The story of a Sikh museum KANIKA SINGH GURDWARA Sis Ganj in old Delhi One enters the museum with is one of the holiest Sikh shrines in the head covered and without shoes, India. As one walks down the street of as one would in the sacred space of a Chandni Chowk, the main boulevard gurdwara. The entrance to the museum in the old city, the Sis Ganj gurdwara is on the busy fawwara roundabout does a prominent landmark. The fawwara not quite prepare the visitor for the roundabout on which it is located is space inside. The museum has large always busy with the traffic of devotees, open halls, spread over two storeys. both locals who visit the gurdwara daily The display is unusual. In a and those who have travelled into Delhi museum, one typically expects a col- as pilgrims. As a resident of Delhi and lection of old, rare objects which have a historian interested in the city’s past historical value. Here, the display is and its heritage dynamics, it is interest- entirely made up of modern paintings. ing for me to observe the commemo- There are portraits of the Sikh gurus, rations and celebrations around the stories from their life and that of their gurdwara. The gurpurab celebrations followers. These ‘history paintings’ and the accompanying nagar kirtans narrate the story of the Sikh past. are a regular feature of the Sis Ganj These are oil paintings on canvas gurdwara and Chandni Chowk. The made in a western realist style. While fawwara (a blue and white colonial- the workmanship in some paintings is period fountain in the middle of a crude, on the whole it is impressive. roundabout) is now a prominent Sikh Walking through the gallery of paint- shrine. What is not so prominent is the ings, I found myself drawn into the Sikh museum on the same roundabout. story of the Sikh community. Unless one is very familiar with The paintings with their short the area, it is often hard to spot indi- descriptions are like a story book vidual buildings in old Delhi; they are unfolding. The most popular stories hidden behind large hoardings and a of the gurus, familiar since our child- mesh of electrical wires, and one is hood, come alive once again. There often too preoccupied with negotiating is the young Guru Nanak asleep in the roads to spare a glance elsewhere. the sun, being provided shade by a A buff coloured building on the roun- cobra; Guru Nanak and his compan- dabout, across from the Sis Ganj gur- ion, Bhai Mardana, on their travels; dwara, has a charitable dispensary and Mata Khivi, famous for her generosity, a rest house for travellers. It also houses preparing the langar; Guru Harkishan 95 the Bhai Mati Das Museum, an ajaib- nursing the sick in Delhi; Guru Gobind ghar, attached to the gurdwara. Singh accepting baptism from the SEMINAR 701 – January 2018 Panj Piare. The dynamism of the calendars, over a period of more than ings. The key people behind PSB’s characters is so vividly depicted in the three decades. They were subsequently famous calendars were Inderjit Singh, paintings that I could feel both the donated by the bank to the DSGMC Makhan Singh and Satbir Singh. gentleness of the gurus’ expression for display in the museum. Inderjit Singh (1911-1998), a greatly and the energy of the Khalsa. What links this well known pub- respected member of the Sikh com- Like many of us, I was already lic sector bank to Sikh history and Sikh munity, was the general manager of familiar with quite a few of these museums? PSB has an interesting his- PSB from 1960 to 1968 and then its images: the portraits of the gurus, the tory of promotion of Sikh heritage. It chairman till 1982, when he retired. warrior Banda Bahadur striking a was founded as a private bank in the Inderjit Singh was keen to spread the militant pose, Baba Deep Singh charg- year 1908 by three prominent Sikh teachings of Sikhism and promote the ing into the Harmandir Sahib with a reformers: Bhai Vir Singh, Sardar gursikh way of life among the Sikhs. raised sword, the portrait of Maharani Tarlochan Singh and Sir Sunder Singh Under his chairmanship, PSB started Jindan. I have seen these images on Majithia. It was envisaged as a com- publishing calendars and books on wall and pocket calendars, magazines, munity bank for the Sikhs and had Sikh heritage. Makhan Singh (b. 1936) government advertisements celebrat- many branches in undivided Punjab. who retired from PSB as deputy gene- ing gurpurabs and death anniversaries After the