11 Berger and Luckmann ,1979 , 118-122 12 Myerhoff, 1984 , 306


remember their dead can therefore be regarded as a part of their individual and collective self- presentation'' 13 . In Driver's words , ''To realize is to make oneself present. '' (1991 , 37)

People employ rituals to demonstrate where they belong and who they are .But rituals are not merely ways to present an alleged identity . They are performative actions(Austin ,1976) i.e. actions that bring about ontological changes. And it may also be argued that , ''A ritual is employed to confront death with life's most cherished values''14 and hence ''the practice of ritual is thus an expression of self within the context of a greater consciousness that bridges the gap between generations'' Cremation grounds are the spaces where people assemble and are assembled with both dead and alive , across generations and in recent development , cross-culturally. As described by Aldo Rossi '' The city itself is the collective memory of its people and like memory it is associated with objects and places. '' 15 Therefore these places of cremation are those very critical spaces which may be argued to have an effect on one's space of mind.

Figure 1.1 The role of rituals

As secure zones of memories and histories , these cremation grounds serve as landscapes of silent narratives in the city for the dead and '' as products of ritual performances for the living and these rituals that take place within the spaces may clarify both boundary maintaining and boundary - reducing expressions particularly in instances of blended cultural practices. '' 16 Around the concept of death , as for other aspects of life , there is a underlying philosophy in the Hindu thought. Though this philosophy cannot be generalized , it is important to get a broad understanding of it , in order to understand the rituals associated with death and cremation.

Understanding Death in Hindu Philosophy

The Hindus believe that 'Atma'(soul) is birth less and deathless. Death is only casting away of physical body. It is the temporary separation of soul from body. The holy trinity of Brahma, Vishnu and Mahesh(Shiva) are considered as the most powerful of the Indian Gods. It is ''Brahma'' out of which the soul emerges as he ordains. After casting of mortal body on completion of its earthly sojourn , it aspires to merge with Brahma and if it is successful in this endeavor , it is liberated from the cycle of birth and rebirth and attains salvation or ''moksha'' failing which it takes another body and is reborn and the cycle continues endlessly. On the other hand, Shiva is the destroyer(Indian mythology). Shiva loves the burning ground and destroys not merely the heavens and earth at the close of a world cycle, but also the fetters that blind each separate soul . He is described as the all pervading supreme soul, both terrible and benign , destructive , ugly and handsome makes one realize of how opposites are co-existent and complimentary in the Hindu philosophy.

As the Hindu mythology states , Shiva is the god of destruction and hence is the only deity to be seen in the cremation ground .He is believed to dance with the five elements ; namely water , air , earth ,

13 Goffman,1967 14 Fear of Death , Monika Dutta , 2010 15 Aldo Rossi , 1982 ,130 16 Reimers 1999 ,155


ether and the most important fire in the form of 'Natraja' and smear himself with ashes while doing so. There is another myth that states that one of Shiva's underlying principal was Vairagya17 , where an individual had to sacrifice everything and give himself up to the funeral ground even while living.

Figure 2.2 Shiva as the Natraja

Karma , Moksha , Yama and Kriya

The Vedas dearly show that the ancient Hindu believed in the immortality of the soul. In Bhagwad Gita(holy book) it is said that '' The soul of man is indestructible , it can't be pierced by sword , fire cannot burn it , air cannot dry it and water cannot moisten it. '' The innermost reality is 'Atma' which is both changeless and eternal. ''How can it die with the death of body ? '' 18 In doctrine of Karma, ones deeds play an important role and as the myth states, Karma is the sum of an individual's actions in the existing and previous states of existence , viewed as the deciding factor of their future existences. The Bhagwad Gita also states that the actions performed(karmas) gradually lead people to a stage when they will not be born again but will be merged with ''Brahma'' , the Almighty and be freed from this world and finally attain Moksha|Nirvana19 as pointed out by Lord Buddha.

''Yama , in the mythology of India , the lord of death .The Vedas describe him as the first man who died , blazing the path of mortality down which all humans have since followed.''20He is the guardian of the south (the region of death) , arguably the reason why the dead are placed with their head facing the south as it presides over the resting place of the dead , located in the south under the earth. He is described as majestic in appearance , green , with red eyes and red garments carrying a mace which is to catch his victims riding a buffalo. He is seen as the one who weighs the good and evil deeds of the dead and determines their retribution. The dead are bought to his kingdom where Yama consults his records and determines the circumstances of his next life based on the "Karmic balance"(the above mentioned). Yama ensures the cycle of rebirths rotates in a determined rhythm in the Hindu world and for that , the Hindus make daily oblations of water to this god. This Karmic balance and rhythm of life in Hinduism is integrally connected to the performance of regular kriyas.

