The scene was different some six decades ago. They festooned the main streets of the city and were a source of awe and curiosity among the Valley’s denizens and outsiders.
Adorned in their intricately designed crowns and uniforms, these statues belong to the rulers of the flamboyant Rana regime.[break]
“Having visited many countries since the year Sambat 1906 (1850), and seeing the works of renowned Emperors and acquiring great experience from his travels, he introduced those things which had been found most good and useful into this country,” writes Lt. Col GHD Gimlette about Jung Bahadur Rana (JBR) in his book, “Nepal and the Nepalese.”
Apart from the aforementioned things, it would not be misleading to say that the other thing the first Rana premier of Nepal learnt from the visits was also the ways of glorifying himself and his status as prime minister. And putting up equestrian statues was one of them.
An equestrian statue refers to a statue of a rider, mostly a famous or known figure, mounted on a horse. Such statues have often been erected in the memory of great warriors and are found worldwide.
In Nepal, besides JBR’s, similar equestrian statues of other Rana premiers, such as Ranodip Singh, Bir Shumsher, Chandra Shumsher, Juddha Shumsher, Commander-in-Chief Dhir Shumsher, and king Prithvi Bir Bikram Shah are in the capital.
Ranodip’s and Chandra’s statues stand in the part of Tundikhel which is open to the public. Bir’s and Dhir’s rest in the Sainik Manch, the other half of Tundikhel, which is restricted to the public. JBR’s and Juddha’s statues are secluded inside the Nepal Army Club, and Prithvi’s stands just behind the Bhadrakali Temple.
“The statues used to occupy the main streets of the capital once. However, during the late king Mahendra’s reign, when the roads were extended, the statues were moved from their original places,” informs Pramode Shamshere Rana, author of books such as “Rana Intrigues” and “A Chronicle of Rana Rule” and historian Dinesh Raj Pant.
History in confusion
While books such as “The Ranas of Nepal” mention that JBR’s statue was unveiled on March 15, 1854, it is clearly mentioned in Gimlette’s “Nepal and the Nepalese” that the statue was unveiled on March 25, 1884. According to the British resident surgeon, the statues had arrived two years before, and “public curiosity was at first exercised about them.” The inscription “T. Brocks, London, 1881” on the statue’s base supports the latter version.
The year 1854, however, had seen the unveiling of JBR’s bronze statue, which now stands in the Jung Hiranya Temple in Tripureshwor. In former days, the statue took the center of Tundikhel, before the equestrian statue was placed there, according to Gimlette.
Along with JBR’s, Ranodip’s statue was also unveiled in 1884. Rs 70,000 were allegedly commissioned for the statues. However, it is not clear whether the amount was used for one or both statues.
The resident surgeon has vividly described the statues’ unveiling ceremony in his book.
Apart from a few other mistakes, the latest reprinted version of Gimlette’s book has mistaken the sculptor of JBR’s statue as T. Brocks with R. Brocks. Sculptor T. Brocks was also a Royal Academy Art member of Britain.
Obscurity not only surrounds the dates but also the reason why JBR preferred the particular pose for his statue. And lack of proper research adds to the mystery.
According to Purushottam Shumsher Rana, the author of books such as “Jung Bahadur Rana, The Story of His Rise and Glory”, JBR’s statue was erected as a remembrance of a particular scene from the 1850 march-past-in-review of Paris in France. Rana adds, “JBR, who was on a horse in order to see where the procession was heading to, got ahead of it. In order to see how far he had come, he had turned back. It is this particular moment that has been captured on the statue.” Rana further claims that the statue was ordered in Paris.
History scholar Pramode dismisses the anecdote.
“JBR is decked in his decorations, which was conferred to him after his France visit. For instance, he was bestowed the title and decoration of Peking’s Tung Ling Ping Ma Kuo Kang Wang Hsien, in 1872 and 1883, respectively,” he analyzes.
Gimlette’s writing brushes up the confusion. “A spirited and well-executed work, representing the late Maharaja mounted and sword in hand, in an attitude very similar to that of the statue of Outram in Calcutta: the features were modeled from a photograph taken at Bombay shortly before his death, and the likeness is said to be excellent,” writes Kathmandu’s residency surgeon from 1883 to 1887 about the particular statue and pose.
“The photo was later sent to London,” adds Pramode. And the name “T. Brocks, London” on the base of JBR’s statue further supports the argument.
Apart from JBR, a few others have their own share of stories.
