Nomination Dossier: Santiniketan, India

II
 Executive Summary

EXECUTIVE
SUMMARY

III
Nomination Dossier: Santiniketan, India

EXECUTIVE SUMMARY

State party
India

State, Province or Region

West Bengal, District Birbhum

Name of Property
Santiniketan

Geographical Coordinates To The Nearest Second

23°40’49” N
87°41’5.9” E
UTM zone 45Q

Fig 1 and 2: Context of the site

in West Bengal on a geographical map of India

IV
 Executive Summary

87°38'E

87°39'E

87°40'E

87°41'E

87°42'E

87°43'E

87°44'E
87°42'30"E

87°43'30"E

87°44'30"E
87°37'30"E

87°38'30"E

87°39'30"E

87°40'30"E

87°41'30"E

87°45'E
LEGEND
NOMINATED PROPERTY PROPOSED BUFFER
BOUNDARY AREA

RAILWAY LINE PLANNING AREA BOUNDARY

23°43'N 23°43'N RS RAILWAY STATION MOUZA BOUNDARY

WATERBODY (TANK / POND) RIVER

MADHUSUDANPURK O P A I R I V E R SAND BED CANAL

EXISTING MAJOR ROAD

EXISTING ROAD TO BE UPGRADED

68
EXISTING MINOR ROAD
23°42'30"N 23°42'30"N PROPOSED MAJOR ROAD
PROPOPSED COMMERCIAL

71
NODES PROPOSED MINOR ROAD
TALTORE
69 ADITYAPUR
MINOR ROAD WITH CUL DE SAC
BYRADIHI
66 SOLID WASTE DISPOSAL GROUND

23°42'N 23°42'N

64 MADHU RS
KABIMOHANPUR SUDANPUR
68 96
23°41'30"N UTTAR 95 23°41'30"N
GOALPARA NARAYANPUR
65
BALLAVPUR SHYAMBATI
63 LALBUNDH 67 130
6
KHAS KADAMBAPUR
PURBA
5 7

23°41'N 23°41'N
38

ISLAMPUR
3
33
2

2 11 13
12
30 108
1 14
93
97 17 16
32 26
99 98
31
25
19
23
20
21 22 WARD NO.14
103 29
100 28
89 34
90
84
88 86 27

88 87
GURU PALLY
SANTINIKETAN
148
147

123
146 WARD NO.18
23°40'30"N 23°40'30"N
PO
WARD NO. 17
LAY
144

. RE
128
143
140
141

T.V TRE LAYAK BAZAR

139 142

BENURIA
137 135 134
SRINIKETAN

129
N
136 133 WARD NO. 8 CE

54 130 E
A B C DF
132A
128 127

154 126
WARD NO. 4
LALPOOL
WARD NO.13
DWARKANATHPUR

124
153

98
149

SIAN
156
158 152

WARD NO.18
37 150
155 36 151

23°40'N
157

WARD NO. 5
WARD NO. 12 TATARPUR 23°40'N
WARD NO.12
BANDHGORA WARD NO. 16
125
100 WARD NO. 3
WARD NO.9 122
127
WARD NO. 6 TO

SURUL WARD NO.15 BANG

CHATGAYESHPUR
RA
RS WARD NO.11 MULUK BHATURA
23°39'30"N 104 23°39'30"N

99
WARD NO.7

BOLPURE
WARD NO.2
126
99 WARD NO.10

DAKSHIN GOBINDAPUR
23°39'N CHANDIPUR
WARD NO.1
23°39'N
MEHEDIPUR 101 121
105 103 R MULUK
AZA
UTTAR ILA
MB
RADHA TO
NAGAR
SIBPUR 120 126
23°38'30"N
102 116
DAKSHIN 23°38'30"N
NARAYANPUR
110 NURPUR
PURBA
BAHADURPUR
CHANDANPUR 115 TO

23°38'N
114 23°38'N
109 RASUL GANJ MOUZAS
1. BINURIA (JL 54)
PROJECT PARTNER
RAIPUR 117 143 2. BALLAVPUR (JL 63)

118
3. KABIMOHANPUR (JL 64)

113 RAJATPUR
119 DURGAPUR
4. GOALPARA (JL 65)
5. BAIRADIHI (JL 66)
6. SHYAMBATI (JL 67) V.B.U A.S.I
SUPUR
112
7. MADHUSUDANPUR (JL 68)
MAHULI 8. TALTORE (JL 69) DRAWING TITLE
23°37'30"N GHEROPARA 23°37'30"N 9. SURUL (JL 104)
10 BOLPUR (JL 99)
UDAYPUR
111 144
11. BANDHGORA (JL 100)
_________ LOCATION OF THE
NOMINATED PROPERTY AND
GEETGRAM BUFFER IN A MAP OF THE

23°37'N 112 23°37'N

LOCAL PLANNING AREA (LPA)

SOURCE
RAMCHANDRAPUR
AREA STATEMENT THIS DRAWING IS BASED ON THE EXISTING
LANDUSE PLAN PRODUCED IN THE
PERSPECTIVE PLAN 2025 OF SSPA BY WEBCON
PROPOSED BUFFER AREA CONSULTANCY PRIVATE LIMITED.
537.73 HA
23°36'30"N 23°36'30"N DRAWN BY : INDRANI
NOMINATED PROPERTY OF
RS SANTINIKETAN DATE : 23.01.21
36 HA SCALE:- 1 : 20000 (A0)
DRW.NO. NORTH
87°42'30"E
87°37'30"E

87°43'30"E

87°44'30"E
87°38'30"E

87°39'30"E

87°40'30"E

87°41'30"E

23°36'N

01
87°38'E

87°39'E

87°40'E

87°41'E

87°42'E

87°43'E

87°44'E

87°45'E

Fig 3: Location of the nominated

property in a map of the Local Planning Area(LPA)

V
Nomination Dossier: Santiniketan, India

Fig 4:
Textual description of the boundary of the nominated property
Nominated Property.
The nominated core area of Santiniketan comprises of three distinct areas which
evolved with the progression of the idea of Visva-Bharati, the centre for Universal
Culture by Rabindranath Tagore. The first area being the Ashrama or Hermitage, the
second being the residential quarters or Uttaryan and the third being the area with
Kala Bhavana and Sangit Bavana, the schools for Art and Music respectively. The
boundaries of the nominated property are restricted to those areas within the Visva
Bharati campus that retain the highest level of integrity and the distillation of the
core essence of Santiniketan as defined in the statement of outstanding universal
value. The extents of the Nominated Property (are marked by the following features,
as per the map of Nominated Property annexed in the World Heritage Nomination:
- To the east by the Bolpur-Santiniketan road.
- To the north by the boundary of premises of Uttarayan complex, Malancha
and main playground.
- To the west by the road lying to the west of Sangit bhavan and main
playground.
- To the south by the road outside south-west corner of Hati-Pukur, and
southern edge of playground, and the southern edge of the premises of Area Of The Nominated Property & Buffer Zone
Vidya Bhavan, Cheena Bhavan, Dwija Biram.
The area of the nominated property is as follows:
Buffer
Total Area of the Nominated property = 36 Hectare
The proposed Buffer Zone has been developed to ensure that the future development
Total Area of the Buffer Zone = 537.73 Hectare
in the setting of the nominated site respects and maintains the OUV of the site
Total Area of the property + Buffer = 573.73 Hectare

Maps, Plans Showing Boundary Of The Nominated Property And

Buffer Zone:
The boundary of the nominated property is shown on Fig. 4. The proposed Buffer Zone
is shown in Fig. 2 on page 9
Fig 5: Upasana Mandir

VI
 Executive Summary

Fig 6: Geographical Co-ordinates

of the Nominated Property and the Buffer Zone.