17 Vairagya - Indifference and disenchantment with all wordly things. 18 Mascaro, 1962 19 Moksha - Release from the cycle of existence governed by the law of Karma 20 Gian Giuseppe Filippi , Mrtyu – Concept of Death in Indian Traditions


Figure 2.3 Yama , the lord of Death

As a central and unifying feature of life , Kriya21 , the timely fulfillment of ritual performance asserts the Indian sense of human community and collaboration with the creative rhythms of the world. The rites marking the events facilitate change in life, by disrupting the continuity of life and causing a step up to take place, from one phase of life to the next. Daily rites include the greetings of the sun by ritual gestures at dawn and dusk , accompanied by chanting of Mantras. The man relinquishes his responsibilities for family ritual observances only when he withdraws into 'sanyasa'

Rituals are supposed to lead ultimately to the centre - ''Bindu'' and also acknowledges the mysterious dimension of existence. Biologically , every moment of life is also death and death brings new life to birth. Hence , the funeral rite - the ''Antyeshti''22 , is a rite of passage from one life to another . Until liberation , the course of the next life is determined by the present one.As Gian Guiseppe Fillipi quotes that '' The being that abandons a particular existence is forced to transfer itself to a different domain in which it will have to unfold different potentialities in this new life condition , characteristics, which it will have developed in its previous existence.''23

It may also be argued that Hinduism itself is burdened with so many different layers of rituals, beliefs and myths , that it becomes difficult to generalize how Hinduism interacts with the dead, thereby the very need to define a structure helps one study the post death scenario pertaining specifically to Hinduism .The study talks about the criticality of Kriyas where it talks about how kriyas are generally important for "moksha"and define a structure for the succeeding chapter as the first part of the chapter

talks about the generic kriyas related to death and the second part shows how do the rituals play out in cases like Kashi and Delhi.

21 kriya - A completion of a series of religious ceremonies according to a prescribed order . 22 Antyeshti - Antim Sanskar , or the last rites in the Hindu ideology of cremation 23 Gian Giuseppe Filippi , Mrtyu – Concept of Death in Indian Traditions

Figure 2.4


Figure 2.5 The generalized structure for Hindu interpretation of death - I


Figure 2.6 The generalized structure for Hindu interpretation of death - II

The above diagrams give a fair understanding as to how the concepts of death get related to the myths , beliefs and rituals in Hinduism and also form the basis for research on the spaces of death(chapter 2,3).


CHAPTER TWO

Traditional spaces of death

Study of a sacred space of Death - Varanasi (Banaras) , Uttar Pradesh

"Banaras is older than history, older than tradition, older even than legend and looks twice as old as all of

them put together"

- Mark Twain (1898)

Varanasi's unique spatial-environmental setting is the fundamental base for the growth of its distinct

personality where the spirit of place is deeply rooted. For getting some insight of this power, a mass of

sages, thinkers, ascetics, devotees and pilgrims have been coming to this city since ancient past. If Hindus

have to choose the place of greatest spiritual merit, this city is the only place of holy order where

wholeness emerges into a sacred territory. Rana P.B.Singh quotes " Varanasi as holistic holy environment

is a celebration of place and time and process, and a high drama where the heaven and the earth meet

together in making it celestial and humane habitat."

Kashi is the pious Hindu's name

for Varanasi and is counted in the seven

sacred cities(puris) of the ancient India.

According to Jonathan P.Parry , Kashi is

both the origin -point and a microcosm

of the universe; that it stands outside

space and time yet all space is contained

within it; and that it provides for the

attainment of all the goals of human

existence : in life for the realization of

dharma , artha and kama and above all

in death for the realization of moksha or

mukti.

Figure 3.1 Varanasi , Uttar Pradesh , India


Figure 3.2 The city of Kashi (Varanasi)

The need for the study of a space like Varanasi(Kashi) is to see how rituals of death in the Hindu

philosophy actually interact with the spatial character of a place. Never in the world is death put out so

much to the people as one sees in Kashi. It is all so public which makes it an ideal space for this study.

Manikarnika Ghat24 is the place where the dead are cremated in Kashi , hence the study would involve an

in depth analysis of this ghat.

History of the Manikarnika Ghat, Kashi

The Manikarnika Ghat , popularly known as the ''great cremation ground'' is one of the main ghats present

on the lengthy stretch of the holy river of Ganga flowing past the city of Varanasi. The ghat is the site of

the most important of the two cremation grounds25 of Varanasi , and of the sacred tank beside which Lord

Vishnu performed his cosmogonic austerities. The ghat is located at a point roughly midway along the

Ganga between the confluence of the Asi and Ganga , which marks the southern boundary of the sacred

city and the confluence of the Varana and Ganga which marks its northern boundary. "While in India , the

cremation ground is generally on the periphery or outside the area of human settlement , in Kashi , it is at

the very hub. Just as India is said to be the navel of the world and Kashi is the navel of India , so

Manikarnika is the navel of Kashi." To which T.N.Madan adds "Its centrality , however , is not only of a

physical but also of a metaphysical nature , for it was at Manikarnika that world was first created.'' 24 A ghat is an architectural intervention with a series of steps going down to a sacred or a holy river. 25 Second important cremation ground in Varanasi being the 'Harishachandra Ghat' located to the south of Manikarnika ghat along the river Ganga.


According to the myths, during the period of cosmic dissolution , every creation was destroyed and all

that was left was the holy city of Kashi.

Hindu mythology talks about the

Manikarnika ghat being especially sacred and that

people cremated there receive moksha. As the myth

goes, Lord Vishnu , after thousands of years of

tapasya26, managed to convince Shiva not to destroy

the holy city of Kashi , when he destroys the world.

Lord Shiva along with his wife Parvati , came to

Kashi before Vishnu to grant him his wish. In return ,

Vishnu dug a kund(well) on the bank of Ganga for

the bath of the couple . While bathing , a Mani(jewel)

from Shiva's earring fell into the kund , hence the name Manikarnika (Mani :Beads . Karnam: Ear

.Angad:Ornament). The Marnikarnika Kund(the sacred tank) is situated behind and slightly down river to

the main ghat.

