ARMENIAN GHAT PAVILION: An update of 28 May 2015 post

আর্মেনি ঘাট মণ্ডপ

This is one other instance of mistaken identity of Armenian Ghat, which is often being called Mullick Ghat or Mullik Ghat by laymen and scholars alike. The root cause of such a mistake probably lies in our inattention to the fact that the river ghat and the ghat pavilion are two distinctive entities. It becomes a knotty problem when a new ghat replaces a ruined one by reconstructing its ghat-steps, and erecting a new pavilion. As we all know, Armenian Ghat and Mullick Ghat existed close to each other with their separate structure and unique history, but a few know how close they were in terms of yardsticks and timetables so that their identities never get lost . We already discussed these issues in earlier posts.

Photochrom Zurich, is the company behind the production and distribution of this type of event, this photochrome is an authentic photochrome of their house. Every image produced by them is referenced in gold letters in the lower left corner: 20036.PZ. The photochrome is a process that borrows applications from photography and lithography. The proof is produced from a black-and-white negative and then processed using a color lithographic method. The invention was deposited in 1888 by the Swiss company Orell Fussli, then presented to the public at the 1889 World Fair in Paris.

A black-and-white negative used for colored lithograph of Armenian Ghat

Besides the identity issue, the publisher provided us with a misleading information about the pavilion structure, which was made of wrought iron and not ‘of wood’ as stated. “A singularly beautiful lacy cast iron canopy with arches and pillars – distinguishes Armenian Ghat from all brick and stone pavilions of those days. In the mid-18th century, the rich Armenian trader Manvel Hazaar Maliyan had shipped in an elaborate cast iron facade for the Armenian Ghat ..”
Sebanti Sarkar, who did a fascinating study (2017) on colonial architecture in consultation with celebrated architect Professor Manish Chakrabarti, observed that the elegance of the lacy floral motif fashioned in cast iron aroused a general interest in using ornamental wrought iron to beautify public places, corporate buildings as well as family mansions. Calcutta elites assumed the ‘newer aesthetics of living’. The merchants and, zamindars, munshis and baniyas found it appropriate to adopt the new hallmark and style of power. Gradually innovative patterns evolved admixing different European with traditional Bengali motifs. Local variety of cast iron grilles, bells and whistles, sometimes twined with religious icons or family insignia became affordable and popular by early 1900s. [See: Sarkar]