VII
 32 Other important
19 Ghantatala (1920)
buildings
20 Singha Sadan (1924)
SANTINIKETAN - SRINIKETAN ROAD 21 Purva Toron AREA = 36 Ha
22 Paschim Toron
TOWARDS 23 Bramhacharya Vidyalaya
SRINIKETAN 11 12 (Pathabhavana Office) (1901)
PROJECT TITLE
Nomination Dossier: 29
AreasSantiniketan,
in Core ZoneIndia
GARDEN
24 Chaiti (1934)
Fig 7: Distinct C1 S1
OFFICE

S2
STATUE OF SANTAL
35a 25 Srisadan Hostel NOMINATION DOSSIER OF
108 10
PARIBAR
26 Dwija Viram SANTINIKETAN TO UNESCO
S5 STATUE OF STATUE OF 35i SL.NO. NAME OF BUILDING
27 China Bhavana (1937) FOR WORLD HERITAGE
(A1: Ashram, A2: Uttarayan, A4: Sangeet and Kala Bhavan)
HARVESTER MILL CALL
SL.NO. NAME OF BUILDING
13 1 Santiniketan Griha (1863)
28 Old Vidya Bhavana Office SITE
KALABHABAN SCULPTURE 29 Nandalal Basu's Studio
35g TOWARDS
COMPLEX 1
2 Bichitra Bhavana (1958)
1 Santiniketan Griha (1863) 30 Sangeet Bhavana Complex CONSULTANT
RATAN 3 Pampa Lake
SANGIT BHAVAN SHYAMBATI A S H R A M C O M P L E X 2 Bichitra Bhavana (1958) 31 Kalobari (1934) MANISH CHAKRABORTI
35b7a TOWARDS PALLI
RATAN
4 Udayana (1919)
3 Pampa Lake 32 Malancha (1926)

BO D
COMPLEX M/S CONTINUITY

RO
35f 6 SHYAMBATI 4a Snanghar
H 5 7a 8 7 PALLI
A 4 Udayana (1919) 33 Hindi Bhavana (1939)

LPU
J 5 Konark (1919) AA 171A, SALT LAKE

A
N 4a Snanghar 34 Guhaghar
S H S3STATUE5 6 7 1a U 6 Mrinmoyee (1921)
5 Konark (1919) 35 Kalabhavana
KOLKATA 700064
8 9

R
BAKUL BITHI K 7 Shyamali (1934)
S6 6 Mrinmoyee (1921) a Design Department

- SA
35c 9
OF GANDHI

U S A 16 7a Parisistha PREPARED FOR

31 35e

BO OA LP
R 7 Shyamali (1934) b Pottery Department
4a M 15 14 8 Punascha (1936)

R BO AD

NTI
35d

LP D UR
B U A 1b 7a Parisistha
9 Udichi (1919)
c Studio of Ramkinkar Baij
S4

U
SAL BITHI 8 Punascha (1936) c Sculpture Department ARCHEAOLOGICAL SURVEY OF
4a S6

R
R

NIK
10 Chhatimtala (1863)
25

O
INDIA, JANPATH, NEW DELHI
23

-S
B d Havel Hall (1938)
STATUE
9 Udichi (1919)
30 OF
4 S6 R O S E G A R D E N 11 Upasana Griha(Mandir)

AN

ETA
e Building with external stair &
BUDDHA 10 Chhatimtala (1863)

-S
19 (1890)

TI
VISWA BHARATI UNIVERSITY
4 ROSE GARDEN 11 Upasana Griha(Mandir) f Mural Department

AN

N
24 19 12 Taladhwaja (1960) SANTINIKETAN , WEST BENGAL

IK
(1890) g Nandan Bari (1929)

TI
S7 20 DS(1961)

ET
22 21 13 Tinpahar

N
BIRD'S
34 AR (1960)
12 Taladhwaja LI i Painting department
PAL

IK

AN
NEST OW A
14 TDehuli (1908) LEGEND BUILDING NAME / ARE
S7

ET
13 Tinpahar B (1961) 84 Deen of Student
BIRD'S
34 R
U (1908) (1902)

AN
15 P Natunbari LEGEND
NEST
3 17
14 Dehuli
16 Jawharbedi (before 1957)
Welfare office
2 S8 15 Natunbari (1902) Heritage
89 Patha buildings
Bhavana Complex NOMINATED PROPERTY -
3 OLD MELA GROUND 17 Santosalaya (1921)
16 Jawharbedi (before 1957) SANTINIKETAN
2 S8 28 91 Heritage
Santosalaya Hostel
buildings
OLD MELA GROUND 36 18 Gaur Prangan (stage)
17 Santosalaya (1921) Other Girl's
important
32 19 Ghantatala (1920) 92 Mrinalini Hostel
DRAWING TITLE
18 Gaur Prangan (stage) buildings
93 Watch & Ward
32 20 Singha Sadan (1924) Other important
19 Ghantatala (1920) (Security Office) NOMINATED PROPERTY
SANTINIKETAN - SRINIKETAN ROAD 21 Purva Toron AREA buildings
= 36 Ha
20 Singha Sadan (1924) 94 Madhurilata Hostel SHOWING HERITAGE AND
27 22 Paschim Toron

TOW WAY S
P L A Y G R SANTINIKETA
OUND 33

RAI
N - SRINIKETAN ROAD 21 Purva Toron AREA95=Madhabi
36 Ha Hostel OTHER IMPORTANT BUILDINGS
TOWARDS 23 Bramhacharya Vidyalaya
22 Paschim Toron 96 Karabi Girl's Hostel
11

L
12 (Pathabhavana Office) (1901)

ARD TATI
SRI
TOW NIKETAN
ARD 29 GARDEN 23 Bramhacharya Vidyalaya PROJECT TITLE
97 General Kitchen SOURCE
S 24 Chaiti (1934)
SRINIKETAN S1
OFFICE
11DEPT. OF 12 (Pathabhavana Office) (1901)
PROJECT TITLE
98 Birlalaya Hostel OF
35a 29 25 Srisadan Hostel

