Asthan: Haveli Kavi Santokh Singh
Significance: The Haveli (house) where Kavi Santokh Singh composed his Sri Gurpratap Suraj Granth, the most famous of Sikh historical texts. The house was gifted by Bhai Udai Singh, Raja of Kaithal in 1825 CE.
Period of construction: Likely built in the latter half of the 18th Century probably by the Sikh Rajas of Kaithal.
Type of Asthan: Typical multi level North Indian Haveli containing a courtyard.
One striking feature of the Asthan: A wonderful example at the entrance of a ਵੰਗੜੀਆਂ ਵਾਲੀ ਡਾਟ (foliated/curved archway) covered in ਨਕਾਸ਼ੀ (fresco painting).
The main portion of the Haveli no longer has a roof and the entire internal structure is exposed to wind and rain.
The project to restore Kavi Santokh Singh Ji's historic home is being led by Kavi Santokh Singh Churamani Trust who have authorised Virasati Asthan Seva to act as one of the main fundraising organisations to enable conservation work to commence and reach completion.
Phase I: Protection from further decay & preventive conservation
This will include:
Basic architectural documentation comprising floor plans, typical sections and elevations.
Provision of shoring and supporting systems for the areas vulnerable to collapse.
Provision of a temporary roof over the L shaped building to ensure that water does not cause further damage.
Plugging areas where water is seeping into the building with reversible intervention.
Setting up of the workyard and procurement of materials and equipment
Estimated Phase I Cost: 24, 00, 000 Rs (Approx. 24, 000 pounds)
Estimated Total Project Cost: 20,000, 000Rs to 25, 000, 000 Rs (Approx. 200, 000 pounds to 250, 000 pounds)
Who was Kavi Santokh Singh?
Chooraamani Mahakavi Bhai Santokh Singh Ji, was born in village Nur Di Sarai which is now known as Kila Kavi Santokh Singh Ji on 22nd September 1788 C.E. Kavi Ji’s parent’s names were Bhai Deva Singh Ji and Mata Raaj Kaur Ji. Kavi Ji started their Vidhya (literary training) with their father Bhai Deva Singh Ji. Then with the recommendation of Bhai Raam Singh Ji Amritsar, they became the student of the famous leader of the Giani Samparda (traditional lineage of scholars from the time of Guru Gobind Singh Ji) and Granthi Sahib of Sachkhand Sri Harmandar Sahib, Bhai Sant Singh Ji Giani. Kavi Ji from their childhood, was very intelligent and learnt very quickly. In a very short period, they mastered Sikh literature and historic Granths. Alongside this, they also learnt Sanskrit and Braj Bhasha. In the space of ten years, under the guidance of the great Bhai Sant Singh Ji Giani and in the educational atmosphere of Amritsar, Kavi Ji developed into an excellent poet. They became adept in writing Hindi, Sanskrit, Braj Bhasha and Panjabi poetry.
After gaining the blessings of their Vidhya Guru, Bhai Sant Singh Ji, Kavi Ji went to Banaras to delve into the Sanskrit language even further. In the same way that Guru Gobind Singh Ji sent five Gursikhs to Banaras to receive Sanskrit Vidhya, Kavi Ji headed for Kanshi (Banaras) at the age of 20 . Kavi Ji left for Banaras in 1856 Bikrami (1799 C.E.) and stayed there for five years learning the six Shastras (philosophies). Kavi Ji had already studied Sanskrit in Amritsar and was an expert in writing Sanskrit and Braj Bhasha poetry. For this reason, Kavi Ji greatly impressed the Pandits of Banaras. During that period, it was a common saying that if one was to be adept in Sanskrit, they must memorise their Vidhya. There were many Granths to memorise such as Nirukat Nrighantu, Naam Mala, Medni, Halayudh, Anekaarth, Kriya Kosh etc. but it was the ‘Amar Kosh’ ( a very hefty Sanskrit encyclopedia/dictionary) which Kavi Ji preferred. To make this volume accessible to those who did not read Sanskrit, Kavi Ji started the momentous task of translating it into Braj Bhasha. In 1870 Bikrami (1812 C.E.) Kavi Ji left Kanshi and arrived in Village Booria.
