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Sacredscapes of Banaras (Kashi/ Varanasi): Cultural Landscape and Cosmic

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[485.17]. Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi/ Varanasi): Cultural Landscape
and Cosmic Geometry. Context: Built, Living and Natural [ISSN: 0973-502X;
DRONAH, A-258, South city 1, Gurgaon, HA 122007, India], vol. XIII (special issue
on ‘Cultural Landscapes’): pp. 11 - 22. <size: 4,455 words, 12-pp., 9 figures,
references>.
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Sacredscapes of Banaras (Kashi/ Varanasi):

Cultural Landscape and Cosmic Geometry

Rana P.B. Singh

§ (Prof.) Rana P.B. Singh is researching in the field of cultural and sacredscapes and heritage
interfaces in Varanasi region since four decades, and also did field studies in Japan, Korea, Italy
and Sweden. On these topics he lectured in all parts of the world. He is the Vice-President,
ACLA - Asian Cultural Landscape Association (Seoul, Korea), and also Vice President, BHAI -
Big History Association of India (an affiliate of IBHA, USA). His publications on Banaras
include 6 books and 125 papers.
https://banaras.academia.edu/RanaPBSINGH/Papers
Mobile: (+091)-98381 19474. Email: ranapbs@gmail.com

ABSTRACT
The tīrthas (holy places, sacredscapes) of India provide examples of self-amplifying interactions
between people and their cultural landscape. The five pilgrimage routes, developed during CE 5th
– 9th centuries, in Banaras symbolises the manifestation and archetypal representation of five
koshas, the ‘sheaths’. That is how koshas are analogous to the five gross elements of organism
according to Hindu mythology. The mythologies give a cosmogonic outline to understand the
archetypal nature of earth spirit ― a process making a place sacred and exposed in a frame of
cosmic geometry. Born of the earth, of water, of fire, of space, and of air, the Hindu divinities are
still here among us, still alive, of course invisible. The geographicality of the sacred territories,
the pilgrimages and the related journeys, and experiential feelings of the pilgrims directly
correspond to the making of complex web of metamorphosis that converged into sacredscapes
and faithscapes of Banaras/Kashi. Banaras is an example of the ‘cosmic whole’, an archetype of
‘body’.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

1. Introduction: Perspective
Sacred places can be constituted through reiterate cultural practices and performances,
including the practice of daily visitation and invisible communication with inherent spirit and
human quest. A sacred space possesses existential value for religious man. Sacred landscape
combines the absoluteness of space, relativeness of places and comprehensiveness of landscape;
thus altogether result to a ‘wholeness’ carrying the inherent and imposed spirit of ‘holiness’,
which is to be called ‘sacredscapes’ (Singh 2011a). In Hindu tradition this is called ‘divya
kshetra’ (a pious/ divine territory). The notion of sacred geography refers to an all-encompassing
reality that maintain the prāna (ethereal breathe/ life-force) by interactional web of the five gross
elements (mahābhutas), viz. earth, air, water, fire, and ether/space. These five gross elements are
archetypal and manifested in the five pilgrimage circuits of Banaras/ Kashi, evolved during CE
5th – 9th centuries, and fully established in the ritual traditions by the CE 11th century. All the
sacred spaces vary according to the special sense attached to them depending on how “sacred” the
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 12

space is ― persons, cultures or faiths, and the intensity of attraction at a sacred place as centre of
pilgrimage. In India, the holy centres, sacred sites and centres of pilgrimages are almost identical
and together in a complex way represent the archetype-mysticism built structure, historicity and
faithscape.
Through pilgrimage and deep feelings/faith man can transform the materialistic identity
into a cosmic integrity at a place. Such place becomes holy where ‘wholeness’ is preserved’.
Ultimately the overall wholeness of landscape creates a faithscape. The sacredscapes are known
as tirthas in Sanskrit literature and Hindu mythologies. Etymologically a tirtha refers to “crossing
the ford”, thus serving as bridge to link the three cosmic spheres: macrocosmos (heavenly abode
and gods), mesocosmos (the earthly representation), and microcosmos (the human psyche and
emotional bond). Banaras possesses all the three cosmic layers in the form of pilgrimage circuits.
Like many old and sacred cities in the Oriental world, the metaphysics based on cosmological
principles has been a dominant force shaping the cultural landscape of Banaras (Kashi), one of
India’s oldest continuously living and the most sacred cities (cf. Singh 2009).
By the realisation of the manifestive sacrality in the place and the landscape, the
associated territory converges to frame the greater unity of cosmic reality commonly envisioned
as sacredscape (tīrtha-kshetra). By the deeper association between person and nature-spirit
results a divine connection which crosses the boundary of space and time, and generates the
world of meaning, feeling and revelation ― a cosmic field of divine manifestation where man
and natural mystery meet, to be called as faithscape (āsthā-kshetra). Faithscape encompasses
sacred place, sacred time, sacred meanings and sacred rituals, and embodies both symbolic and
tangible psyche elements in an attempt to realise man’s identity in the cosmos. The mythological
stories assemble the divinity’s acts and life into a divine environment making a spiritual sphere of
faithscape more meaningful and insightful. The sacredscape (existential) and faithscape
(experiential) have their roots in the cosmic order of sacred territory, which are constantly
repeated, revived, regulated and rejuvenated by rituals and rites and thus evolved unique
lifeworld and lifeways.