SB
STATUE OF SANTAL GARDEN NOMINATION DOSSIER
S2 PARIBAR
108 10 OFFICE PHYSICAL 24 Chaiti (1934)
26 Dwija Viram 99 Goekalaya TO
SANTINIKETAN Hostel
UNESCO
BASED ON THE CAMPUS MAP
S5 S1 35i 35a 25 Srisadan Hostel PREPARED IN 2007-08 BY THE

OLP N
STATUE OF STATUE OF STATUE OF SANTAL EDUCATION NOMINATION
107WORLD DOSSIER OF
Natyaghar
HARVESTER
S2
MILL CALL PARIBAR
108 10 27 China Bhavana (1937)
26 Dwija Viram
FOR HERITAGE
SANTINIKETAN TO UNESCO
DIRECTOR OF LAND RECORDS AND
S5 STATUE OF STATUE OF 35i VACANT 13 28 Old Vidya Bhavana Office SITE SURVEYS AND JOINT LAND

O
UR
HARVESTER MILL CALL
LAND 27 China Bhavana (1937) FOR WORLD HERITAGE
KALABHABAN SCULPTURE 29 Nandalal Basu's Studio REFORMS COMMISSIONER , WEST
35g COMPLEX 1 13 28 Old Vidya Bhavana Office
30 Sangeet Bhavana Complex
SITE
CONSULTANT BENGAL". AND GOOGLE MAPS
KALABHABAN SCULPTURE 29 Nandalal Basu's Studio
SANGIT BHAVAN35g A S H R A M1 C QUARTER
O M P L E X 31 Kalobari (1934) CONSULTANT
MANISH CHAKRABORTI DRAWN BY : INDRANI
35b COMPLEX HATIR PUKUR NICHU BANGLA QUARTERS 30 Sangeet Bhavana Complex
32 Malancha (1926)

BO D UR - S
COMPLEX
SANGIT BHAVAN 26 31 Kalobari (1934) M/S CONTINUITY

ROBOL
35f 35b A S H R A M C O M P L E XA WELL
33 Hindi Bhavana (1939) MANISH CHAKRABORTI DATE : 23.01.21

LPU
COMPLEX J 32 Malancha (1926) M/SAA 171A, SALT LAKE

A P
CONTINUITY

RO
35f NA 34 Guhaghar SCALE:- 1 : 8000 (A3)
S3 1a KITCHEN UJ 33 Hindi Bhavana (1939)
35 Kalabhavana
KOLKATA
AA 171A, SALT 700064
LAKE

R-
AD
STATUE
BAKUL BITHI KN 34 Guhaghar
S6
S3 35c
OF GANDHI
1a 16
A U
a Design Department
35 Kalabhavana
KOLKATA 700064
PREPARED FOR

SAN
31 35e BAKUL BITHI RK b Pottery Department
STATUE

S6 35c
OF GANDHI

35d M
AR A 16 1b 15 14 a Design Department
c Studio of Ramkinkar Baij PREPARED FOR
31 35e DRW.NO. NORTH

TIN
STAFF
b Pottery Department

ANT
S4 M SAL BITHI 15 14
QUARTER
c Sculpture Department ARCHEAOLOGICAL SURVEY OF
35d 25 23 A 1b c Studio of Ramkinkar Baij INDIA, JANPATH, NEW DELHI

IKE
STATUE
d Havel Hall (1938)
30 S4 SAL BITHI ARCHEAOLOGICAL SURVEY OF

INIK
OF c Sculpture Department &
e Building with external stair INDIA,
25 JANPATH, NEW DELHI
BUDDHA
23

TAN
19 d Havel Hall (1938)
STATUE
VISWA BHARATI UNIVERSITY
30 OF
f Mural Department

ETA
&
BUDDHA
24 19 e Building with external stair SANTINIKETAN , WEST BENGAL
20 19
g Nandan Bari (1929) VISWA BHARATI UNIVERSITY
22 21 DS f Mural Department
AR ALLI

N
24 19 TOW D
i Painting department
g Nandan Bari (1929)
SANTINIKETAN , WEST BENGAL
BUILDING NAME / AREA
22 20 21 R
R BSAP I 84 Deen of Student
TOWPU PALL
A i Painting department
Welfare office BUILDING NAME / AREA
17 BA 84 Deen of Student
PUR 89 Patha Bhavana Complex
Welfare office NOMINATED PROPERTY -

36 28 17 89 91 Santosalaya
Patha Hostel
Bhavana Complex
SANTINIKETAN
NOMINATED PROPERTY -
92 Mrinalini Girl's Hostel SANTINIKETAN
36 28 91 Santosalaya Hostel
93 Watch & Ward DRAWING TITLE
92 Mrinalini Girl's Hostel
(Security Office)
93 Watch & Ward DRAWING
NOMINATEDTITLEPROPERTY
94 Madhurilata Hostel SHOWING HERITAGE AND
27

TOW WAYRSDS B TION

PLAY GROUND (Security Office)
33 NOMINATED PROPERTY

RATI OW AY ST
95 Madhabi Hostel OTHER IMPORTANT BUILDINGS
94 Madhurilata Hostel SHOWING HERITAGE AND
PLAY GROUND 27 33 96 Karabi Girl's Hostel

RAI
L A
ARD TATO
95 Madhabi Hostel OTHER IMPORTANT BUILDINGS
97 General Kitchen
96 Karabi Girl's Hostel SOURCE

LW
98 Birlalaya Hostel

SB
DEPT. OF
PHYSICAL
97 General Kitchen
99 Goekalaya Hostel
SOURCE
BASED ON THE CAMPUS MAP
98 Birlalaya Hostel PREPARED IN 2007-08 BY THE

OLP
EDUCATION
DEPT. OF
107 Natyaghar BASED ON THEOF
DIRECTOR CAMPUS MAP
LAND RECORDS AND
VACANT
PHYSICAL 99 Goekalaya Hostel PREPARED INAND
2007-08 BYLAND
THE

IOLNPUR
EDUCATION SURVEYS JOINT
107 Natyaghar

UR
LAND DIRECTOR OF LAND RECORDS AND
REFORMS COMMISSIONER , WEST
VACANT SURVEYS ANDAND
JOINT LAND MAPS
BENGAL". GOOGLE
LAND REFORMS COMMISSIONER , WEST
BENGAL".
DRAWN ANDBY
GOOGLE MAPS
: INDRANI
HATIR PUKUR QUARTER NICHU BANGLA QUARTERS

HATIR PUKUR QUARTER NICHU BANGLA QUARTERS 26 WELL DATEBY

DRAWN : 23.01.21
: INDRANI

KITCHEN
26 WELL DATE : 23.01.21
SCALE:- 1 : 8000 (A3)
SCALE:- 1 : 8000 (A3)
KITCHEN

Fig 10: Kalo Bari

STAFF
QUARTER DRW.NO. NORTH
STAFF
QUARTER DRW.NO. NORTH

VIII
 Executive Summary
Fig 11: Chatimtala (Acc no. 2741S) Fig 14: Detail of Area1, Ashram.