The spatial analysis of Manikarnika Ghat

There is a well attested belief that there is never a moment when a body is not burning on Manikarnika

ghat.It is the one of the most active ghats in Kashi , as it is always at work. Two or three hundred people

are cremated here each and every day of the year.

Figure 3.4 The Manikarnika Ghat

26 tapasya - deep meditation in order to achieve self- realization

Figure3.3. The sacred Manikarnika Kund


Macro Analysis

In Varanasi , the ghats not only provide spaces for people to worship but also an area where

people can interact throughout the day .The Manikarnika ghat lies in the middle of the Ganga ghats in

Varanasi. Asi ghat(to the south ) is another important ghat where the daily ceremonies take place. Since

these both ghats are active throughtout the day , they tend to activate the spatial route between them.

It is important to understand that the city of Kashi was never planned .There were no vehicles and

the city was restricted to pedestrian walkways and hence the width of the roads wasn't taken care of , in

short Kashi came up organically over the period of time with the presence of gallis27 leading to the ghats

along the Ganga .The gallis have the maximum contribution to the spatial set up in Varanasi. These gallis

provide an unique experience altogether to an individual .Be it a religious procession or be it a death

procession , these processions have to end at the ghats and the only way to the ghats is through such

gallis. Hence these gallis also play a vital role in understanding the spatial experience of Varanasi.

27 Gallis - Close-set alleys or narrow streets with constant activities

Figure 3.5 The Ganga Ghats , Varanasi Figure 3.6 The Macro Analysis of Ganga ghats


The main galli going towards Manikarnika ghat is one of the busiest gallis in Varanasi

(highlighted in the figure above). The bodies intended for cremation are carried down these gallis having

shops ,stores and houses by the family of the deceased everyday of the year. The main temples of these

ghats are accessible through these gallis. Most of the cremations happen at night , and with two to three

hundred cremations every day , there isn't a moment when this galli is not in use.

The Ganga(sacred river) has a lot relevance attached to it in the Hindu mythology except for the

fact that it acts as a water feature along the ghats. According to the myths ,the deceased are dipped in this

holy river to wash their sins away before they are cremated. Ganga is the central focus and the lifeline for

the people of Varanasi. The city came up along the Ganges and hence provides a certain spirit to the

people as well as acts as a common link to all the ghats and provides an unidirectional spatial route along

it.

Figure 3.7|3.8|3.9 The macro analysis of Manikarnika Ghat


The macro analysis of Manikarnika ghat shows of death is seen and accepted in the holy city of Varanasi.

People would sit on the Manikarnika and adjacent ghats with the deceased being burnt just next to them.

It is interesting to see how the acceptance translates into the spatial acceptance of a space like cremation

ground, right in the centre of the city. It's wide open to the public and the tourist. This peculiar nature of

the city of Varanasi , raises a counter question to the role of spaces of cremation in the contemporary

cities like Delhi and also highlights the critical problem of identity as discussed earlier.

Micro Analysis

It is said that each and every galli leading to the ghat in Varanasi has its own experience. To study the

rituals and their spatial character , it is very important to analyze the step by step process of how these

rituals are performed. Every ritual connects to a space and its experience and that is how architecture

comes into play.

"The backdrop for a ritual is architecture and architecture must support the ritual it envelops . Spatially

this begins with the careful study of the character of spaces supporting a ritual , singularly or a sequence

of spaces which assist an emotional response " - Gregory Scott Hirschmann , Filled with Absence(2006)

The spatial analysis of the rituals of death in a

traditional place like Kashi provides a basic framework

of how the rituals are spatially ordered . As well as help

understanding and comparing the same structure to the

contemporary scenario of crematoriums in New Delhi

later.

S.No Rituals Ritual description Spatial character (Architectural view)

1. Public procession of death by the family and the relatives. (mourning)

The bodies intended for cremation are carried down a narrow twisting maze through the gallis to the Manikarnika ghat with the mourners chanting Ram Naam Satya Hai.

The gallis(closed-set alleys) with the shops , stores and houses get constantly activated by such processions.

Figure 3.11 -1

Figure 3.10


2. Seeking blessings at the Manikarnika temple(Lord Shiva)

On course to the ghat , the deceased body has to be taken to the Manikarnika temple , which according to the myths ,is to pray to Lord Shiva , for the release of the soul from its physical body.

The Manikarnika temple opens on to the galli leading to the ghat .

3. Dipping the body in Ganga

The body is taken down the steps at the ghat to be dipped in the holy river of Ganga . As the myth states , the holy water washes away all the sins from the body committed during their life span.

The ghats are the higlighted spaces during this ritual.The body goes down the steps to be dipped in the river.

4. Body kept to dry and prayers by the family and relatives.

The body after the dip is kept on the stairs till the time the family and relatives are done with their prayers and offerings to Lord Shiva.


5. The wooden logs are arranged for the funeral pyre.

The wooden logs are brought and the body is kept on the pyre.


The open area pertaining to the cremations is where the pyre is set .

6.

Eldest son has to light the funeral pyre .

The eldest son has to light the bundle of straws from the sacred fire overlooking the cremation ground at the ghat and carry it down to the body to set it afire. Not only the sanctity of Manikarnika but also the sacred fire gives great meaning to the cremation here. The son walks three times clockwise around the funeral pyre before setting it afire. Sandalwood is to be added to the burning pyre to make the body burn brightly.