A miniature cannon (broken) and a few cannon balls are installed at the base of Ranodip’s equestrian statue. This, according to historians, signifies Ranodip’s participation in assisting the British government against the 1857 “Sepoy Mutiny” of India.
Rana premiers such as Chandra and Juddha have used the pedestal, where the statues are installed, to highlight the development works that were carried out during their reigns. While Juddha’s has simply been inscribed on words, Chandra’s ventures are artistically depicted in pictorial edition with the help of the repoussé technique on the pedestal.
“Chandra’s statue could not make it to the Valley when it was ordered the first time. It sank while being shipped from the UK. Nevertheless, Chandra got a new one as he had insured the statue,” say historians. According to them, all of the statues were ordered from the UK.
Deciphering the code
In comparison to Chandra’s and Ranodip’s stallions, those of Dhir’s, Ranodip’s and Prithvi’s seem calmer, with just the front left leg in the air. Chandra’s and Ranodip’s appear to be in action, rearing on their two hind legs. With its right limb in the air, JBR’s horse looks scared and panicked. It is Bir’s horse that appears calmer, with all its legs on the ground.
Whenever these equestrian statues are talked about, the positioning of the horses’ hooves carrying some meaning is sure to surface. And theories that the number of hooves lifted into the air reveals how the riders died are found worldwide.
However, time and again it has been proven that the hooves’ theories lack universal application and consequently have been the topic of debate. Snopes, an urban legend reference website, reveals that only 10 out of 30 equestrian statues in Washington D.C., US, match the hooves theory.
And even in Nepal, the theories barely seem to match. For instance, it is said that the rider with the horse rearing on its two hind legs died in a battle, but neither Ranodip nor Chandra were killed in one. Ranodip was murdered by his own cousin brothers, while Chandra died in peace. Except these two men’s, others’ statues were installed after their death.
“There was a common notion that such statues were erected after a person’s death. Maybe that was a reason why Chandra chose to keep his statue covered even after it was formally unveiled on March 7, 1930,” adds Pramode.
Nepali historians and the Nepal Army Cavalry, however, are doubtful that the theories are applicable in these local statues. According to them, the statues were more of an imitation of European styles.
“JBR, during his visit to Europe, saw such statues in different avenues, which was taken as the symbol of bravery,” says historian Dr Ramesh Dhungel.
It’s not only the positioning of the hooves that grabs an observer’s attention. The differences in facial expressions of the men and their horses are also quite apparent. Of all the statues, the difference is noticeable on JBR’s. The rider appears calm and looks searchingly over his right shoulder with a sword in his hand. But his steed, on the other hand, is fiery. And fear is apparent on the horse’s face, mainly on the eyes.
A similar expression can be found in French artist Jacques-Louis David’s equestrian painting of Napoleon Bonaparte, which has been termed as propaganda. According to history, Napoleon commissioned the painter to portray him calmly mounted on an ardent horse. The painting was an idealized version of Napoleon while he was crossing the Alps with his soldiers.
Conservation
Historian Dhungel notes that the subject of these statues lacks proper research, and “there hasn’t even been a proper documentation on the total number of these statues.” “Apart from representing the country’s particular historical period, these statues are a representative of the then bilateral relationship between Nepal and the UK,” adds Dhungel.
For historian Dinesh Raj Pant, these statues, besides outlining the change in art and architecture of Nepal, also presents UK’s then-prevalent art scene. He adds, “There were even talks of the British trying to buy these statues.”
He, however, doubts the present idea of these statues being kept in the open. “They are fit for museums and much secure there as you can see the lack of cleanliness and rain and shine playing their foul share.”
Like the historian points out, lack of cleanliness and safety is a major concern when it comes to these statues. The untended corners of Tundikhel, where one can notice scattered plastics, insects crawling up the pedestal of Chandra’s statue due to lack of cleanliness, JBR’s broken sword, which was later tied back, signs of a few cracks on some of the statues’ pedestals are just a few indications of how these statues are being neglected.
These reasons aside, if seen as a form of art rather than the statues of some dictators, the works are immaculate. Details such as the crown, uniform and facial lines have been well done.
Scholar Pramode, however, is in favor of keeping them out in the public but in more appropriate manners.
“The way the statues have been placed, with their backs tothe public, and a few of them right under the sky bridge, has obscured the beauty of the sculptures.”
And the flyover also blocks the direct views of the statues, which has somewhat deprived people of the opportunity to admire the statues and imagine stories of their own.
Related story
Horses wait for rescue since 38 days in Dhaulagiri Base Camp
-1200x560_20221112143412.jpg)