Partition in 1947, it was left ral manager, worked in close asso- of Sikh heroes, and even academic with only two branches on the Indian ciation with Inderjit Singh. He was works. Animation films and songs on side, and it gradually grew from this responsible for coordinating among Sikh history available on the internet position. PSB remained a private com- the artists, historians and the bank for make extensive use of these images. pany till the year 1980, when it was publishing the calendars. Principal I had even used some of these images nationalized by the Indian government. Satbir Singh (1932-1994) of Khalsa professionally, when I was part of the College, Karnal, was a prolific writer design team creating the display for I of popular books on Sikh history. He Virasat-e Khalsa, the multimedia n independent India, PSB is well was responsible for the historical con- museum of Sikh history at Anandpur remembered in the Sikh community tent of the paintings and the calendars. Sahib, Punjab. These images till now for its calendars depicting scenes from had seemed to me as simply popular Sikh history. The first calendar was E bazaar art. I was now encountering issued in 1974 and paintings for calen- ach PSB calendar was based on a them within the portals of a museum. dars continued to be commissioned for single theme from Sikh history. For Who made these paintings and why? printing till the early 2000s. The bank instance, the calendar for the year 1975 How did they end up in a museum? still publishes calendars except that featured women from Sikh history, and photographs have now replaced paint- included Bebe Nanaki (Guru Nanak’s B hai Mati Das Museum was com- missioned by the Delhi Sikh Gurdwara Management Committee (DSGMC) and was opened to public in the year 2001. It was on the initiative of Baba Harbans Singh Kar Sewa Wale, a much respected elderly Sikh who ran the vol- untary labour or kar sewa teams, that the building of Majestic cinema hall was purchased by the DSGMC and converted into a museum. The museum has a total of 166 oil paintings. Most of these were not created for the Sis Ganj gurdwara museum; they found their way into it 96 as an afterthought. These paintings were commissioned by the Punjab and Sind Bank (PSB) for their annual Display at Bhai Mati Das Museum, Chandni Chowk. Courtesy DSGMC. SEMINAR 701 – January 2018 sister), Mata Khivi (known for her for the annual calendar was decided, The largest number of paintings are langar) and Mai Bhago (leading the the bank commissioned these artists those of Guru Gobind, Guru Arjan and forty muktas into the battlefield in to illustrate different episodes for the Guru Hargobind, followed by Guru support of Guru Gobind Singh). The theme. Teg Bahadur, Guru Nanak and Guru PSB calendar for the year 1976 was Amar Das. The narrative is personal- on kirtaniyas: the musicians and E ity centric and follows a chronologi- singers who accompanied the gurus. ven after its nationalization, PSB cal order: from Guru Nanak to Guru It carried paintings such as that of continued publishing calendars on Gobind Singh, followed by stories of Bhai Mardana with his rabab, and Bhai Sikh heritage. Significantly, the decades Sikh heroes and military commanders Balwand and Bhai Satta. Many of these of the production of paintings for calen- who lived in the 18th century, and sub- paintings are now part of the display dars coincide with some very crucial sequently, Maharaja Ranjit Singh’s at Bhai Mati Das Museum. developments in the Sikh community’s rule in Punjab. history: the newly reorganized state of The museum has very little to T Punjab, where the Sikhs became a tell us about what happens to the Sikhs he painting of Mata Khivi by the well majority community; the increasing after Ranjit Singh’s rule. There are a known artist Devender Singh prepar- tensions between Delhi and Punjab; few portraits of the Sikhs involved in ing langar is displayed at the entrance the Khalistan movement; Operation the national movement for indepen- hall of the museum. Other artists whose Bluestar and the violence against the dence (Bhagat Singh, Udham Singh, works are displayed in the museum Sikhs in 1984. Interestingly, none of Kartar Singh Sarabha), and then a cou- include Mehar Singh, Bodhraj, Kirpal these events are represented in the ple of canvases on their participation Singh, Rahi Mohinder Singh, Jarnail paintings. The museum overwhelm- in the army of