7. Breaking the skull with the stick.

When the body is nearly consumed by the fire , a local priest breaks the skull of the deceased with a stick . As the myth goes , the soul is contained in the mind and needs to be released from the physical body . And also so that there isn't a misuse of the human skull.


8. Throwing the pot filled with the holy water on the ashes.

Facing the river, standing at the feet of the corpse, the eldest son throws the pot filled with Ganga water over his shoulder. It shatters and breaks on the last of the burning pyre and the family walks away without looking back signifying that they are done with their relationship to the body . When the fire cools, the soul will be at peace.

9. Floating the ashes away in Ganga

The last of the ritual says that the ashes need to be collected by the eldest son in an urn after all the rituals are done and then need to be floated in the holy river of Ganga for further peace to the soul.

The ritualistic course as discussed above, gives an architectural view to how the dead are treated in a

traditional space . An interesting observation is that, even though there is a whole hierarchy to the

ritualistic framework , but the spaces confined by these rituals tend to overlap with each other. Hence,

there is a lack of clarity in terms of a specific ritual and its own confined spatial characteristics in a

traditional space as the rituals tend to merge at the ghats.

Figure 3.12 Spatial Overlap of Rituals at Manikarnika Ghat.


It is really important not to miss out on the other factors that are related to death in Varanasi as it gives a

better understanding of the concept of death and also de-codes the complex ritualistic structure existing

in the society.

Cremation and Cosmogony

''In case of Kashi , the association of death with its transcendence is given a pivotal place in the sacred

identity of the city''28. The reason why Kashi is known as the 'city of death' is that at pralaya the five great

elements which compose the world i.e. earth,water,fire,air and ether come as corpses(Kane 1953: 627).

Only Kashi itself survives this universal holocaust for it exists outside space."Cosmic dissolution ,

however, is not only an end of the universe; it is also a beginning, a necessary prelude to a new world

cycle and hence a renewal of time. Similarly , cremation is not just a destruction but simultaneously an act

of creation"29 The ideology of suggesting that that it is no coincidence that the most celebrated cremation

ground in India is located on the very site of Vishnu's cosmogony, for by entering the pyre here the

deceased revitalises , as it were , the creative heat of 'tapasya'(ascetic austerities). Assuming cremation to

be a sacrifice , this very sacrifice would create a cosmos and since the funeral pyres burn without

interruption throughout day and night at Manikarnika Ghat , creation hence is here continually replayed.

It is also argued that "Kashi establishes a link between the body and the cosmos which are both

governed by the same laws , constituted out of the same five elements and are thus, equated. This would

further imply to the equivalence between cremation which destroys the microcosm of the physical body

and pralaya - a process of melting"30 which destroys the macrocosm. But at the same time , just as the

world is destroyed by fire , flood is a necessary prelude to its recreation implying that when the deceased

is cremated , his ashes must be immersed in the water in order that he may be restored to life.

Furthermore, since the body is the cosmos the last rites become the symbolic equivalent of the destruction

rejuvenation of the universe proving the fact that cremation is a cosmogony and these individual deaths

are assimilated to the process of cosmic regeneration.

Death in Kashi - The Overall Analysis

The complex ritualistic behaviour of Kashi uses a number of codes and de-coding them would help one

analysize the very importance of each and every code.These codes unravel the meaning of the system of

symbols prevailing in the ritualistic structure in Kashi.

28 Rana P.B.Singh - The personality of Banaras(Varanasi) 28 Stutley and Stutley , 1977 :231 29 Jonathan P.Parry - 103 , Death and Cosmogony in Kashi Source picture - Rana P.B.Singh , Banaras.


Lateral symbolism talks about how the human body is given the utmost priority here in Kashi .

According to the theory , it is divided into two equal and mirror opposite - the right and the left. And as

Meena Kaushik quotes that "The lateral symbolism provides a basic code for conceptualizing different

aspects of the death ritual and help understand the ordering of the sacred ,not in terms of pure and impure

but in terms of the opposition of life and death." At the same time , Hertz(1960) puts foward a point and

discusses the natural asymmetry provided by the human body that enriches religious thought where the

right hand is shown as the strength , superior and associoated with the sacred and the left being the

inferior , weaker and associated with profane and impure.However , Veena Das(1973) argues that the

lateral symbolism is used to put forward the fundamental opposition between the sacredness associated

with life and the sacredness associated with death and this very ordering of the sacred in terms of

opposition of life and death gets highlighted in the death ritual structure.

The use of left hand during the funeral pyre and the left shoulder to carry the corpse does show

how this lateral symbolism is dramtically impressed . On the other hand , the right hand is used for

offerings to the gods while performing the rituals of death where the sacrificial cord hangs from the right

shoulder to the direction of the left.

Second is the acoustic symbolism .The ritual structure gets highlighted with the distinction

between the sound and silence as this code is expressed in the opposition between them . As Rana

explaines , it provides through ritual a way of formalizing grief as something pertaining to this world of

appereances. To weep for the inevitable death is really meaningless and the transient nature of human

existence is so often seen , both at the level of ritual and at the levvel of religious discourse. The accoustic

code provides a common idiom in which the bereaved console each other and reiterates the reality of this

world of phenomena.

As seen in cases of the lower castes , the corpse is carriedd to the cremation ghat accompanied by

drummers in Kashi and loud weeping is permitted at the cremation ground for the expression of grief .But

also, Kashi provides an interesting feature to the death ritual structure , where it is seen as the ultimate

tirtha31 and is supposed to provide salvation and end to weeping and grief for the deceased as he is now

incoporated into the world of manes.

