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.
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]
Living in Style in I9th Century Calcutta. Courtesy: Timorous Traveler
Mullick Ghat and the Jagannath Steamer Ghat. Update: Chhottelal Ghat
The descriptions of the questioning edifice gathered from texts and photographs fit best to the structure presently stands on the riverbank a little high up with an added floor close by the Howrah Bridge. The cartographers earmarked the riverbank as Mullick Ghat in maps prepared before 1873, when the edifice was constructed, and also thereafter. I was tempted to accept the edifice as the original pavilion of Nemai Mullick Ghat, ‘subject to further verification’. Sri Animesh Kundu, backed by his recent findings, proved my guesswork all wrong, establishing that this grand pavilion was built in 1873 to serve as a memorial to Babu Durga Prasad Chhottelal, a Furrukhabad businessman. The details of the story revealed by his painstaking efforts may be read in Kolkata and Surroundings. For the first time we come to know the identity of Chhottelal and the nitty-gritty of making of his memorial. The newly acquired knowledge, however, helps us little to answer our old queries such as:
1. Why some old photographic prints, commercial and private, were captioned ‘Juggernath Ghat’ / ‘Mullick Ghat’ instead of ‘Chhottelal Ghat’, ignoring the presence of the eye-catching Chhottelal memorial pavilion?
2. Why we find no mention of Chhottelal Ghat in texts and maps barring very few like Richard’s 1913 map.
The Chhottelal Ghat marble plaque, mounted on wall no more than a decade ago by the National Ganga River Basin Authority who funded for the ‘Improvement & Re-Development of Chote Lal Ki Ghat’. It is a recent notice, undated, written over the original text hidden behind. Conversely, the memorable plaque of the 1887 Ship-wreck preserves the original texts in vanishing ink. The new findings provide no clue to figure out necessary association of the two plaques, in other words, how ‘Chote Lal ki Ghat’ relates to the memory of the ship-wreck on Jagannath jatra.
To my mind, for those answers it is critical for us to recognize a river ghat as a typical public facility in Indian context, mostly set up out of philanthropic zeal, or pious wish. Primarily it consists of a flight of steps to river edge to enable people to reach Holy River for performing rituals, bathing or ferrying. Besides that, optionally, ghat provides pavilion to benefit the bathers, and carries memories of the ghat-founder. Chhottelal pavilion is a rare exception to this convention, being erected on an ‘old existing ghat’ to commemorate someone unrelated to the original ghat. Perhaps, this is the reason why we find some vintage pictures of the Chhottelal pavilion bear names of Jaggernath Ghat, or Mullick Ghat, and the maps indicate no name of Chhottelal Ghat either. Moreover, we need to learn the exact position of the ferry ghat called ‘Juggernath Ghat’. Is it the same as ‘Basak’s Bathing Ghat or Jagannath Ghat of Barabazar? The only guidance to locate ‘Juggernath- ghat’ we find in Bradshaw 1935 where the shipping companies notify passengers to approach:
“Juggernath-ghat, which is situated on the Calcutta side of the River Hooghly above Howrah Bridge, several times weekly on the opening of the bridge.“ See: Puronokolkata.com
Since there were several river-ghats between Jagannath Ghat of Burrabazar and the Pontoon Bridge, it is most unlikely for the steamship companies to send passengers to the Burrabazar ghat but the ghat next to the bridge instead.
We hope to enrich our understanding with new findings, by correcting and incorporating pieces of information – not only facts but also the rationale to get them established.