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How many Qutb Minars is this?

The tallest pre-modern structure in India is Qutb Minar, a 238-ft (72 m) tower in southern Delhi. Qutb-ud-Din Aybak, the first sultan of Delhi, started building the tower in 1199. Several succeeding generations of rulers added to and modified the tower; it only reached its full height after Qutb-ud-Din’s death. Even the British tried to add their own cupola on the apex of the tower, but it did not match the aesthetic of the rest of the tower, so it came down in 1848. The British cupola now sits by itself on the landscaped lawns of the Qutb Minar complex. Qutb Minar and the surrounding area was declared a UNESCO World Heritage Site in 1993.

Qutb Minar towers over surrounding ruins in south Delhi.

Qutb Minar towers over surrounding ruins in south Delhi.

Publications about Indian construction projects in the early-independence period often compared the new projects with pre-modern Indian monuments; Qutb Minar was a particularly popular item of comparison. Towers or tower-like structures invited comparisons most readily. The ventilation stack of Tarapur Atomic Power Station, India’s first nuclear powerplant, was 366 feet (112 meters) tall—much taller than the Qutb Minar,” as several publications noted.1 Qutb Minar was also used as a standard measuring stick for height for any structure. According to an article in Assam Information, “the height between the bottom of foundation and the top of the piers” of the Saraighat Bridge, the first permanent crossing of the Brahmaputra River, “it almost as much as the height of the Qutb Minar.”2 The winner in any early-independence period height competition was Bhakra Dam. Indian Recorder and Digest stated that the height of the dam, “which is the highest structure in Asia, is about three times that of the Qutab Minar.”3

This rhetoric established continuity with the pre-colonial past, but also attempted to transcend it. The colonial period had been a difficult time for India’s educated elites. Although they believed in their own country’s historic greatness, they also absorbed the western critiques of India as backward, underdeveloped, and imprisoned by tradition.4 Building dams, bridges, and nuclear powerplants was a way to recreate India’s past greatness, which had been lost during centuries of colonial domination. The new India’s greatness, though, would not be based on Indian tradition, but on western ideas and technology. The structures of independent India were bigger, and by implication better, than anything the Sultans of Delhi or the Mughals had been able to make. In the sources that I have read, nobody seemed to care that a concrete ventilation stack was not aesthetically comparable to an intricately-wrought red sandstone and white marble tower.

  1. “Tarapur: Gateway to the Nuclear Age,” Economic Studies 10 (1968), 421. []
  2. “Saraighat Bridge: A Boon to Assam,” Assam Information, November 1963, 20. []
  3. “Dedication of Bhakra Dam,” Indian Recorder and Digest, November 1963, 6. []
  4. Ashis Nandy explained the internalization of western ideas by Indian elites in a lecture I attended in Delhi on June 11, 2012. []

An Ode to Concrete

“This is Bombay, my friend, Bombay. Here the buildings are made of cement, and people’s hearts are made of stone.”

-The Beggar, Shree 420 (1955)

David Edgerton explains in his book The Shock of the Old that concrete, asbestos-cement, and corrugated metal are examples of creole technologies—technologies that originated in one place but took on new uses and meanings elsewhere. These materials in their modern forms were western inventions, but they have been particularly significant in the development of the poor world.1

It would be difficult, or perhaps impossible, to imagine modern India without concrete. The material can be produced cheaply and worked easily by either labor-intensive or capital-intensive methods. As such, it is the foundation—both literally as well as metaphorically—for much of India’s infrastructure.

The following gallery illustrates the complex and varied uses of concrete in contemporary India.

  1. David Edgerton, The Shock of the Old: Technology and Global History since 1900 (Oxford: Oxford University Press, 2007), 42-3. []

Batman Goes to India

Batman gets a lift after his imprisonment, in a deleted scene from The Dark Knight Rises.

Batman gets a lift after his imprisonment, in a deleted scene from The Dark Knight Rises.

About midway through last year’s summer blockbuster The Dark Knight Rises, Batman (the superhero alter-ego of Bruce Wayne) confronts Bane, a demagogue supervillian who has begun to terrorize the populace of Gotham (New York City by another name). Bane and his thugs defeat Batman, strip him of his superhero costume and send him to imprisonment in a far-away land.

Up to this point, the storyline and production design of The Dark Knight Rises have been grittily realistic (ignoring, for the moment, some questionable physics). Many of the exterior scenes in the film were shot on location in New York and other American cities. But during the sequence of Batman’s imprisonment, the tone of the movie changes considerably. Bruce Wayne and a band of sullen fellow-inmates are imprisoned in the bottom of a pit. Although the dialogue gives no geographical specifics, the prison seems to be in an exotic and mysterious land. The prisoners’ clothing appears to be coarse homespun cotton or wool, and they attempt to escape from the pit with the help of a thick hemp rope. The prison, wherever it is, seems to be in a place bypassed by the technological changes of the twentieth and twenty-first centuries.

I don’t think I will be giving away much of the plot by revealing that Bruce Wayne does not spend the rest of the movie trapped, Joseph-style, in the bottom of a pit. Instead, he heroically ascends the wall of the pit, makes a leap of faith, and climbs out to daylight and freedom. Upon emerging from the pit, he walks in front of a hilltop castle that identifies exactly where he has been imprisoned. The castle, Meherangarh Fort, is built in the unmistakable Rajput style, which is native to the state of Rajasthan in western India.

Amber Fort, a Rajput palace outside of Jaipur.

Amber Fort, a Rajput palace outside of Jaipur.

Ramchandra Temple in Jaipur. The spreading roof in the top center of the picture is a motif adopted from the architecture of Bengal.

Ramchandra Temple in Jaipur. The spreading roof in the top center of the picture is a motif adopted from the architecture of Bengal.

In their heyday, the Rajputs were a military aristocracy that ruled many small rival states in what is now Rajasthan. The political structure of Rajput country was similar to western Europe in the Middle Ages. The Rajputs built innumerable forts on hilltops and plains in Rajasthan; the fort that Bruce Wayne was imprisoned nearby is one of them. Hallmarks of the Rajput architectural style include scalloped arches, domes, domelets known as chattris, wide and curved roofs, and rich ornamentation in some cases. Although the Rajput style used some of the same motifs as Mughal architecture, Rajput plans tended to be more complex and less regimentedly logical than their Mughal counterparts.1

Rich ornamentation in the Peacock Gate of the City Palace in Jaipur.

Rich ornamentation in the Peacock Gate of the City Palace in Jaipur.

Rambagh Palace, an example of Rajput architecture from the early twentieth century.

Rambagh Palace, an example of Rajput architecture from the early twentieth century.

There may still be places in the world, like Bruce Wayne’s prison, that are untouched by the modern age—places with no synthetic fibers, electricity, concrete, motorable roads, motor vehicles, and Coca-Cola. But Rajasthan is definitely not such a place. I couldn’t help but think of the contrast between the movie Rajasthan and the real place while watching The Dark Knight Rises. To be precise, I was watching Batman Teen (Batman Three), the Hindi dubbed version; I was watching it in an air-conditioned, digital projection theater in Jaipur, 180 miles away from Jodhpur and Batman’s prison.

  1. Philip Davies, The Penguin Guide to the Monuments of India: Islamic, Rajput, European (London: Penguin Books, 1989), 323. []

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