Then comes the culinary symbolism which also plays it part in the death structure in Kashi , that

is the division of food in terms of hot and cold. The opposition between hot and cold as used in Hindu

system of thought , brings forward a classifactory system according to P.B.Singh , which associates life

31Tirtha - a hindu place for pilgrimage


with heat and death with cold . The corpse is seen as cold and can be offered to Yama ( refer to chapter 1)

through fire.

The culinary code comes into play on the tenth day after the cremation , when a communal meal

is held to mark the transition of the soul . Two types of food are prepared , the hot is eaten by the

community and a bit of the hot and all the cold are offered to the ancestors as they are seen as life without

matter. Also it has been seen that the offerings offered to gods are cold foods like fruit and milk ,

showing the importance of fire in the death ritual. It has been argued that out of the five elements while

dealing with the death ritual , fire stands out as it purifies the soul without affecting itself .

The last and the most important code is the spatial symbolism .This is the code that highlights the

relationship between the rituals of death and its spatial aspect. (refer : Analysis of Manikarnika Ghat)

It is really important to understand the role of a ritual in relating the dead to a space in a traditional place

like Varanasi. Also the spatial symbolism helps in defining a fixed spatial structure for a crematorium and

form the basis for further research for this paper.

Figure 3.13 Death and Rituals structure

"As revealed by de-coding these codes , the whole ritual is seen to be concerned with providing a system

of meaning for this event and in this way validate the individual's phenomenological world through

overall sacred categories.The death ritual thus provides the link between the two realms of reality , that

of the social and the cosmic world.The sacred may be considered dangerous in many societies but

the death ritual is an attempt to allow the profane individual to make contact with the sacred."

- Meena Kaushik .Representation of death.(pg 134.Banaras.Rana.P.B.Singh)


CHAPTER THREE

A Study of Delhi Crematoriums

Macro Analysis

As seen in the last chapter , a traditional place like Varanasi gives a proper understanding as to how the

spatial relationship of the death rituals exist in a given society. At the same time , it is really important to

see how these spatial relationships occur in the contemporary cities like Delhi.

Figure 4.1 The Macro study of crematoriums in New Delhi


Delhi with a total of around 50 to 55 cremation grounds cater to around 5000 to 10,000 deaths everyday

(primary data) .Out of these , certain cremation grounds are majorly used due to their location , size and

the facilities they provide. As per the study conducted for Delhi, Nigambodh Ghat , Punjabi Bagh ,

Green Park Ext and Lodhi cremation grounds are actively used everyday. The quantative and qualitative

analysis of these cremation grounds could provide a better understanding of such areas in the

contemporary scenario.32

S.No. Cremation ground Location Spatial Analysis (Macro level study)

1. Lodhi cremation ground (Dayanand Muktidham)

Central Delhi

Figure 4.2 The Lodhi crematorium The lodhi cremation ground (1.5 ha)caters to the central part of Delhi with 20 - 25 cremations taking place everyday. The cremation ground is squeezed by a nallah from one side and a flyover( a main road) from the other. The nallah(is an arm of a river - in this case river Yamuna) acts like a buffer between the creamation ground and the Nizamuddin west(towards east) housing and a green cover provides a screen from the main Public buildings in the surrounding area. The cremation ground also has an electric crematorium and operates from 7 am to 5 pm.

2. Punjabi Bagh cremation ground

West Delhi

32 Appendix 1


Figure 4.3 The Punjabi Bagh crematorium The Punjabi Bagh cremation ground (2 ha appx) is the most important creamtion centre of west Delhi. It caters to around 30-40 deaths everyday with the operational hours being from 6 am to 5 pm. As seen in the previous case , this cremation ground is also enclosed between a nallah and a main road (flyover) which provide a buffer from the existing housing as well as the other

3.

Nigambodh ghat North - East Delhi

Figure 4.4 The Nigambodh Ghat The Nigambodh Ghat (9 ha) is the biggest and the most used cremation ground in New Delhi due to its location i.e. next to Yamuna (considered a sacred river). Nigambodh ghat is also known for being thr oldest burning ghat in Delhi perfroming ceremonial stepped piers leading to the river Yamuna.About 50 -60 cremations take place everyday. It is seperated from the public buildings and housing by a green cover and G.T. road (Grand Trunk road - highway) . It operates from 7 am to 7 pm with the option of electric crematorium too. About 20 % of the daily cremations happen in this electric crematorium. This cremation ground is also given preference as one can pour the ashes of the dead straight into Yamuna without going to Haridwar or Kashi to do the same.


4. Green Park Ext. cremation

ground South Delhi

Figure 4.5 The Green Park Ext crematorium The Green park extension(1.3 ha) cremation ground is an important cremation centre of the southern part of Delhi. Its location is peculiar as it exists within a society and has no direct entry from the main roads. A nallah and a thick green cover screen it from the surrounding area.About 25-30 funerals happen everyday from 6 am to 4 pm .The electric cremation facility is temporarily closed in this cremation centre.

