The Harmandir Sahib (or Hari Mandir) in Amritsar, Punjab, is the holiest shrine in Sikhism. Previously (and still more commonly) known as the Golden Temple, it was officially renamed Harmandir Sahib in March 2005. The temple (orgurdwara) is a major pilgrimage destination for Sikhs from all over the world, as well as an increasingly popular tourist attraction.
Unlike many historical sacred sites, the Golden Temple of Amritsar is still fully alive with religious fervor and sacredness, and visitors are welcomed to join in the experience. Although the building itself has great historical and architectural interest, it is the Golden Temple's great spiritual meaning for Sikh believers (and others) that is most memorable to visitors. In a country that is exceptionally rich with vibrant devotion, Frommer's rates the Golden Temple "the most tangibly spiritual place in the country."
History
Construction of the Golden Temple began in 1574 on land donated by the Mughal emperor Akbar. The building project was overseen by the fourth and fifth Sikh Gurus. The temple was completed in 1601, but restoration and embellishment continued over the years. The temple had to be substantially rebuilt after it was sacked in the 1760s.In the early 19th century, 100 kg of gold were applied to the inverted lotus-shaped dome and decorative marble was added. All this gold and marble work took place under the patronage of Maharaja Ranjit Singh. The legendary warrior king was a major donor of money and materials for the shrine and is remembered with much affection by the Sikh community and Punjabi people.
In June 1984, Indian Prime Minister Indira Gandhi ordered an attack on armed Sikh militants holed up in the Golden Temple. Over 500 people were killed in the ensuing firefight, and Sikhs around the world were outraged at the desecration of their holiest site. Four months after the attack, Gandhi was assassinated by her two Sikh bodyguards, leading to a massacre followed in which thousands of Sikhs lost their lives.
The Sikh community refused to allow the central government to repair the damage to the temple, instead undertaking the work themselves. Although most of the damaged been repaired, the incident has not been forgotten. Many people in Amritsar are still anxious to explain the Sikh side of the story to visitors.
What to See
Despite its great sacred status, the Golden Temple is open to visitors, like all Sikh temples. The only restrictions are that visitors must not drink alcohol, eat meat or smoke in the shrine. And unlike many other Indian temples, visitors to the Harmandir Sahib are made to feel truly welcome and not pressured to buy anything. The information office left of the main gate gives helpful advice and information, as well as booklets on Sikhism.Most visitors to the Golden Temple, whether Sikh or not, are humbled by what is quite simply the most tangibly spiritual place in the country. Arrive with a few good hours set aside and get lost in its magical beauty. Visitors must leave their shoes at the facility near the entrance, cover their head (bandanas are provided, or you can buy a souvenir bandana from a vendor), and wash their feet by wading through the shallow pool before entering.
The most famous and sacred part of the Golden Temple complex is the Hari Mandir (Divine Temple) or Darbar Sahib (Court of the Lord), which is the beautiful golden structure at the center of a large body of water. The gold-plated building features copper cupolas and white marble walls encrusted with precious stones arranged in decorative Islamic-style floral patterns. The structure is decorated inside and out with verses from the Granth Sahib (the Sikh holy book).
The water that surrounds the Hari Mandir is a sacred pool known as the Amrit Sarovar (Pool of Nectar). The temple is reached by following the Parikrama, which circumscribes the sacred pool in a clockwise direction. Connecting the pathway with the Hari Mandir is a marble causeway called the Guru's Bridge, which symbolizes the journey of the soul after death. The gateway to the bridge, the Darshani Deorhi, has magnificent silver doors.
The fascinating scene inside the Hari Mandir is televised throughout India for Sikh viewers. Amidst a crowd of fervent and solemn devotees, scriptures from the Holy Book are sung beneath a canopy studded with jewels. A chauri (whisk) is continually waved above the Book as lines of Sikhs pay their respects by touching their foreheads to the temple floor and walls, continuing in a clockwise direction at a relaxed pace.
Another major highlight of the Golden Temple complex is the Guru-ka-Langar, adining hall where around 35,000 people a day are fed for free by temple volunteers. Everyone is invited to join this communal breaking of bread. All participants sit on the floor, regardless of caste, status, wealth or creed, powerfully symbolizing the central Sikh doctrine of the equality of all people.
Guest quarters are also available for international Sikh visitors (for a nominal fee), and at least 400 simple rooms are provided (free of charge) to Sikh pilgrims.
In the Central Sikh Museum at the main entrance, galleries display images and remembrances of Sikh gurus, warriors, and saints; it includes some graphic portraits of the torture and execution of gurus.
