A REPORT ON MATSYENDRANATH (RED) ARCHITECTURE


Submitted By:

Submitted To:

Sudha Shrestha
Department of architecture,
INSTITUTE OF ENGINEERING,
Pulchowk Campus


INTRODUCTION
N epal is renowned in the world for its ancient traditional culture and architecture monuments and sculpture. There are many temples, sprayed all over the country, as its own beauty. Really, You can see many more temples, which have been supported by the architecture, in the valley (Kathmandu). In the another way, Patan is also popular for its own culture and the everlasting monuments and the sculpture.

Patan is located on a plateaus bordered on the north and west by the Bagmati River which flows west ward and then turns south around the town. The legendary say that it was planned in the shape of mandala. Durbar Square with the Royal Palace and the main temple complex is located in the centre. Near by the Royal Palace, to the south there is the temple of Matsyendranath (Red) which is one of the most popular in the religious life of community; and the temple is also known by the names of Taha Bahal Avalokiteshwor and Macchendranath . The temple is sacred to both Hindu and Buddhist, in other accounts it is said that this building was originally a Buddhist shrine dedicated to Padmapani Lokeshwor. The general construction of the temple is typical of Nepalese Hindu temples and it is one of the very few free-standing temples in Nepal with a clear history of Buddhist veneration.

HISTORY
T he temple was probably built in 1408 A.D., although it may be somewhat later in origin. The legend say that the temple was erected by Narendra Dev of Surya Vamshya dynasty and a great deal of myth has grown up around this site.

The story of its foundation starts with visit of Gorakhanath, who was the disciple of Matsyendranath, to Nepal (that means the Kathmandu Valley). Upon his arrival, he discovered that little response was shown to him and in anger he gathered the snakes (Naga) and binded them under his sit, and fixed himself to one spot from where he refused to move for 12 years. As a result, great terrible drought has to he faced by the local citizen, since there was no rain at all. In fact, Nepal has to face great crisis, which could end only if he would quit sitting. So, to across the problem, the Raja of Bhaktpur, Jyapu of Lalitpur and Jyotish of Kathmandu forced Matsyendranath to come to Nepal from 'Kama rupa' in 'Assam'. As arrival of Matsyendranath forced Gorakhanath to rise through respect for his leader and give up his stubborn position. As Gorakhanath moved away, the rain quickly come to end the drought, just say the great crisis.

In great response and thanks to Matsyendranath, Narendra Dev, the prince of Patan at that time, had the great temple built to Matsyendranath and also established a festival in his honor to take place every year in the month of Baishakh (April-May), which is locally known as 'Matsyendranath Yatra' or 'Rath Taane Jatra' and 'Bhoto Jatra'.

PHYSICAL ASPECTS
A ctually, the temple is equally supported by Buddhish and Hindus, but it must be said the architectural style of the temple is basically Hindu. The temple is, probably, located at the centre of the courtyard, called 'Ta Bahal'. Behind Matsyendranath is a small Buddhist temple attached to the continues walls of the courtyard, Ta Bahal. There is the large plastered 'Chaitya' which is also placed in the courtyard as the evidence of Buddhist reneration, but they both compliments the beauty of Matsyendranath with its golden entrance and great ever lasting torana.

Matsyendranath is a three-storey Nepalese style structure with metal roofs, and the main front face is facing towards the north direction. The legend say that the lower part of the struts show the tortures of the condemned souls in hell and the upper parts depict Avalokiteshwors .

The two upper roofs of Matsyendranath are of gilded metal while the lower is tiled. The shimmering golden pinnacle is of attractive design. The temple is not mounted on a high plinth of three stages as might be expected but only on a small stone platform about 3 feet high. The temple has four doors, in each direction, surrounded to the room to keep the image (sculpture) of Matsyendranath, while before and after the Jatra. There remains the stoney two lions in front of the doors, at each of the four direction. The attractive varandah, to circulate the temple, the bells and Padme homs, surrounded to the temple, really seems beautiful. Many banging oil lamps and the surrounding decorates the temple to the beauty. The capper utensils, water jars and other objects mounted in the second stoney are much impressive. Actually, they are under the caves as offering of thanks from devotees cured of illness after praying to Matsyendranath or having had other problems solved through his intervenation. In fact Matsyendranath is worshipped as the protector of all Nepal.