2. The Five Sacred Territories and the Pilgrimage Circuits

Varanasi is first and foremost a sacred city. Its design is such that its signs, symbols, and invisible
meanings correlate with sacred geometry and territorial organisation that reflects the city’s
cosmological significance. Varanasi can be considered a “cosmocised sacred city”, in that the city
acts as the centre of various cosmic axes that together represent the universe. More specifically,
the centre of this sacred geometry is the Shiva temple of Madhyameshvara, the “Lord of the
Centre”, on the north bank of the Mandakini Tirtha, which, in Hindu cosmology, is surrounded by
a mythic territory or sacred field (kshetra) referred to as the Kashi Mandala (“mandala” =
“circle”). Concentric circles spread outward from the Shiva temple, each circle representing one
of the levels of the cosmos (Singh and Rana 2016: 5; cf. Fig. 1). The largest concentric circle at
the edge of the sacred field, referred to as the Brihata Panchakroshi, represents the outer limit of
the universe (mandala). Within this outer limit are four yatras, thus in total the number reached to
five. The axis records two existential points (mundis), referring two contexts, in Banaras, the one
represented with spatial centrality, i.e. world centre in the city territory (locis mundi) –
Madhyameshvara; and the other one in human psyche centre serving as nexus of the rituals
(nexum mundi) – Jñānavāpī.
Kashi contains many sacred routes and territories defined and followed by pilgrims in
different context (Fig. 2), however the five among them are given special consideration in terms
of cosmogony and sacred geometry. The four routes form an irregular shape of circle, while the
covering and outer route is identical to a circle. The four inner sacred journeys meet at Jñānavāpī,
the nexum mundi. The temple of Madhyameshvara serves as the centre for the covering circle
(locis mundi), and was firstly referred in the Padma Purana (Shristi Khanda, 65.14-20), a 5th
century text. The pilgrimage to the outer circuit is now rarely performed. By the existence of the
above two axes, the whole system converges into complex wholes. These five sacred territories
are mythologized as the archetypal manifestation of macrocosm (gross elements, mahabhutas,
e.g. sky, earth, air, water, and fire), corresponding to the five sacred routes (mesocosm). The
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 13

mesocosm at the next level shrunken down into microcosm of the cosmic man, Purusha,
associated with the transcendental power and sheath, kosha: head, legs, face, blood and heart (see
Fig. 3, see Table 1).

Fig. 1. Kashi Mandala, showing three outer pilgrimage circuits delineated by routes.

Fig. 2. Varanasi: The 4-Pilgrimage circuits.

Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 14

Table 1. Kashi (Varanasi): Five Layers of Sacred Territories in Varanasi

Se Macro- Mesocosm: Microcosm: Transcen- Sheath No. of shrines
cosm: Sacred route part of body dental power (Chakra) on the route
1 Sky Chaurashikroshi Head Consciousness Food 144
2 Earth Panchakroshi Legs Action Mind 108
3 Air Nagar Pradakshina Face Cognition Breath 72
4 Water Avimukta Blood Wisdom Intellect 72
5 Fire Antargriha Heart Bliss Bliss 72
(Source: Singh 1993: p. 240).

Fig. 3. Geomantic Map of Kashi Mandala.