Booria was on the riverbank of Jamuna River, and was under the command of Raja Bhagwan Singh of the Bhangi Misl at the time. With the help of Sardar Diaal Singh, Kavi Ji became the court poet of Raja Bhagwan Singh. Residing in the Diaalgarh area of Booria, Kavi Ji became busy in completing their already commenced project of translating Amar Kosh and completed this by 1878 Bikrami (1820 C.E.).
It was after completing the Amar Kosh, that Kavi Santokh Singh Ji decided that there was a need for a complete and detailed biographical version of the Sikh Guru’s history. After returning to Amritsar, Kavi Ji decided to start with the history of Sri Guru Nanak Dev Ji. Combining a number of earlier sources, primarily from the Janamsakhi tradition, Kavi Ji started to write the history of Sri Guru Nanak Dev Ji in the form of poetry.
In the beginning, I searched in various ways, in places such as Sri Amritsar Sahib
Writing down whatever I could find from various places and that which was pleasing to the mind when I heard it (i.e. Sakhis from various Gianis from the traditional lineages in Amritsar)
I selected those writings in which the praises of the Guru were found. In the same way, that when churning milk, the butter is taken out and the leftover is discarded (i.e. that which Kavi Ji deemed to be not in the glory of the Guru he left aside).
Taking all this information I had gathered, I wrote this as poetry that would be pleasing to the mind of the Sikhs of the Satguru.
- Sri Gur Nanak Parkash, Utraradh, Chapter 57
After much effort, and with the blessings of the Guru Sahibaan, Kavi Ji completed Sri Gur Nanak Parkash Granth on Kattak Sudi 15 1880 Bikrami (1824 C.E.) at Sri Amritsar Sahib. After completing the Sri Nanak Parkash Granth and with the blessings of their teacher Bhai Sant Singh Ji, Kavi Ji was sent to Maharaja Karam Singh of Patiala and became a court poet. At that time, the Sikh Rajas had interest in keeping great poets in their courts similar to how Sri Guru Gobind Singh Ji’s kept a minimum of 52 poets in their Darbar at Sri Anandpur Sahib.
How did Kavi Ji arrive in Kainthal?
Bhai Laal Singh, a descendent of Bhai Bhagtu Ji, resided in Kainthal and was also fond of keeping many poets in his court. When Laal Singh’s younger son Udai Singh sat on the throne, his mother Mata Sahib Kaur requested him to bring Kavi Ji to Kainthal from Patiala, after hearing the many praises of Kavi Ji.
With the permission of Raja Karam Singh, Kavi Ji left for Kainthal where he was received with much respect. It was around this time in 1882 Bikrami (1824 C.E.), that Kavi Ji completed the Garab Ganjani Teeka (Garab = ego, Ganjan = to destroy) of Sri Jap Ji Sahib. This teeka (translation) of Sri Jap Ji Sahib was written to destroy the ego of Swami Anandghan who had also written a Jap Ji Sahib Teeka but had slandered Sri Guru Nanak Dev Ji. Alongside Gurbani and Gur-Itihaas, Raja Udai Singh was very interested in the knowledge of the Upanishads, Vedant and Yoga. Upon his request, Kavi Ji completed the Aatam Puran (based on the Upanishads) in 1886 Bikrami (1828 C.E.) and by the end of 1891 Bikrami (1833 C.E.), they had completed a translation of the Balmiki Ramayana. The King was so impressed by his translation, that he gave Kavi Ji the village of Mothli as a reward.
When did Kavi Ji stay at the haveli?
Perhaps soon after settling in Kainthal, Kavi Ji had a haveli, a large house/mansion, built and this is where he produced his Magnum Opus, Sri Gurpartap Surya Prakash Granth. Whilst living at the Haveli, Kavi Ji had a great desire to write the complete history of the Guru Sahibaan. Kavi Ji writes at the start of the Sri Gurpartap Suraj Prakash Granth:
First I had written the history of Sri Guru Nanak Dev Ji in poetic stanzas. I had the desire of my heart to write the history of the other 9 Gurus, but after completing Sri Nanak Parkash I was not able to (i.e. this is something Kavi Ji only had a chance to do after).
