From the land of Krishna: History nuggets in Vrindavan

It is that time of the year when the land of Braj reverberates to the sound of celebrations. Pilgrims and other visitors make a beeline for Mathura, Vrindavan and other towns of the region to take in the spirit of Janmashtami. In Vrindavan, the iconic Banke Bihari temple is the centre of attraction. However, for history buffs, the bylanes of this pilgrim town hold several temples of historic significance, either by way of events surrounding them or their architecture.

These temples, built at different times and by varied patron-builders, have a common architectural thread binding them. Richly embellished, they are made of red sandstone which came from Rajasthan. In a temple town filled with marble shrines, the red sandstone of these mediaeval temples stands out but does not come as a surprise.

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After all, the temples are the creation of the golden age of red sandstone—a period when immense quantities of that building material were brought from quarries in Rajasthan to build Mughal marvels in Fatehpur Sikri, Agra, Delhi and lesser places. The region in which those quarries were located lay in the Rajput kingdoms that were feudatories of the Mughal empire, including some connected by matrimony. It is almost inevitable that some of that sandstone found its way to places like Vrindavan, leading to the creation of some fine temples.

Most significant among these is the Govind Dev Temple, built by the Kachhwaha ruler of Amer (now Jaipur), Man Singh, who was also a leading nobleman at Emperor Akbar’s court and one of the seniormost commanders in his army, in the latter half of the 16th century. He leveraged his position to re-establish the Jagannath Temple in Puri and the Kashi Vishwanath Temple. And built the magnificent Govind Dev Temple in Vrindavan also.

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Perhaps the most striking aspect of the shrine is its sheer size. Entered through its eastern gateway, it stands nearly 80 metres in length, making it one of the largest temples constructed in North India since the 13th century—implying that such construction was not possible in the preceding centuries when Islamic dynasties held sway. That Man Singh managed to build this is a testimonial to his tact. The building incorporates many of the features of classic Rajput architecture, including decorative motifs on sandstone and elaborately carved brackets and pillars. Some of these remind visitors of the structure called Birbal’s House in Fatehpur Sikri. Inside the temple, one sees the use of a vaulted roof, sometimes termed ‘Khaurasan-ian’.

Legends hold that Bajranabh, the great-grandson of Krishna, created three idols of the deity. The idol representing his face was called Govind Dev Ji. Another legend says that a saint called Roop Goswami dreamt one night of the hidden location of these idols. An excavation at the said spot saw the idols being unearthed. And the Govind Dev idol was later consecrated into the temple at Vrindavan. Archives of the Amer (Jaipur) state hold that the temple took five years, nearly ten million rupees and several thousand workmen to build. At its prime, it was apparently a seven-storey structure. What remains is a pale shadow!

During Aurangzeb’s reign, the presence of stunningly beautiful temples bothered the Islamic sensitivities of the emperor. As a result, the four upper levels were destroyed. But before the Mughal raid on the temple, its legendary idol was carried away by a contingent from Jaipur.And reinstalled in a temple of the same name in that city, where it still stands today. Today, the Mughals are long gone, and a replica of the original idol is inside the Govind Dev Temple at Vrindavan. Worship continues, and while the temple has been greatly restored, the four lost levels have not been rebuilt.

Elsewhere in Vrindavan, closer to the Yamuna, is the Radha Madan Mohan Temple. Popularly called the Madan Mohan Temple, its history runs parallel to that of Govind Dev. Its origins lie in the same legends, the difference being that the Madan Mohan idol represents the feet of Krishna. The temple was built in 1580 CE by Kapur Ram Das, a trader from Multan, under the guidance of a spiritual figure called Sanatana Goswami. It is made of the same red sandstone that embellishes the Govind Dev, and perhaps the same artisans lent their expertise here also. The temple complex consists of a mandapa, an antarala (connecting passage) and an inner sanctum. It is also said that Meera bai worshipped at this shrine.

Its later history too mirrors that of the Govind Dev. In 1670, on receiving information about an impending attack by Aurangzeb’s troops, the temple’s idol was carried away. First taken to Jaipur, it was later shifted to Karauli, and a temple of the same name came up there, where the idol remains. In 1819, a Bengali trader called Nand Kumar Basu rebuilt the Madan Mohan at Vrindavan in its current location. Interestingly, the temple stands on a hill which may actually be a mound containing the debris of the earlier shrine.

The triad is completed by the Radha Gopinath Temple. The Gopinath idol is said to represent the chest of Krishna. Accessed through a maze of lanes, the temple shows the familiar red sandstone pattern. However, unlike the other two, the original shrine within the complex is not well maintained. Near the gate of the temple is a haveli, long under lock. Its exterior carries elegant paintings that depict Krishna’s life and legends.

Also made of red sandstone but slightly paler following some restoration is the Jugal Kishore Temple. Located close to the Kesi Ghat, local lore holds that the original idol of this shrine was found by Hariram Vyas while he was meditating in a forest near Vrindavan.

During the fateful 1670 attack, this idol too was taken away—its destination being Panna, in what is now Madhya Pradesh. And not surprisingly, there is a Jugal Kishore Temple in Panna too, home to an idol that came here from Vrindavan. The fact that the idols were saved is a tribute to the courage of mediaeval Rajputs, and that the temples in Vrindavan were revived and continue to be worshipped is symbolic of the continuity of a faith that overcame the worst of bigots.

The author is a heritage explorer with a penchant for seeking obscure sites. A brand consultant by profession, he tweets @HiddenHeritage. Views expressed in the above piece are personal and solely those of the author. They do not necessarily reflect Firstpost’s views.