The spiritual homology of the sacred territories further shows the interlinking relationship
between human beings and the cosmos, occurring in a strong state of connection to the sacred,
where “one sees one’s own soul”. Jñānavāpī, conceptualised as the nexum mundi of the cosmos in
the mesocosmic sphere, is outside mundane space and time, even though it is a visible site on the
earth as well. The outermost sacred circuit (Chaurashikroshi Yatra), symbolising the shadow of
cosmic light, is defined with reference to the shrine of Madhyameshvara as the centre (locis
mundi) and Dehli Vinayaka as the threshold radial point (puncto pollicis), at a distance of 5
kroshas (equal to 11 miles/ 17.6 km). Its circumference identifies the cosmic territory (fines
mundi) called Kashi Mandala (Fig. 3). In each of the eight directions exist 12 power-goddesses
(Shaktis), one energy- goddess (Durga), one of her male partners (Bhairava), 3 local assistant
demigods (Vetalas), and one directional deity (Dikapala). Their total number reaches 144.
A number and varieties of deities associated to space (direction) and time (yearly cycle)
finally emerge to form the greater pilgrimage mandala of Varanasi, known as Kashi Mandala
(Fig. 3). In each of the eight directions, twelve “power goddesses” (Shaktis) represent “Power” in
twelve months; they are further supervised by the “leading energy goddess” (Durga) and her
male partner (Bhairava) who looks after the rhythm of ‘time’ and ‘death’, and assisted by a
directional guardian (Dikpala) and three auxiliaries (Ishta Devas). Thus their total number
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 15

reaches 144, i.e. 96 Shaktis, 8 Durgas, 8 Bhairavas, 8 Dikpalas, and 24 Ishta Devas (for a full list
see Singh, 1993: 40-41; cf. Fig. 4).

Fig. 4. Kashi Mandala: Sacred Yatras and Directional Deities.

Although sun worship is not as prominent in the ritual landscape of Kashi as it was once,
the shrines of sun god are regularly visited and worshipped together with other major gods like
Shiva, Vishnu and the goddess. Historical evidences refer that during the Gupta period, CE 4-5th
century, the sun worship was common and by the turn of 12th century it was well established.
However, near the end of that century all the sun temple and shrines, together with most other
temples in the city, were demolished by the Mughal invaders. Fragments of the temples and sun
images exist, and today they are visited by pilgrims ― so great has been the spirit of place and
the power of the sun. The Kashi Khanda, a 14th century text, lists 14 Sun images (Adityas) and
shrines in Varanasi, each of which is expressive of one or more of the multiple qualities and
meanings of the sun (Fig. 5). All of them exist at present and are part of the ritual landscape. This
way, the sacredscape related to sun god and his shrines refers to a form of ‘non-destructive
archaeoastronomy’.
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 16

Fig. 5. Sun (Aditya) Shrines: Cosmic Order and Cyclic orientation of Time.

Of the 14 Adityas, 10 lie approximately along an isosceles triangle formed by Uttararka

(no. 14), Karna (no. 3), and Khakhola Aditya (no.11). The longest side is established by Karna
and Uttararka and lies 1.1º east of true north, which is negligible in human cognition. The two
opposite sites of the triangle have sides of 2001m and 1997m, differing from each other by 0.2%
that is comparable to the precision of the GPS data (Singh and Malville 1995: 71). The shrine of
Madhyameshvara lies inside the triangle, only 45 meters away from the centre of the 2.5 km long
north-south base. The location of Madhyameshvara close to the centre of the Aditya triangle is
significant. Prior to the Muslim occupation of the city in the late 12th century, Madhyameshvara
was the site of the oldest and greatest temples of the city. Symbolic of centricity of Lord of the
Centre, it was the original centre of Kashi, and as such it would have been surrounded and
symbolically protected by the various forms of the sun as represented by the Aditya temples.
Today’s centre of Varanasi for initiation rites of any rituals (nexum mundi) is at a different
location, i.e. Jñānavāpī, a holy well associated with Vishvanatha temple. The geometric regularity
of the Adityas combined with our discovery that the centre of the Aditya triangle coincides with
Madhyameshvara. This encourages one to believe that the fragments of Surya images, lotus
petals, and other representations of the sun god that mark sites along the Aditya pilgrimage circuit
actually do establish the places of the original Aditya temples.
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 17