Fig 12: Patha Bhavan. (Acc No. 15014H)

Fig 13: Purva Toran. (Acc No. 2872S)

IX
Nomination Dossier: Santiniketan, India
Fig 15: Detail of Area 2, Uttarayan.
Fig 16: Udichi as seen from

the portico of Udayan. (Acc. No. 3113S)

Fig 17: Garden with fountain at

west side of Udayan. (Acc. No. 7738S)

Santiniketan Griha Fig 18: Punascha. (Acc. No. 3094S).

X
Fig 19: Detail of Area 3, Sangeet & Kala Bhavan Executive Summary
Fig 20: Mastermoshai Studio,

Nandalal Bose’s workspace. (Acc. No. 2908S)

Fig 21: Kala Bhavan students painting

murals for their hostel. (Acc. No. 15127M)

Fig 22: Sculpture Panel on Kalo Bari

depicting bull from Harappan seal. (Acc. No. 14993 M).

XI
Nomination Dossier: Santiniketan, India

Criteria under which property is nominated : materials created a new interpretation.

Justification for Inscription for the Nominated Property of Santiniketan is proposed under Informed by Tagore’s vision of rural reconstruction and sustainability, the built
Criteria (ii) and (vi). environment of Santiniketan is a testimony to a pioneering development of a regionally
Criterion (ii) exhibit an important interchange of human values, over a span of time or within contextual, organic and climate conscious architecture and landscape. The buildings
a cultural area of the world, on developments in architecture or technology, monumental arts, of Santiniketan evolved new forms, celebrating the narrative of local communities,
town-planning or landscape design; crafts, and nature. Many of these themes are seen in Nobel Laureate Rabindranath
Tagore’s ‘Gitanjali’ suite of poems, which he wrote while living here. Santiniketan
Criteria (vi) be directly or tangibly associated with events or living traditions, with ideas, or
displays a playful eclecticism of influences and a revived attention to the local; the
with beliefs, with artistic and literary works of outstanding universal significance.
blurring of disciplinary boundaries, and insistence on an architecture that is intimately
involved with its community and nature. At Santiniketan strict distinctions between
Draft statement of Outstanding Universal Value: ‘art’ and architecture’, ’high’ and ‘low’ art, ‘tradition’ and modernity’ ‘art and ‘craft’
were themselves overturned.
A. BRIEF SYNTHESIS
Santiniketan was an experimental settlement in education and communal life in a
At the threshold of the 20th century, while India was grappling with colonialism, the
rural setting. The community was in many ways meant to represent a uniquely Indian
Partition of Bengal and the Swadeshi freedom movement, Rabindranath Tagore and
example of a ‘total work of art’ (Gesamtkunstwerk) where life, learning, work and art
the pioneers of the Bengal School of Art, steered a new exploration in art, design
along with the local and the global intertwined seamlessly. The built and open spaces
and cultural interchange. Set within the rural hinterland of Bengal, Santiniketan is
of the Nominated Property constitute an exceptional global testimony to ideas of
the tangible realization of an educational and artistic community’s encounter with
environmental art and educational reform where progressive education and visual
a Pan Asian modernity. Santiniketan embraced a unique brand of internationalism,
art are intertwined with architecture and landscape: with the Santiniketan Ashram,
that drew upon ancient, medieval and folk traditions of India as well as Japanese,
Uttarayan, Kala Bhavana and Sriniketan forming the prime sites of these practices in
Chinese, Persian, Balinese, Burmese and Art Deco forms to create a rich tapestry of
the most significant periods of development.
art, architecture, interiors, furniture, landscape and campus design. Santiniketan
as an enclave, demonstrates the development of an Asian avant-garde, that veered Founded in the same year as the Bauhaus, Kala Bhavan at Santiniketan embodies
away from the prevalent Beaux Arts and European modernism to forge a new design an alternative modernity and an internationalism in stark contrast to the austere
aesthetic rooted in its cultural context and history. puritanism of the former. Unlike the absolute functionalism advocated by the
Bauhaus, Santiniketan’s arts school espoused a romantic humanism, that was eclectic
and playful. In a rapidly industrializing world, it represents a strand of design enquiry
The architecture of Santiniketan demonstrates cultural interchange, as also parallel to other turn of the century movements like the Arts and Crafts movement
experimentation in construction techniques, material and design. At a time when in Britain, the Mingei in Japan and the Vienna Secession in Austria. It represents a
Indian architecture under British rule was in the grip of European revivalist styles of truly unique attempt to making a modernity that was not narrowly parochial, but was
the Neo Gothic and Neo Classical, Santiniketan was a bold attempt to revive indigenous generous and embracing of different traditions. It stands as an exceptional voice, from
construction techniques to create a contextual, regional modernism. At a time when within the colonized nations, of an indigenous modernity that was being claimed and
indigenous architectural styles had almost been obliterated by colonial influences, constructed by the colonized.
Santiniketan’s enquiry into design, structure, ornament, construction techniques and
XII
 Executive Summary

