Varanasi, often referred to as the City of Temples, holds an unparalleled position as a spiritual and cultural center for Hindus. With countless temples, both grand and modest, scattered across its sacred landscape, it embodies the essence of devotion and religious practice.
The city’s significance extends beyond its temples. Since ancient times, Varanasi has been a hub for the practice of Yoga and Tantra, traditions deeply rooted in India’s spiritual heritage. However, during the Mughal era, the practice of idol worship and yoga faced suppression. This lull in activity saw a resurgence under the Marathas, who revitalized Hindu traditions by building new temples and fostering a revival of spiritual practices.
Despite the establishment of the East India Company’s dominance over Varanasi in 1781, the city’s rich tradition of temple construction and religious devotion persisted. The uninterrupted building of temples during this period reflects the resilience of Varanasi’s cultural and spiritual identity, even in the face of political changes.
Presently, one notable temple in Varanasi is the Yoga Mandir, located in the Gurudham locality. This temple stands out for its unique and captivating architecture, which beautifully blends spiritual significance with artistic excellence.
The Yoga Mandir serves not only as a place of worship but also as a center for practicing and learning yoga, continuing Varanasi’s ancient traditions of spiritual and physical discipline. Its distinct design and cultural importance make it a prominent landmark in the city, attracting devotees and visitors alike.
RAJA JAI NARAYAN GHOSHAL
The Yoga Mandir in Gurudham, Varanasi, built-in 1814 by Raja Jai Narayan Ghoshal of Khedderpur (Bengal), is not only a temple of architectural brilliance but also a testament to Raja’s visionary efforts to revive and modernize Indian education. Raja Jai Narayan Ghoshal is remembered for his profound foresight during the transformative era of the East India Company’s rule.
Recognizing the stagnation of the traditional Hindu education system, which had been limited to religious teachings and severely impacted during the Mughal period, Raja Jai Narayan Ghoshal sought to bring about educational reform.
Influenced by the modern European education system, he took the initiative to establish the Jai Narayan Ghoshal Vidyalaya in Varanasi in the same year he built the Yoga Mandir. This institution marked a significant step towards introducing contemporary education to the region while preserving the city’s cultural and spiritual heritage.
Raja Jai Narayan Ghoshal’s contributions extended beyond his architectural and educational endeavors. His work reflects a keen understanding of the importance of blending traditional values with modern advancements, making him a key figure in the socio-cultural evolution of Varanasi during the 19th century.
The Yoga Mandir in Gurudham, Varanasi, showcases a stunning example of octagonal architecture, particularly notable when viewed from above.
The design consists of four concentric octagons, each of a different size, symbolizing a layered harmony of form and function.
This multi-layered, concentric octagonal design is not only a marvel of architectural ingenuity but also a reflection of the temple’s spiritual essence.
The symbolism of the Octagon:
The octagon has symbolic significance in Hindu architecture. It is often associated with balance and cosmic order, reflecting the eight cardinal and intermediate directions in Vastu Shastra, the traditional Indian science of architecture. This shape might have been favored for religious and spiritual structures due to its alignment with sacred geometry.
Maratha Influence:
During the late 17th and early 18th centuries, the Marathas played a significant role in the cultural and architectural revival of Varanasi. Their patronage led to the construction of numerous temples, dharmshalas, and wells. The octagonal shape might have been a stylistic preference or a design choice rooted in the Marathas’ interpretation of sacred architecture.
Practical and Aesthetic Considerations:
The octagonal shape provides structural stability and an aesthetically pleasing symmetry. For wells, this design could also have been functional, as the shape facilitates easier water retrieval and maintenance.
Regional Traditions:
Banaras has a long history of architectural experimentation influenced by various dynasties and patrons. It is possible that the octagonal shape became popular during this period, either as a regional trend or as part of a broader culture.
TEMPLE STRUCTURE
WINGED LION
The influence of Christianity on Raja Jai Narayan Ghoshal, as mentioned in Bishop Haber’s letter, adds a fascinating dimension to the story of the Yoga Mandir in Gurudham, Varanasi.
Ghoshal’s contact with Mr. Kori, a priest in Banaras, seems to have introduced him to Christian teachings, which subtly found expression in the design and ethos of the temple.