Festivals and Events
Every night, the Granth Sahib is carried in procession along this bridge to its "bed" in the Akal Takht, the seat of the Sikh parliament (built 1609). Called thePalki Sahib, this nightly ceremony provides a chance for all male pilgrims and visitors to actively participate in the veneration of the Holy Book. Lines form in front of and behind the heavy palanquin and each man shoulders the burden for a few seconds before passing it along, forming a human conveyer belt that allows everyone to participate and everyone to rest. The ceremony usually takes place at 11pm in summer at 9:30pm in winter.My sister went a 2 months back and was to surprised to see the crowd...
there is so much devotion and passion.
For all those of you who have pre-ordered the book that accompanies the exhibition, here is an insight into the design journey that our designer, Juga Singh, went through to produce this incredible publication.
In Juga Singh’s own words:
Insight into the design journey
Within all projects there are constraints and limitations and with all decisions there are pro and cons. My aim for any design is to navigate through these hurdles to produce something that is beautiful, accessible, functional and most important of all, true to the brief.
The Harmandir Sahib (Golden Temple) is more than just a building, it is a visual representation of core messages expressed in the architectural language of the time. Similarly, I wanted the book design, wherever possible, to communicate these same messages in the language of today.
The Harmandir Sahib (Golden Temple) is more than just a building, it is a visual representation of core messages expressed in the architectural language of the time. Similarly, I wanted the book design, wherever possible, to communicate these same messages in the language of today.
At this time the internet allows us – indeed has developed our expectation to be able – to hop from one information type to another, where the experience is assisted rather than dictated. The emphasis in designing this book was not to think in a traditional linear fashion, but to create a format that was more in line with this culture of flexibility in how the reader might access the information contained within it. This approach chimes with the freedom enjoyed by visitors to the temple itself, who are free to roam and take in different aspects of the temple experience as they wish.
The building itself is accessible to all, no matter what race, creed or gender, to people of any faith and to people of no particular faith. With this spirit in mind there was a need to make the book accessible to a wide range of readers, for example to those who may be interested in early photography or painting, the history of the building or its architecture, or some other aspect of it or indeed for those who may have no particular interest or may never have previously owned a book.
Where possible original photography was used, although some images were second to third generation copies. It was a delicate task to ensure the images were reproduced without losing their individual charm. Great effort was made to present the range of images faithfully, making them windows looking directly at the original.
The book covering is made from cotton, with a pearlescent finish representing the small shells that the poorest would once have left as offerings at the temple. Gold is also used, representing the latter additions and embellishments by the social elite. The patterning matches the surrounding patterns from the entrance doorway to the Golden Temple, which combine elements from Buddhist, Hindu and Muslim design, pointing to the central message that we are all essentially one.
The book has three layers, representing the material form, the beyond form, and the personal form. As you approached the closed book, in the centre is a foiled illustration of the Golden Temple compiled from early Indian miniature paintings – this represents the material form. Once you open the book another layer is revealed, illustrated with the core expression that underlies all Sikh thought, ‘Ik Onkar’, the concept of oneness, written in Gurmukhi script by the last Guru, Gobind Singh – this represents the beyond form. And on the final cover you are greeted with a message representing the personal form.
On the right hand side in the centre is a map of the Golden Temple complex, which accompanies the reader throughout their experience of the book, mirroring the personal journey where the Gurus map the internal perception of life. The numbers to the side of the page are references to decade, image number and the position from where each image was captured. All these details serve to provide a context to the images and equip you to better navigate the book. During their journey through the book, the map and associated information will allow the reader to more easily adjust from focusing on a particular image, caption or eyewitness account, to widening their field of vision to encompass the whole temple complex, experience and history; to see everything not in isolation but in relation to the whole.
For visitors to the temple, their connection is first felt emotionally and only later related and reasoned about. In this spirit I separated the captions from the images so they would not distract the reader, demanding by convention or habit that they be read first in order that the image might be fully appreciated. Otherwise, were a reader to try to focus on the images and ignore the captions below, there could have been a sense that some knowledge was missing without reading the captions first, interfering with the experience.
The background was applied to give a natural texture and a feeling of warmth, allowing the eye to relax when looking at the images without the glare of a white border. This reflects the subdued atmosphere and use of colour and texture in the temple itself (prior to electricity being installed), which is similarly conducive to the inner contemplative experience, helping to turn attention inwards to seek clarity and meaning.
The background was applied to give a natural texture and a feeling of warmth, allowing the eye to relax when looking at the images without the glare of a white border. This reflects the subdued atmosphere and use of colour and texture in the temple itself (prior to electricity being installed), which is similarly conducive to the inner contemplative experience, helping to turn attention inwards to seek clarity and meaning.
I consider myself fortunate to have worked on this project. The authors are people that I have known for a number of years and I consider them to be personal friends. The brief was to produce a personal book for a building that produces a very personal experience – I have done my best, but as with the building itself it can only be a finger pointing to the moon.