Santiniketan represents the physical manifestation of a utopian ideal of a community B. JUSTIFICATION FOR CRITERIA
that became a crucible for intellectual and artistic ideas and was to have a decisive Justification for Inscription for the Nominated Property of Santiniketan is proposed
impact on 20th century art, literature, poetry, music and architecture in the sub- under Criteria (ii) and (vi).
continent. To the Santiniketan artists, modernism was neither a style nor a form of
internationalism. It was critical re-engagement with the foundational aspects of
art necessitated by changes in one’s unique historical position . The architectural Criterion (ii):
‘internationalism’ of Santiniketan as seen in its eclectic, inclusive architectural The design of buildings, furniture, landscape, murals, art and sculpture in Santiniketan
landscape was informed by Tagore’s unique brand of universalism that was a meeting is a tangible demonstration of an Asian avant-garde, representative of the early 20th
of diverse cultural traditions from India (Buddhist, Hindu & Islamic origins), the Far century global explorations that heralded modernism. Within the narrative of the
East and Americas to create an experimental, collaborative and co-authored built and post-industrial era, Santiniketan through its architecture, interiors and planning,
unbuilt landscape for staging praxes in education, artistic learning, craft production demonstrates interchange, drawing upon ancient, medieval and folk influences from
and cultural syncretism. the East and the West, welcoming stimulus of Indian, Balinese, Burmese, Chinese,
Santiniketan was visited by and influenced a wide range of global personalities, an Japanese traditions and American Art Deco, to create a new design language. With
international cultural melting pot, echoing Tagore’s idea ‘where the world finds a the backdrop of the Swadeshi Indian freedom movement, Santiniketan was an
nest’. It represents the distillation of Rabindranath Tagore’s greatest works through experiment in social change and a unique encounter with global modernity in the
his lifetime and the continuing legacy of his model of education that reinterpreted late-colonial period, that influenced the planning of Gandhi’s ashrams as Sevagram
ancient Vedic traditions of tapoban and gurukul with open air classrooms arranged and forged a new aesthetic as a counterpoint to European colonialism.
under the canopies of trees. Its planning embodies Tagore’s vision of ‘Santiniketan,’
meaning ‘abode of peace’, bearing an exceptional testimony to his philosophy of rural Through its planning and architecture, Santiniketan created an eclectic ensemble
reconstruction and sustainability, which in turn influenced Mahatma Gandhi’s ashram that boldly explored a range of architectural expressions and vocabularies and invited
at Sewagram. with open arms, art and architectural influences from across the world. As in other
early 20th century movements like the Vienna Secession, the interchanges enabled
Santiniketan is directly and tangibly associated with the life, works and vision by the spaces and the architecture of Santiniketan facilitated a productive dialogue
of Rabindranath Tagore and the pioneers of the Bengal School of Art. It exhibits between multiple disciplines as landscape, pedagogy, architecture, art, literature and
the crystallization of their ideas of internationalism, humanism, inclusiveness, poetry engaged in a constant conversation with each other and inspiring new forms
environmentalism and a pan Asian modernism. It is an outstanding example of an of expression in each.
avant-garde enclave of intellectuals, educators, artists, craftspeople and workers
who collaborated and experimented, free from the established European colonial Tagore and his associates travelled extensively within and outside India and drew
paradigms, to espouse a unique architectural language and herald a new modernism inspiration from sources as varied as the Buddhist sites of Ajanta and Borabudur,
in art, architecture, landscape, product design and town planning. mud dwellings of rural India, Indo-Islamic monuments, Japanese and Far Eastern
architecture and American Art Deco to forge a new design language that embraced
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Nomination Dossier: Santiniketan, India

art, architecture, education and internationalism. Santiniketan’s built and landscape evocative of Japanese gardens. The interiors are in the Art Deco style with Japanese
environment demonstrates an outstanding instance of an encounter with an aesthetic inspired furniture. Dinantika aimed to re-interpret a Chinese tea house and was used
Pan-Asianism. to host Chai Chakra, wherein Tagore would host his associates for tea. The Upasana
Griha, combines a cast iron industrial construction with an Indian aesthetic and
Santiniketan Griha and Surul Kuthibari are representative of the colonial bungalow.
The architecture and planning of Santiniketan was the result of a collaborative
exercise as Surendranath Kar, Rathindranath Tagore, Nandalal Bose, Patrick and Patho Bhavan celebrates the architecture of Ajanta while the railing of Chhatim Tala
Arthur Geddes played a key role in translating Rabindranath’s vision into tangible is a derivative of Sanchi. The buildings of Uttarayana evoke Buddhist forms. Udichi’s
form. Surendranath, Nandalal and Benodebehari Mukhopadhyaya travelled widely brackets, jaalis and multi foil arches and the niches of the Patha-Bhavan, the arches
and brought back sketches of Ajanta and the Far East. This informed their work in the of the Fresco Mancho and the facade of the Sinha Sadan, echo medieval Islamic
frescoes of Shyamali, Hindi Bhavan and Kalo Bari. They explored painting traditions Sultanate and Mughal sources. Cheena Bhavan and Hindi Bhavan draw from the
as diverse as Japanese art, Ajanta frescoes, and Mughal miniatures to create some of massing of Akbar’s Fatehpur Sikri and Shyamali harks to ancient rock cut architecture.
the most spectacular murals on the walls of Santiniketan. Rathindranath’s design of These diverse sources are re-interpreted in the columns of Patha Bhavan, Udayan and
Udayan’s interiors and landscape in Uttarayan bears a distinct stamp of his American Punascha that attempt a new order. In Uttarayana, the columns with corbelled capitals
and Japanese education and his exposure to Frank Lloyd Wright. No less important create a new exploration in design that attempts to marry eastern architectural
were Ramkinkar’s sculptures drawing on tribal art. Of the many collaborators of influences into a modern-day aesthetic, adapted to suit a new function.
Tagore, these particular personalities had a direct contribution in the development An exploration in organic architecture is tangibly demonstrated through Talodhwaja,
of Visva-Bharati’s environment, including the embedded and free-standing artworks Notun Bari, Shyamali and Kalo Bari. Surendranath Kar used natural motifs of flowers,
in the architecture and landscape, as well as the design of interior spaces within key leaves from the surroundings to articulate his built forms. The Chaiti was an experimental
buildings. These collectively drew upon influences as varied as the Art Deco, Far East architectural object, inspired by a rural Bengali hut. Shyamali experimented with a
Asian and Indian art and architecture to develop the Santiniketan aesthetic. mud roof and innovated with earthen pitchers to create thermal insulation as seen in
In the second year of its inception, Santiniketan had its first foreign student in Hori the hot region of Rajasthan. The building of Kalo Bari takes inspiration from Santhal
San from Japan. Tagore devised syllabi that promoted the understanding of different tribal forms. At Shyamali, Nandalal and his students recreated Santhali tribal art
cultures: Vedic, Puranic, Buddhist, Jain, Zoroastrian, and Sikh traditions; the ‘precious sculpture. Santiniketan’s planning model of an indigenous modernism and sustainable
and permanent contribution’ of Islamic culture to Indian art and architecture; writings development in turn, influenced Mahatma Gandhi’s ashram at Sewagram.
of ‘our medieval saints’; special studies of China, Japan, and Tibet; as well as Western The design of furniture in Udayana and Uttarayan were a departure from the 19th
culture, for ‘only then shall we able to assimilate this last contribution to our common century European aesthetic. Victorian and Edwardian prototypes of furniture design
stock’. were discarded to look towards Indian design, American Art Deco and the Far East
for inspiration. They incorporated bamboo and lotus motifs, Buddhist and Japanese
railings. Udayana exhibits a strong Far East Asian influence on the articulation of the
This rich interchange of architectural influences is visible in the design of the
interior spaces, furniture and furnishings with Japanese tatami matt paneling, Buddha
Ghantatala that evokes Japanese shrines. Udayana evokes Buddhist caves and recalls
niche, lacquered wooden railing and screens, low seating and design of furniture. Two
China’s Summer Theatre. The woodwork recalls the design of Japanese tearooms. The
Japanese craftsmen, Kono and Kasahara were involved with this exquisite woodwork.
circular window of Guhaghar derives from Chinese architecture and its landscape is
The Japanese garden behind the house was laid out by Kasahara.
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 Executive Summary