A number of the Adityas are associated with specific astronomical events and solar
symbolism. Khakhola Aditya (no. 11) is associated with a fascinating story involving two sisters,
Vinita, the mother of birds, and Kadru, mother of snakes. As a result of competition, Kadru sent
coiled black snakes onto the surface of the sun. When they left the sun due to actions of Vinita,
the snakes fell in flames. The story may refer to two major astronomical events that occurred at
the end of the CE 11th century: a major outbreak of sunspots starting around 1077 and unusual
intense showers of meteors in 1060-1090. Further south, Mayukha Aditya (no.9) associated with
a story of a time when the sun departed from the heavens, leaving only his rays remaining, which
may refer to the total solar eclipse visible in Varanasi in CE 1054. The southern edge of the
triangle, Karnaditya is associated with Karna, a major figure of the Mahabharata, who was the
son of Surya (sun god) and Kunti. He was distinguished by an extraordinary generosity, always
giving away whatever was asked of him. Karnaditya symbolises the generosity of the sun, which
provides unlimited energy to the earth and its creatures, asking nothing in return. The
southernmost of the Adityas, Lolarka, is one of the most ancient sacred places in Varanasi. This is
the site of the great festival of Lolarka Shashthi when couples come to bathe in order to conceive
a son, at which time the meaning of sun as the source of human fertility is fully demonstrated.
The Panchakroshi route (Fig. 6) demarcates the territorial limit of the cosmic territory of
Varanasi, referred as Kashi Mandala. The Padma Purana (Shristi Khanda, 65.14-20), a CE 7th
century mythological import, describes its territory which centre lies at Madhyameshvara and
radial point at Delhi (“Gate”) Vinayaka, measuring a distance of 5 krosha (i.e.11 miles/17.6 km).
Thus the covering circumambulatory circuit of 168 miles (269 km), known as Brihata
Panchakroshi, or Chaurashikroshi Yatra. After passage of time this circuit has shrunken down to
the present path of Panchakroshi (i.e. laghu, the shorter one) and covers a distance of 25 krosha
(i.e. 55.2 miles/ 88.5 km). The third level of manifestation is marked by the Nagar Pradakshina
(NP), marking the sacred territory of the holy city. The fourth level is symbolized as Avimukta,
marking the inner city in which Lord Shiva, the patron deity of Kashi, moves; the name
Avimukta means the “Never Forsaken” zone. The fifth level is marked by the Antargriha (“inner
sanctum”).

Fig. 6. Panchakroshi Yatra route and alignment of Vinayaka shrines ( □ ).

These five sacred (territorial) journey routes are identified by the respective boundaries in
a series and never crossing one another, and are connoted as the five koshas, the ‘sheaths’ (see
Table 1). That is how koshas are analogous to the five gross elements of organism according to
Hindu mythology and also “with human being where the outermost (annamaya /food-made)
kosha being the material body and the innermost (anandamaya /bliss-made) kosha being the
subtle body” (Eck 1986: 46). By this archetypal manifestation the interconnectedness between the
divine and the human realms can be perceived and expressed into the true form of natural
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 18

existence (Eck 1982: 30). The five sacred territories are further explained as the symbol of “gross
elements” (mahabhutas) and compared with the corresponding body symbols, transcendental
power and the sheaths (cf. Figs. 2 and 3, Table 1). The sheaths (Chakras) are channelized by the
subtle force (prana) of the Ganga River, conceived as ‘Sushumna’ (the central energy pathway).
The Panchakroshi Kshetra (territory) shows an organised and meaningful archetype in the
intermediate realm of integration between macrocosmos, the culturally conceived universe
marking the outer edge (here it is Chaurashikroshi), and the microcosmic world of a closed
territory forming a small compound (the area surrounding the Vishveshvara temple). In the light
of ecological concept, the Panchakroshi Kshetra, like a developed kingdom, allows the fulfilment
of Hinduism’s potentials for ordering a community. Here developed its potentials for systematic
complexity, and with it a temporal stability (e.g. sacred/ auspicious time for pilgrimage). This
idea is narrated in various mythology by referring this sacred territory as “Light-manifested Shiva
Linga” (panchakroshatmaka jyotiralinga) and to be understood by the pilgrims as they express
that ‘while we are performing pilgrimage on the sacred earth, the divinities also performing
pilgrimage in the heavens, that is how we get merit’.
There exist 108 shrines along the Panchakroshi Yatra, PY, route (Fig. 6). This pilgrimage
is performed, according to the prescribed rule, in a period of six-days, passing nights at the five
halt stations which record 44 dharmashalas (pilgrims’ rest houses). Of the total 108 shrines and
images 56 are associated with Shiva, 11 with Vinayakas (Ganesha) and 10 with the Shiva’s
assistants (cf. Singh and Rana 2017). By turn of CE 16th century, the PY became popular. A
Marathi treatise, the Guru Charitra (41.265-315), dated 1538, describes the details of this
journey. Later the famous devotional-poet Tulasi (1497-1623) also eulogised the pilgrimage.
The cardinal and inter-cardinal directions are referred as reference points describing
routes, however they rotate at different degrees. This can be explained with comparison of 56
Vinayaka (“elephant-headed god”, son of Shiva) shrines (cf. Fig. 7) which are located on the
spiral route (7 rounds) and also following upon the cardinal bisecting points (8 directions).