independent India. It is Singh and Amolak Singh. When the ingly focuses on the guru period and almost as if Sikh history came to a Bhai Mati Das Museum was estab- the Sikhs’ struggles against the Mus- stop with the end of Ranjit Singh’s lished, Amolak Singh was employed by lims as events worth remembering in rule, or at least the glorious period did. the DSGMC to work at the museum. the community’s history. There are a number of paintings which Some of the paintings on display here Out of 166 paintings in the present Sikh struggles again the Mus- were painted by him exclusively for museum, 104 depict the life of the ten lims – Sikhs are shown sacrificing the museum. At PSB, once the theme gurus and their families and followers. their life in defence of their faith. B hai Mati Das Museum is named after one of the disciples of Guru Teg Bahadur who was killed at Chandni Chowk in 1675. Popular Sikh tradition informs us that the Mughal emperor Aurangzeb was forcing a group of Kashmiri Pandits to convert to Islam when the latter approached Guru Teg Bahadur for help. The Guru chal- lenged Aurangzeb that if the emperor could convert him, everyone else would convert; else the emperor would have to give up his policy of coercion. Guru Teg Bahadur along with three of his disciples – Bhai Mati Das, Bhai Sati Das and Bhai Dyala – was captured and imprisoned at the Mughal kotwali in Delhi (the present day lan- gar khana of the Sis Ganj gurdwara). 97 These three Sikhs were tortured in the Mata Khivi preparing langar. Painting in the Bhai Mati Das Museum. Courtesy DSGMC. presence of the guru to scare him into SEMINAR 701 – January 2018 converting to Islam. It is said that of 100. The museum has been raised 1984. These were extremely signifi- Bhai Mati Das was sawn in half, Bhai to preserve the memory of this sacri- cant events both for the Indian nation Sati Das wrapped in cotton and set on fice forever in history. The building and the Sikh community and, there- fire and Bhai Dyala boiled alive. Even stands on a site which is enriched with fore, conspicuous by their absence in after witnessing the torture and death the blood of martyrs (shaheedon ke the museum. Interestingly, the trauma of his followers, Guru Teg Bahadur khoon se rangi dharti). The paintings of 1984 (military action at the holiest refused to convert to Islam. As a result, have been displayed so that people in shrine of Sikhism and the loss of lives he was beheaded. India and abroad learn about the glori- in the Golden Temple complex, in June The Sis Ganj gurdwara in ous historical legacy, sacrifices and 1984) is commemorated every year as Chandni Chowk marks the spot of achievements (of the Sikhs). We are the ghallughara diwas (holocaust the guru’s beheading. The fawwara at confident that this museum dedicated day) by the Shiromani Gurdwara the roundabout on Chandni Chowk to martyrs will inspire the young gene- Prabandhak Committee (SGPC) at is believed to be the site of martyrdom ration to become Sikhs, Singhs and the Golden Temple, Amritsar.3 None of the three followers. Recently, a Khalsa, true to the faith. of the Delhi gurdwaras (until recently) shrine commemorating the three fol- have had a comparable commemora- lowers of the guru was established at T tion (either to remember June 1984 or the fawwara, which has been renamed he inspiration and purpose of the the targeted killings of the Sikhs in Bhai Mati Das Chowk. Devotees museum is clear from the above text.2 Delhi in November 1984, after Indira offer prayers and flowers at the shrine. The site of the museum is significant Gandhi’s assassination). A memorial Both the roundabout and the museum as this is the very place where Sikhs for the victims of November 1984 have graphic depictions of torture these were martyred, their blood enriching was, however, announced in 2013 by Sikhs faced. the land. The museum is in memory of DSGMC, and inaugurated in 2017 at those very sacrifices. And the paint- the Rakab Ganj gurdwara in New B ings displayed in the museum help Delhi. This mobilization for the 1984 hai Mati Das Museum is part of people learn of this history, the achieve- memorial in Delhi coincides with the the larger sacred landscape of the Sis ments of the Sikhs. The purpose is to Akali Dal (Badal) gaining control of Ganj gurdwara, which now includes inspire young Sikhs to follow the path the DSGMC, which for long had been the kotwali and the fawwara as Sikh of their ancestors, be true to their under Congress control. While these shrines. The information plaque at the faith, uphold its traditions and be pre- political interests may explain the entrance to the museum underlines pared to defend the faith for which so selective commemorations of 1984, the significance of this landscape. It many sacrifices were made. the blanking out of any reference to the tells us that ‘museum (ajaibghar) is a However, there is little in the Partition is intriguing. place where the Sikh community’s glo- museum which informs a viewer of rious historical treasures are housed.’ the context and the times in which T It goes on to tell us a story:1 the Sikhs lived. As a result, all actions he plaque at the Sis Ganj museum A Pathan was once seen holding a of individuals depicted in the museum entrance states that the museum is built paintbrush in his hand. Someone are inspired by and in the service of on land enriched by the blood of mar- remarked that the feeble paintbrush did faith alone. Moreover, all members of tyrs. However, it is the heroes of the not suit him and he should hold a sword the Sikh community are depicted in the medieval times whose sacrifice is over- instead. The Pathan replied that with Khalsa ideal (full beard and turban), whelmingly invoked. Besides the Par- this paintbrush he will make such paint- even when the events date back to much tition and 1984, both of which are ings that those who see and experience before the Khalsa was established by significant to the history of the Sikhs them will be inspired to take up the the last guru in the 17th century. in Delhi, another episode which is for- sword. This is the hope that motivated The story of the Sikh community gotten is the police firing in the year the establishment of the museum… in the Sis Ganj museum also has 3. See Radhika Chopra (2010): Commemorat- Chandni Chowk was witness to the some glaring omissions: the Partition, ing Hurt: Memorializing Operation Bluestar, sacrifice of Guru Teg Bahadur and his Operation Bluestar and the subse- Sikh Formations: Religion, Culture, Theory, three followers… Banda Bahadur’s quent violence against the Sikhs in DOI: 10.1080/17448727.2010.530509; 98 companions were killed here in batches Radhika Chopra (2013): A Museum, A Me- 2. Although I find it curious that a Pathan morial, And A Martyr, Sikh Formations: Re- (i.e. a Muslim, the traditional enemies of ligion, Culture, Theory, DOI: 10.1080/ 1. Translation from Gurmukhi is mine. Sikhs) is used as an example. 17448727.2013.822142 SEMINAR 701 – January 2018 1930 at this very site. Delhi had seen several protests in the backdrop of the Civil Disobedience Movement. One such protest near the Sis Ganj gurdwara and the kotwali next to it led to police firing at the protesting crowd, killing and injuring people, and desecrating the gurdwara. This inci- dent had been strongly condemned by the Sikh community then and was a major cause of unrest among Sikh soldiers in the army of British India. This significant event in the history of Sis Ganj, however, finds no place in the commemorations at the gurdwara or the history in the museum. The story of Bhai Mati Das Museum is an interesting entry point into understanding the phenomenon of Sikh museums. It reveals connec- tions between individuals and institu- tions, all of whom are united in their idea of Sikh heritage and their efforts to promote it. A number of Sikh muse- ums have been established in India since independence, built by both gurdwara management committees and the government. The history paintings are part of practically every Sikh museum, irrespective of who built them. Small neighbourhood gur- dwaras may only have a couple of paint- ings or their prints displayed along a wall. Large gurdwaras and govern- ment projects will often have a dedi- cated museum building containing dozens of paintings. The journey into a Sikh museum is not only an exercise in seeking knowledge, but also an affirmation of one’s faith. Here, the authority of the museum combines with the power of faith to create an authoritative version of Sikh heritage. And, what gets pre- sented as heritage, is best understood in light of the politics that produces it. Sikh museums reveal a fascinating intersection of Sikh popular art with history, faith, identity and politics, mak- 99 ing them the key to understanding how the Sikh community looks at its past. SEMINAR 701 – January 2018