Borrowing from Chinese architecture, the circular window became a recurring makes it still more significant is that its inception and tangible development was
motif in Santiniketan, evoking the Oriental moon gate symbolism. In the Uttarayan enabled by cross-cultural global connections and networks of knowledge exchange
complex, Islamic motifs were playfully juxtaposed with Art Deco features, unified by of the west and east.
an overarching aesthetic vision. The residential buildings of the Uttarayan complex, Santiniketan demonstrates the revival of ancient traditions of the gurukul and
Udayan, Konark, Punascha, Guhaghar and Udichi were designed with a 20th century tapoban with its tangible manifestation in open air classrooms arranged under
aesthetic drawing from varied Indian and International traditions. Even individual the canopies of trees. The experiment in rural reconstruction that Tagore began
elements such as the design of furniture, screens, murals and finishes demonstrate a at Santiniketan was influential in the planning of Montpellier College in southern
synthesis of various ideas from the East and the West. France, Leonard Elmhirst’s Dartington Hall in Devonshire and Gandhi’s ashram at
In the Uttarayan gardens laid out by Rathindranath Tagore who trained in agricultural Sevagram.
sciences in the USA, a profusion of exotic species was grown alongside local Sal and Gandhi’s famous quotation “I do not want my house to be walled in on all sides and
Chhatim trees in a landscape dotted with pavilions and elements drawn from across my windows to be stuffed. I want the culture of all lands to be blown about my house
the world. The Pampa lake and Japanese gardens laid out by Kasahara, pay tribute as freely as possible.” This was a direct influence of Santiniketan’s dwellings, where
to Japanese garden traditions, and the influence of Japanese landscape design is Gandhi had stayed and invoked in him, a similar desire for an Indian architecture.
reflected in the Zen quality of the courtyard of Nandan. The fantastical gardens of
Uttarayan form a canvas to myriad landscape traditions that through this intermixing,
contribute to the quintessential Santiniketan aesthetic.
Criterion (vi):

There was much interchange with engagements and discussions - adda (informal Santiniketan is directly and tangibly associated with the ideas, works and vision of
get-togethers) being a special feature of Santiniketan as well as experimentation Rabindranath Tagore and his associates, pioneers of the Bengal School of Art and
in construction techniques. This gave birth to an extraordinary kind of architecture. early Indian Modernism. Against the backdrop of the Partition of Bengal, Santiniketan
The eight-sided Dinanitika Cha Chakra (evening tea party), built by the wife of became the crucible for the artistic and intellectual renaissance of Bengal in
Dinendranath allowed people “to sit face-to-face while they talk.” Santiniketan the early 20th century. As a unique cultural and intellectual incubator, it had an
represents a unique exchange of ideas, thinking, socio-cultural orientations and indelible imprint on the Indian Freedom Movement with its leaders such as Mahatma
praxes in Asia, through a myriad of built structures, artistic works and planted Gandhi, Nehru and Indira Gandhi, lovingly called Tagore – ‘Gurudev’ – or teacher
spaces. These contribute to the understanding of tangible formal expressions in . Santiniketan represents the distillation of the ideas and continuing legacy of a
architecture and landscape in this part of the world that indispensably forms a link unique model of education recalling ancient Indian traditions of tapovan and gurukul
in the transition period from the Beaux Arts and Arts and Crafts movements to as well as internationalism through a living institution and architectural ensemble.
contextual modernism. And while many of Tagore’s artistic and literary works bear a unique association with
Santiniketan, his model of an educational and rural revival experiment and humanist
The nominated property is a lasting testimony – through its built and unbuilt spaces,
ideology finds its manifest reflection in Santiniketan as Visva Bharati, thus making
artworks and landscape design, to a critical alternative to architecture and planning
it his greatest work.
of the colonial state’s mainstream practices, such as contemporary developments of
Imperial Delhi’s neoclassicism and colonial Calcutta and Bombay’s art-deco. What

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Nomination Dossier: Santiniketan, India

In his last letter to Mahatma Gandhi Tagore said that Indira Gandhi, Amartya Sen who taught, worked and studied here, contributed to the
‘Visva Bharati is like a vessel carrying the cargo of my life’s best treasure and I hope richness of Santiniketan’s philosophy.
it may claim special care from my countrymen for its preservation’. Murals, frescoes, and sculptural friezes by leading Indian artists adorn the walls of
Santiniketan. In the quest for a pan Asian art movement, Rabindranath encouraged
the interaction of Japanese artists with the students of Santiniketan to create linkages
Santiniketan is a vessel of the artistic and literary works of Tagore and his collaborators
that were to heavily impact the art of 20th century India. The earliest departures
and its built form and landscape is a tangible assertion of their ideas and philosophy.
from the traditional Company School into the Bengal School of Art and further on to
Its architecture exhibits the embodiment of their ideas of universalism, humanism,
pioneer a distinctly contemporary Indian art movement were in a large measure, the
inclusiveness, environmentalism and contextual modernism. Santiniketan is the
legacy of Santiniketan.
crystallization of their shared vision of education and art and is tangibly associated
with the works of some of the leading artists, writers, poets, architects and thinkers The campus was designed as an outdoor exhibition of art and sculpture, inviting
who lived, worked and studied here. Here Tagore himself, wrote many of his great artists and sculptors in collaborative creation. Binodbehari Mukhejee created stunning
works including the Gitanjali and poured his creative genius into poetry, art, theatre frescoes on the walls of Hindi Bhavan and China Bhavan. The faculty and students of
and literature. It remains a stage to his plays, his vast repertoire of songs – Rabindra Kala Bhavan collaborated in the creation of wall sculpture on Kalo Bari. The buildings
Sangeet that echo through the corridors and open spaces of the campus. of Surul Kuthibari and Dinantika bear frescoes by Nandalal Bose. Many of the buildings
of Kala Bhavan showcase avant-garde murals by some of the finest 20th century
Indian artists such as Somnath Hore, K.G. Subramaniyam, Radha Krishnan and Asit
Santiniketan is a rare surviving example of an architectural ensemble and a man-made Haldar. To this day Kala Bhavan and ancillary buildings play host to contemporary art
landscape that formed the canvas for art and education as a conscious departure from as astounding outdoor canvases for Visva Bharati. The placement of modern urban
established European colonial paradigms and educational precepts. The planning of sculpture within the landscape was a European concept introduced into Santiniketan
Santiniketan bears an exceptional testimony to Tagore’s interpretation of indigenous by the iconic sculptor, Ramkinker Baij. Urban sculptures such as the Santhal Woman,
Vedic traditions of tapoban and gurukul, with classrooms that were held in the open Sujata, Buddha, Gandhi, Migration and Mill Call by Baij and his students pioneered a
air, free from the confines of spatial and ideological boundaries. The idea of gurukul new genre of contemporary Indian sculpture and monumental art.
begun at Santiniketan was expanded to create Visva Bharati – the world’s nest to
embrace the vision of a shared transcultural thinking and practice in alternative
education to foster internationalism. Santiniketan is an outstanding site that is directly and tangibly associated with
works of literature, art, and architecture that represent the Bengal School and early
modernism in India. It is tangibly associated with ideas, artistic, cinematic and
Santiniketan, both as a living educational model and cultural incubator has been literary works of generations of outstanding alumni who excelled in the worlds of
associated with new explorations in early 20th century modernism in art, architecture, theatre, music, dance, painting, literature, sculpture, cinema, economics and politics.
design, film, theatre, dance, music, poetry and literature through its associated It exhibits a tangible association with ideas and literary works as well as an artistic
artists, architects, writers, poets, sculptors, dancers, thinkers and educationists. Men ethos and educational eco-system that gave birth to the modern dance compositions
and women such as Nandalal Bose, Rathindranath Tagore, Abanindranath Tagore, of Uday Shankar, films of Oscar winning director Satyajit Ray and early 20th century
Ramkinkar Baij, Jogen Chaudhuri, Stella Kramisch, Leonard Elmhirst, Arthur and explorations into the creation of a Pan Asian modernism. It is an outstanding site
Patrick Geddes, Surendranath Kar, Uday Shankar, Mrinalini Sarabhai, Satyajit Ray, of global cultural exchanges through the works of literature and discursive writings
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 Executive Summary