Fig. 7. Kashi Mandala: 56 Vinayakas and 3 Khandas.

Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 19

The size (17.6 km from Jñānavāpī to Dehli Vinayaka) and explicit directionality of the
Vinayaka mandala provide an opportunity for comparing the ideal geometry with the real
geography. The exact locations of the Vinayakas have been measured with the help of GPS
receivers (see Fig. 6, compare Fig. 7). The radial alignment of shrines on the outermost circuit of
the spiral is suggestive of an attempt at large-scale organisation, where exists multiple centres; in
case of Kashi there are two axes, i.e. Madhyameshvara (locis mundi) and Jñānavāpī (nexum
mundi). Respectively, they define the limit of outer territory, and the merger of the innermost
segment.
The series of pilgrimage routes and territories may not be assumed to form a hierarchi-
cally structured network – each higher level contains the lower, but not vice-versa. There is no
hierarchy but rather a series of level of abstraction where the whole is present in each part, or
layer, and in each level of existence. However, at every step there appears a living reality that is
total and unbroken and individual, and that is in everything – maybe at different degrees (Singh
and Rana 2016: 17).

3. The Riverfront Landscape and Sacredscapes

The ancient association of the Ganga River with the religious, traditional and cultural fabric of
the city and the immense influence of the associated activities on the development of economic
and social life of the city and related tangible and intangible cultural expressions is unique in the
world. All the pilgrimages and rituals get initiated at the holy spots along the Ganga River,
conceived as ‘Sushumna’ (the central energy pathway). The 6.8km (4.25 miles) long riverfront of
the river Ganga in Banaras, forming the crescent-shaped eastern edge, presents a specific vision
of a magnificent architectural row of lofty buildings and holy sites (Fig. 8). The stone steps ghats
(stairways to the riverbank) started construction since 14th century, and as late as 1995 a few of
the ghats finally built into stones. There are 96 sacred waterfront sacred spots (jala tirthas)
concentrated around the 84 ghats. Most of the Ghats are active spots for festivities and rituals
since historical past (Singh and Rana 2002: 87-102).
In the 2nd century, for the first time we find description of Dashashvamedha Ghat with
reference to the great horse sacrifice ritual performed by the kings of Naga dynasty. During the
Gupta period, CE 3rd to 6th century, the ghats became the centre of economic and cultural
activities. The Puranic literature describes its glory vividly in various contexts. In the Gahadavala
period, 11th-12th century, as much as five ghats were mentioned in several inscriptions, viz. Adi
Keshava, Vedeshvara, Kapalamocana, Trilochana and Svapaneshvara. From the inscriptions it is
also clear that on solar and lunar eclipses and on some other family celebrations people were
going to the ghats for performances and giving donations to the Brahmins.
By 17th century the riverfront landscape (ghats) became prominent in the overall arena of
Varanasi. The palatial buildings along the ghats were built under the patronage of the Marathas
during 18th -19th centuries. Even in 19th-20th century many ghats were re-constructed, re-named
and reshaped too. Since 1950 the state government of Uttar Pradesh has been deeply involved in
making the ghats stone staired (pucca) and their repairing (Singh 2004). During the period
between late 18th and 20th century, along the riverfront many monasteries (ashramas), Sanskrit
schools, temples, and pilgrims rest house were built by estates, of different parts of India, like
Peshvas of Pune (Gujarat), Holkar of Indore, and Scindhias of Gwalior (Madhya Pradesh),
Bhonshalas of Nagpur (Maharashtra), Sursand, Bhabhua, and Darbhanga estates of Bihar, Rani
Bhavani of Bengal, kings of Nepal, etc.
There are 84 ghats (cf. Fig. 8 and 9), forming a symbolic chain of holy sites. In archetypal
terms each of the ghats represents 100,000 organic species (yonis) as described in Hindu
mythologies. Thus by taking holy dips in the Ganga at all the ghats the individual soul can get
purified in all the 8,400,000 species. This number also refers to the annual cosmic journey, i.e. 12
zodiacs X 7 layers of the atmosphere, or 7 chakras (sheaths). Among the 84 ghats the 5 described
as the most merit-giving and sacred, called the Panchatirthis, from the south to the north are Asi
(Assi), Dashashvamedha, Manikarnika, Panchaganga, and Adi Keshava. These five ghats
symbolise the microcosmic body of Vishnu, respectively as the head, chest, navel, thighs, and the
feet, and most of major rituals performed there. Thus the area along the ghat is eulogised as
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 20

Vishnu’s body. Any festival and ritual starts from sacred bathe in the Ganga and followed up
rituals like worshipping the river, oblation to the sun-god and preparatory rites for continuing the
sacred performances.