The Guru-Dwar of the Yoga Mandir in Gurudham, Varanasi, carries deep symbolic and spiritual meaning, reflecting a blend of Hindu and Christian cultural influences. The gate and its accompanying elements serve as a profound representation of faith, reverence, and integration.
Guru-Dwar:
The main gate, referred to as “Guru-Dwar,” is built into the temple’s octagonal wall and holds great significance in Hindu culture. The term Guru encompasses meanings such as teacher, guide, elder, and one worthy of respect, symbolizing the gateway to spiritual enlightenment and knowledge.
Its placement at one side of the octagonal wall aligns with the temple’s architectural harmony, emphasizing its role as the primary entry to this sacred space.
Winged Lion Statues:
On either side of the Guru-Dwar are statues of a winged lion, a symbol historically associated with Saint Mark the Evangelist, the patron saint of Venice. This heraldic symbol links the temple to Christian iconography, possibly reflecting Raja Jai Narayan Ghoshal’s exposure to European Christian influences through his interactions with Mr. Kori, the priest of Banaras.
The winged lion is often interpreted as a guardian figure, representing strength, courage, and protection, qualities that resonate with the spiritual sanctity of the temple.
Saptapuris and Their Representation:
Within Kashi, localities are named after the other six puris, allowing devotees unable to physically visit these distant cities to symbolically fulfill their pilgrimage by visiting these localities. This reflects a compassionate and practical aspect of Hindu religious practices, emphasizing accessibility to spiritual merits.
The seven other gates of the octagonal wall are named after the Saptapuris, the seven sacred cities of Hinduism:
Kashi (Varanasi)
Ayodhya
Mathura
Maya (Haridwar)
Dwarkadham (Dwarka)
Avantika (Ujjain)
Kanchi (Kanchipuram)
These cities are considered salvific and deeply revered in Hinduism, believed to grant liberation (moksha) to those who visit them.
Jai Narayan Ghoshal supported Western education and had good relations with the Christian missionaries in Varanasi. In the school he founded, subjects like English, British History, and the Bible were included in the curriculum. The cross, a symbol of Christianity, is visible on the gate above.
When entering through the Guru Dwar (main gate), there are two small temples. Each temple has an idol of a Hindu deity. One of the deities is Lord Hanuman (on the left), but I was unable to identify the other deity (on the right).
The design of the three-floor octagonal building of the Yoga Mandir is based on the idea of reaching God through the Guru and then achieving Yoga (a state of spiritual awareness) through God. Many historians believe that the temple’s construction follows the Samkhya philosophy of Kapil Muni.
The stairs leading from the ground floor to the first floor are built to represent the human Kundalini (spine, coiled snake) and Nadis (nerves, blood vessels, and pulse). According to Shaiv Tantra, the power of every person is stored in the Kundalini.
First Floor (The Ground Floor):
On the bottom-most floor of the temple, there are 32 stone pillars outside the sanctum and 24 pillars inside it. The building has four doors. This floor has always remained without any idols.
Second Floor:
To reach the second floor, there are narrow pathways, representing the Kundalini (coiled snake), both from the outside and inside. It is believed that an idol of Radha-Krishna was once placed on this floor, but these idols are no longer there.
Third Floor:
The third and final floor of the temple has a circular roof. This floor represents SHUNYA, or space.
A corridor leads forward from the three-story octagonal building, and at the end of the corridor, there is a verandah. The floor of the verandah is made of stone, and on both sides, there are small house-like figures.
The total number of house-like figures is seven. The ceiling of the first and last rooms is circular, while the roofs of the five houses in between are conically shaped.
On the opposite side, there must have been similar figures, but except for one, all the others seem to have been destroyed.
Going a little further, there is a European-styled building, and this is the last structure inside the temple.
The unique temple built by Jai Narayan Ghoshal was in very poor condition a few years ago. Due to its religious and spiritual significance, it was declared a monument of national importance in 1987.
In 2007, the Uttar Pradesh State Archaeological Department took over the temple and began its renovation. Since 2016, it has been open to the public. Although the restoration work is still ongoing, the temple’s condition has greatly improved, and the archaeological department deserves significant credit for this.