The macro study reveals how important planning of crematoriums is in a city like Delhi in order to fulfill

everyone's needs. Due to pratical reasons and time being another concern for the deceased and the

family,the neighbourhood crematorium concept or the zone based crematorium model is seen to be

a viable option in Delhi. As per the study , out of the 50- 55 crematoriums that cater to the different zones

in Delhi , few of the crematoriums are used actively on a daily basis(as discussed above). The analysis of

these crematoriums frames the governing principles of their selection other the other crematoriums in a

given zone , that are :

• The distance to the crematoriums • The facilities provided by the crematoriums (ambulance, electric cremations ,etc) • The size of the crematoriums • Presence of a sacred river (like Ganga for Kashi)

For example the reason why people prefer Nigambodh ghat the most even though it is far from

the main city is due to its proximity to the sacred river Yamuna (according to the myths) as well as the

size and the facilities that are provided by the cremation ground. The convenience of pouring the ashes

into Yamuna as well as the myths that are associated to the ghat provide a decent environment for the last

rites.


Figure 4.6 Area usage graph of the main Delhi crematoriums

Furthermore , the study shows the reason why these crematoriums are placed :

• In Marginal spaces(next to nallahs) - The nallahs(marginal spaces in the society) are considered

as the tributaries or arms of a river (in case of Delhi,Yamuna is the river).The study reveals the

need for the holy water for the rituals which these crematoriums get from these nallahs as to mix

them with the water available to cleanse the corpse before the funeral. (considered sacred - refer

to chapter 1)

• Away from residential neighbourhood - As per the study , these crematoriums give an

impression of sadness and gloominess to the people. The negative connotations force these spaces

to be away from the residential neighbourhood . Also,the spaces next to the nallahs aren't

occupied as they are mostly dirty and the foul smell makes it hard for anyone to live next to it.

• Next to a green cover - The green cover acts like a perfect buffer between the spaces of

cremation and the residential neighbourhood . Also , these green spaces provide a silent

environment for the funeral procession in these crematoriums.

The macro analysis of the crematoriums provide a lot of hints about the current situation of these spaces

in the contemporary scenario.At the same time ,it is really important to get a proper understanding of

spatial relationship of the rituals of death in case of Delhi(micro analysis).

Basis of Spatial Relationship - A Theoretical View

The scenario of the rituals of the death in Delhi is different from that at Kashi. Unlike Kashi , an elaborate

rite lasting thirteen days is performed for the body to maintain the cosmic equilibrium in the Hindu


culture in Delhi. The scenario in Kashi is different as the cremation and the final rites happen in a day or

so . But not every Hindu can be cremated at Kashi , hence it is important to look into the theoretical

aspect of this elaborate rite and study its spatial

symbolism in the contemporary scenario.

Figure 4.7 The Antyeshti Samskara , Pre and Post Steps

The practical guidelines for the final rites as per the

priests(primary study questionnaire33)at the

crematoriums and the Hindu Antyeshti Samskar

(Hindu Mandir Executive Conference .America.2008)

giving the ritualistic order and its sequence of events .

S . No Rituals Ritual description Spatial character (Architectural view)

1. Preparing the body for cremation.

Bathing , sprinkling the body with water and the body is covered with new clothes with the kumkum and vibhuti. Fresh flowers , Ganga Jal , Tulsi are offered. The body is placed on a frame made of bamboo sticks and laid to rest with the head facing south

The ritual so performed is at the home of the deceased body.

2. Speaking the mantra in the ear i.e. Abhisinchanam

Mantras are chanted in the right ear of the deceased , symbolically reminding the departed that an individual's life span , the life breath,senses , mind , organs of action , earth , the universe and god are all interconnected. The idea in the message is that the deceased body is not an isolated entity in the creation but has been an integral part of an infinite universe and continues to be so even after death of the physical body.

Home of the deceased.

33 Appendix 1


3. Karna-mantra A ritual fire is set in which Agni (fire) is invoked. The final rite of chanting and offerings (agnihotra) is also performed at this time.

Home

4. Carrying the dead to the crematorium.

The family and friends carry the body in a procession to the cremation site. The one who leads carries in a clay pot the ritual fire that has been lit by the domestic fire which has been maintained by the departed during his|her lifetime. It is befitting that a person who maintained the agnihotra fire throughout his|her married life in order to perform daily karmaas be cremated from the same sacred fire. The people chant Jai Sri Ram , or Ram Nam Satya Hai .

From home to the cremation site (using a hearse van| ambulance and walking with the body) Usually the crematoriums provide such facilites.

5. Purifying the body i.e. Ekoddistasraddha

This is a shraddha done to invoke the departed to make the body qualified to be an offering to Agni.

Home or on the way to the cremation ground.

6. The five offerings i.e. Pancapindadanam

Obstacles in the jiva's journey. They are done by offering rice balls(pindas) 1. At the site where the death occurred to the vastu devata 2. at the doorway to the Gruha devata 3. during the procession at the crossroad or site of rest, to the bhuta - yonis , and devatas to remove obstacles to the birth of the next form namely preta. 4. at the site of cremation to sanctify the ground 5.at the time of collection of ashes.

Places vary according to the needs of the offerings described in the rituals.

7. Purifying the site i.e. Stalashuddhi. Washing the body with the holy water.

The site where the body is to be cremated is sanctified by mantras and water. The body is also sanctified. Agnideva is invoked in the pyre. Ghee(oil) is offered and then lighted by the eldest son. The son goesaround the pyre three times before lighting it.

The area in cremation grounds where the body is washed with water before reaching the area where the pyre is set.