Fig. 8. Varanasi: The Riverfront Heritage Zone and the Ganga Ghats.
Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 21

Fig. 9. Varanasi: The Riverfront Ganga Ghats: Chausatthi to Prayag Ghats.

4. The ongoing Strategies and Vision

Generally it is believed that the city as analogous to living organism, is more recent and arose
from the growth of biology in the eighteenth and nineteenth centuries in the west; however
metaphysically and archetypically this idea was commonly used for the city plans in ancient
India, especially in reference to holy-sacred cities, like Varanasi. By this assertion, the boundaries
were delineated by the attributes of body symbolism (‘sheaths’) and its various niches, as
represented in case of Varanasi where pilgrimage routes symbolize the ‘sheaths’, ‘gross
elements’, signs, transcendental powers, numerical symbolism, etc. In the recent debate of SDGs
(Sustainable Development Goals), the city has been conceived as “organic body”, therefore the
planning measures be developed accordingly. This paper presents example of cultural landscape
of Varanasi as organic body, where the five gross-elements play a vital role is maintenance and
sustenance, viz. sky, earth, air, water, and fire.
People construct cities, and the city, in turn, influences and modulates their living. This is
the essence of urbanism. The City is not simply about building and rebuilding an infrastructure,
its primary concern is in fact the state of the people’s lives in the city that evolved in the past,
expanded, manifested, continued, superimposed and make it a ‘body of cosmic wholes’ where
varying attributes play their cyclic role in functioning the rhythm of life. Like other organism, the
city organism is also homeostatic, self-repairing and regulating toward a dynamic balance, if
human conscience and involvement take care.
In a recent agreement between the state government of Uttar Pradesh and the central
Ministry of Culture - Govt of India (24 March 2017), Mathura, Ayodhya, Varanasi and
Gorakhpur are nominated for special development programme for religious heritage (within the
purview of cultural landscape) and pilgrimage-tourism with a view to serving Banaras as nexus
for global harmony and cultural development. In a recent recommendation (10 May 2017) under
 Singh, Rana P.B. 2017. Sacredscapes of Banaras (Kashi): Cultural Landscape…. Context, vol. XIII 22

PRASAD the city of Ayodhya and Varanasi have given priority consideration for developing
pilgrimage sites, routes and facilities, and the riverfront cultural landscapes.
In order that the cultural landscapes and associated heritagescapes become a resource for
development, it needs to be first documented, then protected, maintained and finally utilised
according to specific heritage guidelines and legislations. Only then, combined with an increased
stakeholder awareness and participation, will policy efforts and interventions become sustainable
– environmentally, socially and culturally. We may separate ourselves from the web of our
heritage in the line of modernity and secularism, but it would always be in the heart and soul of
ourselves. A thing is right when it tends to preserve the integrity, stability and beauty of the site
as living organism. A mass awakening of awareness in the context of old cultural values would
promote a new spirit of sustainability (Singh 2004: 29), which will make the future of the city
more compassionate and a humane.

5. References
Eck, Diana L. (1982). Banaras. City of Light. Alfred A. Knopf, Inc., New York.
Eck, Diana L. (1986). Banaras: Cosmos and paradise in the Hindu imagination; in, Das, Veena
(ed.) The Word and the World. Sage Publs., New Delhi: pp. 41-55.
Singh, Rana P.B. (1993). Cosmic Layout of Hindus’ Sacred City, Varanasi. Architecture &
Comportement/ Architecture & Behaviour (Association de la revue »Architecture &
Comportement», Switzerland, ISSN: 0379-8585), vol. 9 (2): pp. 239-249.
Singh, Rana P.B. (2004). The Ganga Riverfront in Varanasi, a Heritage Zone in Contestation.
Context: Built, Living and Natural (DRONAH, Gurgaon, India), vol. 1 (1): pp. 25 - 30.
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