The temple is faced by a bewildering varity of 14 pillars mounted sculptures in bronze, most of which are animals and birds and all of which are excellently modelled. They are mounted no higher than 12 feet above the court. Among the figures are a horse, fish, cobra, elephant, griffin and various deities, which are assumed to be donated at various times by devotees.

Really, every monuments over there at the temples has unity and best in the view of architecture.

CULTURAL AND RELIGIOUS ASPECTS
T he feast is celebrated every year on the month of Vaishakh devoting to the temple and there occurs the jatra called 'Matsyendranath Jatra' or 'Rath Taannee Jatra' , including 'Bhoto Jatra' . For organizing Jatra, a wooden Rath (Chariot) is made in each and every year. The total height of the chariot, including its 25 feet vertical beam, is about 60 feet, and in former times no one in Patan was allowed to build a house higher than the top of the chariot.

The initial simple work is performed in front of the temple whose wood work is done by the 'Barahi' caste. The four wooden wheels of the Chariot are repaired at 'Belchhen'. The enrounding of 'Pau' and grass to the projection of the Chariot is done 'Yangu' caste. At the top of the rath, 'Bamboo' is used for rounding, in which 'Patar' are being hanged downwards. The stage of the Chariot is covered by metallic surfaces and infront of the 'Dhama' , a metal face of devil is carved. Lastly, the finishing of the Chariot is completed at Pulchowk.

In every twelve years, the Chariot is made by using whole new materials, so great emphasis is done is every twelve years. At that time, it is made at 'Bhunga', not at Patan.

MATSYENDRANATH YATRA
A ctually, the Yatra is attached by the carrying of the image of Matsyendranath, which is a roughly carved block of dark red wood, through the streets of Patan. In every year, the Chariot of Matsyendranath is brought from 'Bhunga' to 'Ta Bahal', where there is the temple of Matsyendranath. The image of Matsyendranath is taken to Lagankhel for 'Nahou', which means the process of washing the image with water and milk, which is done by 'Panju'. On day, the temple is then taken to Pulchowk where the chariot was made really for the Yatra. Along this, 'Minnath' is also taken to Pulchowk for the Jatra.

Then, the Jatra is started after evening on that day, both Matsyendranath and Minnath are pulled upto 'Ga-Bahal', by the local people. On that day, the local citizen of 'Ga-Bahal' celebrate their feast Chhoyalaboya' and they have 'Bhujya' on the another day. Then rath is pulled upto 'Sundhara' on another day, and on the same day, the people of that area celebrate their 'Chhoyla boya' and 'Bhujya' on the following day. The day after tomorrow, the Chariot is pulled to Lagankhel where the local people have their 'Chhoyla boya' and 'Bhujya' on the third and fourth day after the Chariot reaches to Lagankhel. On the fifth day, the Chariot is pulled upto 'Itti' which is done by the girls or women only. It should be noted that the Chariot is not pulled after the dusk, and it is left where it has reached until that time.

Panju, Barahi and Jyotish altogether fix up the date for pulling the Chariot, on which it is pulled upto the Jawalakhel from Itti. After four days later there occurs the Bhoto Jatra. Thousands of people crowded at Jawalakhel to watch the Bhoto Jatra. Ever, there attempt the presence of Royal Highness to observe the Jatra. On the another day, the image of Matsyendranath is taken up to 'Bhunga' and finally the chariot is destroyed by the 'Barahi' caste.

CONCLUSION
O f course, the temple Matsyendranath carries its own culture, unique architecture and its own story. Also, whole temple and Nepal itself has its own pride and the traditional culture. But, nowadays it has been badly affected by the western culture and society, and we all want to be westernize. But, why? The question is there. We also have our own culture and society, which is absolutely unique. So, let us come together to save our ancient culture and our own heritage.

REFERENCES
  1. Kathmandu Valley-2
  2. The temples of Nepal
© authors 2000 AD. This report was origanally prepared for Introduction to Architecture- a course the authors did in first year first semester. HTML version prepared by Asheshwor Man Shrestha [056/BAE/207] . The list of other similar reports can be viewed at http://www.oocities.org/architecture2056/report/list.htm. Comments/suggestions can be sent via e-mail at architecture2056@yahoo.com.