8. Cremation i.e. Dahana- Samskarah

The cremation of body is not merely a means of disposal of the

The main shed of the cremation ground where


corpse. It is the returning of the body to the elements from which it was born. It is symbolically offered back to the infinite universe of the Ishwara. After the body of the deceased is placed on the pyre , the final ceremonies associated with cremation are performed. They include purification of the cremation site and the body and invocation of Ishwara. Ghee is poured on the pyre as an offering to Agni(fire).

the body is put to fire.

9. The journey back home After cremation of the body the family and friends leave the cremation ground and take a bath before returning to their daily life. At this time the members of the immediate family offer water oblations to the departed by facing towards the south. They also offer prayers to Brahma and sit arround for a while and talk about the departed and about the transitory nature of life and the world.When they return home before entering the house, it is customary to step on a stone seeking strength from Ishwara with a prayer.

The water tank at the cremation ground.

10. Collection of the ashes The ashes are collected from the cremation site after one to four days depending on the various Hindu beliefs. The person who lit the fire has to come back to collect the ashes from the site.

Cremation site ; main shed.

11. Immersing the ashes i.e. Astivisarjanam

The ashes are then immersed in a sacred body of water , such as a river or ocean before the tenth day from the cremation.

Varies depending on the location of the cremation ground's proximity to a river , or the person may take the ashes to Varanasi or Haridwar (sacred Hindu places).

The spatial relationship framework focusses on what is there in the books of Hinduism and its rituals .But

the actual understanding of this space to ritual relationship will come during the micro analysis of these

crematoriums .


Figure 4.8 Spatial relationship of Death and Rituals in cities.

Micro Analysis

As the macro study of the crematoriums gave a fair understanding of the scenario of the spaces of death ,

at the same time it was also important to do an in depth analysis of these crematoriums based on the

theoretical spatial relationship framework as discussed above. The micro study looks at the site study of

these crematoriums in Delhi and tries the establish a view on the spatial relationship in the contemporary

scenario.

• Lodhi cremation ground


S.No. Activity Mapping Spaces 1. Entrance to the crematorium.

2. Parking area. (for the ambulance and the cars of the mourners and the family)

3. A passage for the mourners and the family to enter with the deceased body.

4. An idol of Lord Shiva to worship before moving further.


5. An area to cleanse the body with the holy water .

6. Passage to the shed for the funeral.

7. Getting the wood from the wood storage area.

8. The shed for the funeral pyre.


9. Electric cremation area - an alternative

10. Sitting areas for the mourners

while the cremation happens.

11. A prayer hall + a room for the ashes + office area+ water tank for water obligations before leaving the cremation ground for the mourners.


• Nigambodh Ghat, Punjabi Bagh and Green Park Ext. cremation grounds.

S.No. Cremation Grounds Plan 2. Nigambodh ghat

3. Punjabi Bagh

4. Green Park Extension


With the existing order of rituals as done in case of Lodhi crematorium , the activity mapping of the other crematoriums is shown below :

S.No. Activity Mapping (spaces)

Nigambodh Ghat

Punjabi Bagh

Green Park Extension 1.

2.

3.

4.


5.

6.

7.

8.


9.

N/A

10.

11.


The micro analysis of the four crematoriums that were studied gave a brief look into the present scenario

of the crematoriums existing in the city of Delhi. Each and every step of the cremation was taken into

account and covered in terms of the photographs at the site. Starting with the very grand entrance at the

Nigambodh Ghat to what one sees at Green Park Ext , Punjabi Bagh and Lodhi crematorium , the feel of

the space is very different from the start even though the activities remain the same. The parking area at

these crematoriums were given a lot of importance with the drop off zone usually being at the entrance

gate of the crematoriums. The passage for the procession of the deceased body was covered in case of

Punjabi Bagh and Lodhi crematorium where as it was kept open to sky in Nigambodh and Green Park

Extension , which somewhat gives a different experience to a person visiting the place for the first

time.Then the idol of Lord Shiva is also one the factors that affect one's experience at the crematoriums as

different sizes and scales give a different outlook to the site as seen in case of the Nigambodh and Punjabi

Bagh crematoriums, where a huge massive idol of Shiva at the entrance gives a somewhat soothing

feeling at the crematorium as compared to a small alloted temple space with a small idol of Shiva (as seen

in Green Park and Lodhi crematorium). The water feature at these four crematoriums were pretty much

similar except the fact that crematoriums like Nigambodh and Punajbi Bagh have architecturally carved

these areas to gain on the aesthetics of the site. The funeral bed area for all the crematoriums is somewhat

similar but may vary in terms of the size and the seating provided for the mourners next to it. With the

presence of the Electric crematorium at the Green Park , Nigambodh Ghat and Lodhi , not only does the

electric chamber add a new space entity at the site , it also provides a different experience of seeing death

where the body is converted to ashes within seconds . With the upcoming of the new technologies and

being more careful about the environment , people have started opting for electric cremations in the

contemporary society. Overall one can say that Nigambodh Ghat is one of the most complete and the

finest example of the Hindu crematoriums in Delhi in terms of the site (next to the river Yamuna) , size

and facilties provided as well. Even though the quality and the quantity of spaces may change in the other

examples but the rituals that take place in all these cases remain the same(constant).

The micro analysis of all the four crematoriums reflects on the hierarchy of spaces that is seen in

a contemporary scenario .Even though the spatial configuration may change from one crematorium to the

other , but the rituals purtaining to these spaces remain common for all . A generalised hierarchy is

framed out of the micro analysis as shown for an ideal Hindu crematorium.-----


Figure 2.9 A hierarchy of the spaces in a Hindu crematorium.