- Sri Gurpartap Suraj Granth, Raas 1, Ansu 5
Kavi Ji writes how difficult it was to collect the sources for writing the Guru’s history:
The history of the great Guru Sahibaan cannot be found in this world in one place, it must be searched for in many different places.
Gold is found by sieving the sand over and over, those who want to find the gold eventually find it.
In the same way I will search and sieve out the history of the Guru Sahibaan available in this world and write it all down.
In order to make my speech fruitful, I am writing the supreme glory of the Satgurus.
- Sri Gurpartap Suraj Granth, Raas 1, Ansu 5
So that history, which was located in different places and written in different Granths, was very difficult to find. But with the help of Raja Uday Singh and the Kainthal Darbar (court), much material was brought together. Raja Uday Singh sent his men to far off places like Afghanistan to obtain whatever manuscripts they could. Kavi Ji themselves, write that they travelled to many places themselves to obtain information and see the historical Asthaans to portray an accurate representation when describing them in the Granth.
Maharishi Vyaas Ji organised the great epic of the Mahabharat in 18 large sections with further dividing sections. But Kavi Ji went a step further by divinding the history of the Ten Guru Sahibaan likening it to the sun. The Gurus are like the sun (suraj) emanating parkash (light – giving peace and comfort to all, and eradicating darkness), Kavi Ji divided his epic history into 12 Raas (corresponding to the signs of the zodiac), 6 Ruth (seasons), 2 Ayan (ascending and descending nodes). This Granth was named, the Sri Gurpartap Suraj Parkash Granth, meaning that Granth in which the glory of the Gurus is shining forth. Each chapter of this Granth is known as ‘Ansu’, which means ray i.e. each chapter is like the rays of the sun. Kavi Ji has written this history in such a way, that the events of Guru Ji’s life appears in front of the eyes like a film. Those who listen to the Katha of this Granth get transported to the scene of the Sakhi (historical episode).
After the effort of around twenty years, Sri Gurpartap Suraj Granth was almost complete when Raja Udai Singh passed away on 14th March 1843 C.E, at the age of 35 years old, and without anheir. From 1833 – 1843 C.E. there was peace in the kingdom of Kainthal, due to which Kavi Ji had continuously worked on writing Sri Gurpartap Suraj Granth without any disturbance. Kavi Ji was near to completing the history of Sri Guru Gobind Singh Ji when Raja Udai Singh died and the British saw their chance to annex Kainthal into their empire. Kavi Ji writes that during that time, the British started to loot and plunder Kainthal, however with the grace of the Guru, he remained unharmed and was able to work on the Granth. Three months after this incident of unrest in Kainthal, Kavi Ji completed his magnum opus, as written at the end of the Granth:
In the month of Saavan (Saavan is the months july-august, and the year was 1843 C.E.), this Granth was completed. With the grace of the Supreme Creator, I was saved from many different obstacles.
Kavi ji left this world on 21st October 1843 C.E. Kavi Ji was 56 years old when ascended to Sachkhand after a bout of illness, only a short period after completing Sri Gurpartap Suraj Granth.
What is the significance of the haveli?
The haveli was the home of Kavi Ji, his wife Bibi Ram Kaur and his children which is itself significant. Kavi Ji had four or five sons and three daughters who would have grown up in the haveli. Alongside being a family home, the haveli would have included rooms which were a pustakalaya (library) with an area dedicated for writing. It is likely that Kavi Ji dictated their Kavita orally and had scribes employed to write for them. These scribes may have also been students of Kavi Ji. This was a common working model and there is evidence in Sri Dasam Granth that Guru Govind Singh also dictated their Gurbani orally. Giani Sher Singh, who led the effort to purchase the haveli, has indicated a specific part of the building which was likely to have been a scriptor Kavi Ji would walk up and down reciting their Kavita for the scribes to write.
Kavi Santokh Singh's sons lived in the site until they sold it. When Bhai Vir Singh visited the site in the 1920s as part of his research, he found that a Mahajan (trader) was living there. After this, the history of the site becomes unclear and it seems the large building was sub-divided by different occupants. Sikh scholars and researchers have been sought to protect and preserve the site for over a century or more. The earliest recorded image of the site was taken by Bhai Vir SIngh who obtained an iconic photograph of the front of the building showing it to be in a reasonable state of preservation. After the photograph was published in Bhai Vir Singh's edition of Sri Nanak Prakash (1927), the site has been visited by numerous Sikh scholars including Giani Sant Singh Maskeen and others.