of Rabindranath Tagore that his many associates produced, enacted and performed experiment in Tagore’s idea of internationalism and cultural interchange. Engagements
in this site, which had direct and far-reaching their influences on early thinking on with international figure such as Sylvain Levi, Moritz Winternitz, Sten Konow, Fernand
internationalism, post-war humanism and environmentalism. Santiniketan with ideas Benoit, Arthur Geddes, Andree Karpeles, Mary Eeghen, Stella Kramisch, James Cousins,
synthesized from the West and East, played a pioneering role in the field of arts, T’an Yun-Shan, Yonejiro Noguchi, Guiseppe Tucci, Carlo Formichi, Arnold Bake, Igor
internationalism, planning and environmental thinking as well as a living educational Bogdanov, Mark Collins, and Vincenc Lesny only reinforced this interchange. The motto
model. for Visva Bharati, Yatra Visvam Bhavatyekanidam, ‘where the whole world can find
Founded by Rabindranath Tagore in 1901, Santiniketan represents the outstanding a nest’, reflected this international vision, promoting exchanges between different
universal language of humanism that he preached through his lifetime and the linguistic groups, religions, races and cultures.
continuing legacy of his unique model of internationalism through a living institution
and architectural ensemble. The school at Santiniketan was a sapling which grew into Santiniketan is in many ways a pioneering step in the fields of education and rural
the widely branching tree that was Visva Bharati. Today, Santiniketan and Visva Bharati reconstruction. This nurtured and became the cradle for the Bengal School and the
exemplify the continuation of Tagore’s works as a living educational and cultural Indian avant-garde with had an immense influence on art and architecture in the 20th
enclave as well as through the generations of outstanding alumni who excelled in the centuries. It is the laboratory for the ideas of its collaborators - men and women such
worlds of painting, literature, music, sculpture, cinema, economics and politics. as Nandalal Bose, Rathindranath Tagore, Abanindranath Tagore, Ramkinkar Baij, Asit
Haldar, Jogen Chaudhuri, Stella Kramisch, Leonard Elmhirst, Kimtaro Kasahara, Arthur
The notion of ‘spirit of place’ in landscape is also seen through the rich textual as and Patrick Geddes, Surendranath Kar, Uday Shankar, Mrinalini Sarabhai, Satyajit Ray.
well as visual archive that shows ephemeral constructions to celebrate nature and The built form and landscape of Santiniketan is a tangible demonstration of their vision
art. Instead of celebrating religious festivals, the students of Santiniketan celebrate of art, education, architecture, planning, environmentalism and internationalism.
nature through its seasons. Thus Poush Mela (winter), Vasantotsav (spring), Varsha The nominated property, is one of the key sites in the twentieth-century and the
Mangal (rains) and Maghotsav, continue the celebration of nature - a founding colonized world as a whole, that transcended the notion of ‘nationalism’ in education
principle of Santiniketan. The epicenter of the Ashram consists of a dominant open and the arts and instead propositioned internationalism through its architecture and
space, Gaur Prangan, and here Anandamela or spring festival and fair occurs to this landscape. Twenty-two years after Tagore wrote of these ideas in his Rakta Karabi,
day. Only temporary constructions are erected here. Other open to sky elements like the General Assembly of the UN adopted The Universal Declaration of Human Rights.
convocation stage, Ghontatola or Bell archway present a tangible testimony to the “Tagore was in truth, a living link between East and West. And so he willed it. His
interpretations of ephemeral constructions and open space in the living celebration entire life he fought against narrow distrust of foreign cultures. He had faith in the
of nature. fruitfulness of cultural intercourse and friendship. With this message he remains a
Tagore’s own literary and creative works are a powerful testimony to Visva-Bharati’s Guru to UNESCO and it is both fitting and imperative that UNESCO’s homage to Tagore
built and landscape space. The complex of Tagore’s residences, Uttarayan, staged a should join the rest of mankind”. Santiniketan is the living embodiment of these
poet’s home as a propositional space for the many overseas associates and collaborators universal ideas that are foundational to UNESCO.
to live and work in, at Santiniketan itself, as they participated in its educational and
environmental practices.
At a time when India was under the yoke of colonialism, Santiniketan was a pioneering
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 Nomination Dossier: Santiniketan, India

C. STATEMENT OF INTEGRITY
The Nominated Property of Santiniketan is one of the most avant-garde visions of an D. STATEMENT OF AUTHENTICITY FOR PROPERTIES NOMINATED UNDER CRITERIA
international educational and cultural institution conceptualized in the beginning of (ii) and (vi)
the 20th century in India. The site stands testimonial to Rabindranath Tagore’s vision
and philosophy of where ‘the world would form a single nest’ using a combination of
various elements including education of children, nature loving environment, use of Conditions of authenticity expressed through the following attributes:
music, and arts for emotional development. The vision includes social work to help the Form and design:
local community, research on philosophy, cultures etc. and continues to maintain its The 36 historic structures within the Nominated Property continue to retain a majority
distinctive authenticity and integrity through its living tradition. The integrity of the of the authentic form and design features, spatial layout since their inception. The
site has been maintained even with the change of ownership from the Tagore family form, scale, and design of the buildings in Santiniketan are significant as they are the
to Visva Bharati. physical manifestations of Tagore’s philosophy and his associates’ expansive global
learnings. Each and every design element like fenestrations, railing design, columns,
a. Includes all elements necessary to express its OUV: overhangs and supporting brackets, and the overall building geometry are authentic
expressions of Tagore’s architectural intent. The design and layout of the landscape,
The 36 historic structures within the Nominated Property along with the sculptures
and the location of artwork within the site also remain true to their original intent. In
and landscape features retain a significant degree of integrity inspite of being a
essence, the authenticity of the buildings and their surrounding context in terms of
living site. Being an art institute there is a constant incorporation of newer art works
form and design in the Nominated property is significantly high.
alongwith the original artworks within the site.
b. Is of adequate size to ensure the complete representation of the features and
processes which convey the property’s significance: Material and substance:

The buildings in the Nominated Property display complete representation of the The built fabric in the Nominated Property displays a very extensive range of building
architectural elements and layout as originally intended. Owing to the growing need materials, and is represents as a significant site of architectural experimentation
for up-to-date services for a smooth functioning school/ institute there are minimal within its period of development and growth. The buildings in the Nominated Property
interventions that have been incorporated Kala Bhavan. Although the original landscape are built in materials ranging from brick, mud, coal tar, living tree, sandstone, glass,
extended all the way to the Khopai river with its natural forms and landscape, but has cast iron, thatch, timber, bamboo, laterite, precast concrete, and reinforced concrete.
now been limited to just the Visva Bharati campus. Most of the buildings in Uttarayana, which are examples of Tagore’s experiments with
building material, still retain their material authenticity. The Pan-Asian murals and
c. Suffers from adverse effects of development and/ or neglect:
frescos on the interior and exterior on various buildings, wood windows and furniture
Almost all of the buildings are in continued use for administrative, academic, and to depict oriental influences, local indigenous plant species like Sal, Chhatim, and
museum use; and none of the buildings have been neglected or been demolished to Mangoes, all retain their material authenticity. The authenticity of landscape including
be replaced by newer developments. The salient features of the Visva Bharati Act of water channel features, the historic laterite soil pathways, and innovative material
1951 ensure preservation of the Nominated Property and advocate against insensitive (laterite strengthened with cement) sculptures is also very high.
developments within the buffer as well.

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 Executive Summary

Use and function: .

Location and setting:
The site of Sanitiniketan was developed to establish an intimate community of The site is located within the Visva Bharati campus which is the entire buffer is
teachers and students as embodied in the age old Indian tradition of Gurukul along protected under the Visva Bharati Act of 1951. The buildings have been retained at the
an environment that would open or free the student’s mind to a relationship with the same location since their conception.
world from within and around. The Nominated Property is a living site and continues Spirit and feeling:
to adhere to this tradition. One of the significant intangible features of the site: that
Santinektan was developed to enhance the experience of learning through an “open”
is experienced through the outdoor learning spaces or Gurukul learning systems is
landscape. Living traditions begun by Gurudev such as the Utsavs, festivals, open air
present even today. These spaces function on the same lines as Tagore intended it to
class rooms and the curriculum that encourages the infusion of performing and fine
hold open air learning sessions.
arts in academics are an intrinsic character of Santiniketan. The blending of nature and
Tagore drew a lot of his inspiration from the landscape in and around the property; human-man environment forms the spirit of place for instance the historic Salbithi/
which has been well maintained and continues to inspire generations of students, the Sal tree avenue that was one of Tagore’s favorite walks is still present today and
teachers, and scholars. The historic buildings within the campus like the Upasana retain a strong sense of Tagore’s presence. Aesthetic development of the senses went
Mandir is still used as a community prayer hall for spiritual events and gatherings. hand in hand with intellectual development and was made an integral part of the
Features like the Chaiti located at the end of Salbithi was intended for artwork displays curriculum at Santiniketan. The festive celebrations that have come to form a special
is still used for similar purposes. culture of the institution, and within the local communities use traditional Indian
The open spaces within the property are not neglected, abandoned and disused; they forms and rituals in organizing these festivals, including decoration of the site, use
are rather integral pockets within the site that ensure cultural exchange and safeguard of flowers, alpana, chanting of Vedic hymns and blowing of conch-shells give them a
Indian art and cultural events through the mediums of fairs and seasonal festivals. new dimension, aesthetically attractive, intrinsically Indian yet totally secular.
Their continued used ensures the authenticity of their original intent.

E. REQUIREMENTS FOR PROTECTION AND MANAGEMENT:

Traditions, techniques and management systems: The entire land area of the Nominated Property, falls within the Visva Bharati Campus,
The Nominated Property engaged in incorporating traditional systems in the creation which has been proposed as the Buffer. The owner of this land area being Visva
of Santiniketan. Traditional building materials and methods alongwith 20 th century Bharati, as specified in the Visva Bharati Act of 1951 of the Parliament of India,
building materials were used in the construction of the Nominated Property. Some of as: “… a unitary, teaching and residential University...” This makes Visva Bharati the
the buildings were built in traditional materials such as the mud house with thatch empowered owner of the Nominated property and the buffer including all important
roof for the playschool and some were built in reinforced cement concrete which artifacts and other movable property within the heritage site. There is, at present,
was an emerging material from early 20 th century. The Nominated Property use no statutory protective designation of the property as a legally notified heritage
minimal intervention for conservation works and retain the original building material zone and neither is any structure on the property protected under Central or State
and systems. The Estate department of the Visva Bharati has been maintaining the legislation as a monument/heritage building. While Visva Bharati acknowledges and
Nominated Property since its inception. lists 36 individual buildings and structures as heritage as per its official estate map,
there is no protective legislation/framework in effect to ensure their protection and
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Nomination Dossier: Santiniketan, India

conservation. Name and contact information of official local institution/ agency

A number of development pressures are noted within the Nominated Property, buffer,
and around the periphery of the buffer. Within the buffer, the development of new
Name and contact information of official local institution/agency:
academic and administrative facilities within the close proximity of the Nominated
Director General (ASI)
Property. These developments are detrimental to the built and natural character that
is present today. The Nominated Property is a smaller subset of the overall jurisdiction Organisation: Archaeological Survey of India (ASI),
of Visva Bharati University campus, and the Buffer zone is the entire University Address: Archaeological Survey of India, Dharohar Bhawan, 24 Tilak
campus itself. A study of the proposed Land Use and Development Control Plan for Marg, New Delhi, India -110001
2005-25, reveals the creation of large housing projects, in the immediate periphery Tel: 01123075357, Fax: 01123019487
of this buffer zone, which are noted to possibly be threatening the overall landscape
Email: [email protected], Website: www.asi.nic.in
character of Santiniketan.

Name and contact information of official local institution/agency:

Vice Chancellor
Organisation: Vishwa Bharati University
Address: Office of the Upacharya, Vishwa Bharati Santiniketan
731235, West Bengal, INDIA.
Tel: +91 3463 262751; Fax: +91 3463 262672
Email: [email protected]

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