-----------


CONCLUSION

Conclusively, lets head back to the research questions that were framed at the very beginning of this

research paper.

• What is the symbolic role/meaning of spaces of cremation in the Indian scenario ?

• How do spaces of cremation operate, qualitatively and functionally in the contemporary Indian

city specifically Delhi ?

• How are their roles different or similar from the more traditional examples like Kashi ?

• Is there a need for reinterpretation of these spaces ?

Present Scenario

The research paper reveals that over the period of time , the role of the spaces of cremation has changed

considerably. From the study of a traditional place of Kashi to the existing urban scenario of Delhi , one

can clearly observe the dilution of rituals over the period of time. It is clearly reflective of how the

societies have evolved and the way they treat the dead now.The handling of the deceased by the

crematoriums is without any sensitivity and respect i.e. the sanctity of the space has not been maintained

which gets translated into the way these spaces are seen in the comtemporary scenario.The case studies

show how these spaces are more out of compulsion , neglected and least prefered even though they are

heavily used on a daily basis. Also,the qualitative and quantative analysis provide a deeper insight to the

lack of quality and adequacy of the present day crematoriums on all fronts be it capacity, location,

environement provided, architecture , etc.

Default Location

Even though the urban planners have provided the concept of neighbourhood crematoriums for the

convenience of people and the practical considerations , but still those 50 - 55 crematoriums in Delhi find

it difficult to handle the shear number of deaths that take place everyday34. Assuming there are space

constraints in a city like Delhi , but still there is a feeling that the urban planners have failed and given no

serious thoughts to the allocation of such spaces. The crematoriums have always been a case of neglected

spaces and given the least prefered location i.e. next to a running water body hoping to have derived its

source from a holy river (that's the wish) , however the default option is locating it next to the nallahs

within the city, where none would ever want to live or work next to as it is dirty and unhygienic in 34 The primary case study of around fifteen crematoriums in Delhi revealed that reservations had to be made to get a slot at these crematoriums.


nature(refused areas). Also due to the involvement of death , these spaces tend to give an impression of

gloominess and sadness in the society which may be one the reasons which forced the urban planners to

place them away from the residential neighbourhoods and provide a buffer between these spaces of

cremation and the city in the form of a green cover. Emerging Trend | Potential

Death has actually become a private affair and the spaces of death have evolved accordingly i.e.macro

and micro.If it has become a more private affair , one should not try making death a public affair , rather

these spaces of death should be planned in such a way that these spaces dont affect the city but are still a

very vital part of it .For example , what if the nallah became active and the rituals could be carried of by

these nallahs , how would these spaces interact with the city then. A crematorium as a space has a lot

more potential than what it seems to have in terms of the experience and the services provided. What if

the crematoriums were built next to the hospitals or any other service providing place , how would the

experience change and so on. There are certain factors that need to be worked upon so as to look into the

potential and the emerging trend of this "death market business".

The Way Forward

The whole idea behind this research paper was to study the journey of the crematoriums so far and how as

an architect , one could change the perception of such spaces in the society.The way forward is to look at

all the inadequacies in the present day crematoriums on all fronts be it physical, metaphysical, emotional

and spiritual. Also, learning and adapting the old Hindu rituals and translating the same in the modern

day context and providing befitting spaces|places for the final goodbye to the departed soul.

While one designs , he|she is either fearful or superstitious or a combination of both , when it

comes down to spaces for the final journey called death. But one must understand the fact that these

spaces are not only designed for the deceased but also for the mourners who come to pay their respects. .

Like hospitals are for birth , similarly the focus should be on planning the detailing of spaces and the

basic inherent meditative nature of the crematorium which needs to be addressed in a much cleaner ,

hygienic and systematic way. The attempt should be to provide clarity and design meaningful spaces ,

where going to such spaces is no longer a taboo in the society and fill the heart with prayers and

remembrance of great memories of the heavenly soul.

.


APPENDIX 1

A questionnaire was prepared to gather information on the spatial relationship of rituals in the crematoriums of

Delhi. The priests present at these four crematoriums(namely Nigambodh Ghat, Green Park Extension , Punjabi

Bagh and Lodhi grounds) filled the questionnaire and provided the necessary information for the research paper.

• What is the sequence of the rituals of death happening at the cremation ground and why ?

• How much time do these rituals take to be performed ?

• Who owns these places of cremation ? Is it a public or private ownership ? And when were these

crematoriums set up ?

• Do these crematoriums provide facilities like ambulances , prayer halls for post cremation

ceremonies and shops to buy the requirements for the cremation ?

• Where does the wood for the cremation come from and how much does it cost to set a funeral pyre

and is the electric cremation a cheap or an expensive option ?

• Why is Shiva the only deity to be present at these crematoriums and if so what role does he play in

the cremation ?

• What is the need to wash the deceased body with holy water before cremation ?

• Why is there always the presence of a nallah or a river next to a cremation ground ?

• Is there a proper storage area or a place for the ashes to be kept carefully ?

• Where do the priests and their families that perform the rituals of death live and what is their monthly

income ?

• Why have these cremation grounds always been a case of neglected spaces in the contemporary

society ? Or is it a case where the beliefs have changed in the modern day as to how we look at the

final goodbye ?

• Do you think these crematoriums are properly designed ? If no , given a chance can architecture help

improve the present scenario of such spaces of death ?


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SPACES OF CREMATION - THE INVISIBLE SACRED LANDSCAPES IN INDIAN CITIES

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