A photograph of the haveli taken in the 1920s by Bhai Vir Singh.
What are the key architectural features of the haveli?
The magnificent entrance to Kavi Ji's Haveli, a combination of fine brick masonry with frescoes and an intricately carved wooden door-frame.
The building has many typical features of a 'haveli'. Havelis are typically large residential buildings, often with an arched entrance and an internal courtyard structure. Amongst the many beautiful features of the haveli, the finely shaped decorative brickwork and the intricately carved wooden door-frame are particularly eye-catching. Further research into the building would help establish how the design of the haveli was shaped by previous buildings in this tradition.
Much of the structure is built using a bricks set in mud mortar with the outer layer of bricks set in lime mortar. In such traditional structures, the walls are substantial in thickness and the porous materials are able to release and dissipate any moisture which enters their structure. However, applying synthetic paints and synthetic cement-based plasters can trap moisture in the wall structure resulting in accelerated processes of decay and breakdown.
According to Bhai Vir Singh (Sri Gur Partap Suraj Granthavali preface, p104), the haveli was once known as the 'Shera Vali' haveli as it had tiger or lion designs incorporated in the design of the entrance. He also adds that the entrance was once able to allow an elephant to enter.
The central doorway of the 'tin-dari' (triple archway). This is an important architectural feature seen in many buildings connected to the Mughal style. See https://www.metmuseum.org/art/collection/search/38639
The haveli has examples of extremely fine brick masonry. This is an example of a particularly well preserved section.
The doorway has, what appears to be, a finely carved 'Chaukath' or door-frame. Compared to much of the haveli, this section is still is better condition.
What is the current state of the haveli?
There is clearly considerable damage to the walls and roof of the property and the current state of the site is in disrepair. Portions of the original building are entirely missing. Water damage, missing building elements and tree growth have resulted in cracks appearing, the structure being exposed to the elements and decay over time. The impressive deorhi (gateway) at the front of the haveli is still standing but requires stabilisation.
The structural integrity of the building is not yet known and therefore to avoid any further damage, what remains of the building needs to be carefully secured before any restorative works are undertaken.
The central portion of the building has no roof and the mud mortar is actively eroding each time it rains.
Decayed timbers and heavily damaged brickwork.
Much of the building has lost the floors and roof, only the walls remain standing.
What will the project involve?
The Kavi Santokh Singh Churamani Trust (led by Giani Sher Singh Ji) owns the site and, having gathered funds to purchase the site, has also been able to fund the construction of a temporary shoring system and roof. The project is being led by Kavi Santokh Singh Churamani Trust who have authorised Virasati Asthan Seva to act as one of the main fundraising organisations in order for the conservation work to commence and reach completion.
The restoration plan consists of three separate phases. We are currently focusing on phase I.
This will include:
Basic architectural documentation comprising floor plans, typical sections and elevations.
Provision of shoring and supporting systems for the areas vulnerable to collapse.
Provision of a temporary roof over the L shaped building to ensure that water does not cause further damage.
Plugging areas where water is seeping into the building with reversible intervention.
Setting up of the workyard and procurement of materials and equipment
Estimated Phase I Cost: 24, 00, 000 Rs (Approx. 24, 000 pounds)
Estimated Total Project Cost: 20,000, 000Rs to 25, 000, 000 Rs (Approx. 200, 000 pounds to 250, 000 pounds)
The overall guidance for the project will be provided by Gurmeet Kaur Rai whose company, CRCI, has decades of experience in planning and delivering complex building conservation projects. The restoration work will be informed by a variety of technical analytical tools including photogrammetry and a number of key material tests which will help determine how the strength and stability of the existing historic materials.
A variety of traditional construction techniques will be necessarily deployed in order to ensure that all new materials being added are structurally and aesthetically compatible with the historic structure. The use of lime-based mortar, traditional bricklaying and plastering methods are essential as inappropriately applied modern materials (particularly cement and concrete) can cause fragile historic structures to fail completely.
Photogrammetry is being used to help map the damage to the building. This helps to plan and implement appropriate structural solutions.