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I believe that a really good way to understand a culture is through its gardens. | 0:00:02 | 0:00:06 | |
This is an extraordinary journey to visit 80 inspiring gardens from all over the world. | 0:00:06 | 0:00:12 | |
Some are very well-known like the Taj Mahal or the Alhambra. | 0:00:12 | 0:00:17 | |
And I'm also challenging my idea of what a garden actually is. | 0:00:17 | 0:00:22 | |
So, I'm visiting gardens that float on the Amazon, | 0:00:22 | 0:00:25 | |
a strange fantasy in the jungle, | 0:00:25 | 0:00:27 | |
as well as the private homes of great designers, | 0:00:27 | 0:00:30 | |
and the desert flowering in a garden... | 0:00:30 | 0:00:33 | |
and wherever I go I shall be meeting people that share my own passion for gardens | 0:00:33 | 0:00:37 | |
on my epic quest to see the world through 80 of its most fascinating and beautiful gardens. | 0:00:37 | 0:00:44 | |
This is my very first visit to India, | 0:00:54 | 0:00:57 | |
and I confess that it's daunted me more than anywhere else in the world. | 0:00:57 | 0:01:01 | |
I know that this is a country of fierce natural extremes, | 0:01:01 | 0:01:06 | |
with the weather alternating between drought and torrential monsoon rains. | 0:01:06 | 0:01:11 | |
However, I also know that this beautiful country holds a rich gardening tradition | 0:01:11 | 0:01:16 | |
and that's what I want to explore. | 0:01:16 | 0:01:18 | |
And through its gardens, hopefully, I'll be able to make sense of the country. | 0:01:19 | 0:01:24 | |
I begin my journey in the imperial state of Rajasthan and the gardens of India's imperial past. | 0:01:28 | 0:01:34 | |
Then, travelling south to Kerala, I find gardens founded upon the tea and spice trade. | 0:01:34 | 0:01:40 | |
Finally, I'll return north to Chandigarh, | 0:01:40 | 0:01:43 | |
and an extraordinary garden that was created in secret in the middle of the jungle. | 0:01:43 | 0:01:48 | |
Nowhere on this planet is more sensuous than India. | 0:01:55 | 0:01:58 | |
The colours, scents, sounds, food and sheer physicality, | 0:01:58 | 0:02:02 | |
create a vibrant turmoil that you simply can't avoid. | 0:02:02 | 0:02:07 | |
Clearly this is exhilarating, but it is also rather overwhelming, | 0:02:07 | 0:02:11 | |
and surrounded by this sensuous assault, it is hard to know where to begin. | 0:02:11 | 0:02:15 | |
So, I decide to start at India's most famous and most visited site. | 0:02:16 | 0:02:22 | |
But what many tourists don't realise when they make their pilgrimage is that, in fact, this is a garden. | 0:02:22 | 0:02:28 | |
So I begin my journey at dawn to visit the most iconic building on the planet. | 0:02:28 | 0:02:34 | |
Of course, the hardest thing on any really well known monument - | 0:02:45 | 0:02:50 | |
and there is no monument in the world better known than the Taj Mahal - | 0:02:50 | 0:02:54 | |
is to react trying to forget all the images you've seen. | 0:02:54 | 0:03:00 | |
Just as when you see | 0:03:24 | 0:03:26 | |
some extraordinary beauty... | 0:03:26 | 0:03:29 | |
..the reaction... | 0:03:30 | 0:03:32 | |
..is to still you. | 0:03:33 | 0:03:35 | |
It stops you in your tracks and there's not a lot to say. | 0:03:35 | 0:03:38 | |
All you can do is just experience it. | 0:03:38 | 0:03:40 | |
The Taj Mahal is the most spectacular example of a Mughal 'tomb garden'. | 0:03:47 | 0:03:52 | |
Mughal architecture and gardens were always inseparably entwined, | 0:03:52 | 0:03:57 | |
and the basic template for the gardens | 0:03:57 | 0:04:00 | |
was taken from the description in the Koran of heaven, which is depicted as a garden. | 0:04:00 | 0:04:05 | |
The Mughal garden was always divided into four quadrants with water an essential feature. | 0:04:05 | 0:04:11 | |
Each quadrant was subdivided again with raised pathways, | 0:04:11 | 0:04:14 | |
although these were remodelled as large lawns under the British-led restoration. | 0:04:14 | 0:04:19 | |
In the centre of the garden is a large marble tank from which run four broad canals | 0:04:35 | 0:04:40 | |
in which the ghostly reflection of the tomb is held and shimmers. | 0:04:40 | 0:04:45 | |
This was a garden intended, literally, as paradise on earth, | 0:04:47 | 0:04:51 | |
a living mirror of heaven. | 0:04:51 | 0:04:55 | |
The Taj Mahal is a monument to one of history's great love stories. | 0:05:01 | 0:05:07 | |
The Mughal Emperor Shah Jahan built it as the final resting place of his beloved wife, Mumtaz Mahal. | 0:05:07 | 0:05:14 | |
Its construction took 20,000 men 22 years to complete. | 0:05:14 | 0:05:19 | |
And every inch, every stone is a testament of love and sorrow. | 0:05:19 | 0:05:23 | |
The marble up here is blindingly white as the sun rises and it gets hotter. | 0:05:27 | 0:05:35 | |
It makes a stark contrast to the green of the garden and I'm sure that's deliberate. | 0:05:35 | 0:05:41 | |
You walk through this garden and arrive at this very austere, very pure place. | 0:05:41 | 0:05:48 | |
White, white marble. | 0:05:48 | 0:05:51 | |
Then, inside the tomb itself, it's very dark. | 0:05:51 | 0:05:56 | |
No photography allowed. | 0:05:56 | 0:05:58 | |
All you can do is go from this brilliant light into the gloom. | 0:05:58 | 0:06:02 | |
The famous gardens at the front of the main building are not original, | 0:06:12 | 0:06:16 | |
having been restored during the first quarter of the 20th century, | 0:06:16 | 0:06:20 | |
following centuries of gradual neglect. | 0:06:20 | 0:06:22 | |
But what lies beyond the tomb is far less known, and much more accurately preserved. | 0:06:22 | 0:06:27 | |
Across the river, ruins can be seen. | 0:06:29 | 0:06:32 | |
Over the centuries, a myth grew up | 0:06:32 | 0:06:34 | |
that Shah Jahan had intended to build himself a twin tomb there, but in black marble. | 0:06:34 | 0:06:39 | |
The Black Taj. The mirror image of his wife's in all but colour. | 0:06:39 | 0:06:44 | |
But I think the truth is actually much more interesting, | 0:06:44 | 0:06:48 | |
because the work done since the early '90s has proven that, in fact, this was not a tomb | 0:06:48 | 0:06:54 | |
but an extension of the garden of the Taj Mahal. | 0:06:54 | 0:06:58 | |
And down here, what you have is a vast tank, | 0:06:58 | 0:07:03 | |
which would have been full of water, | 0:07:03 | 0:07:05 | |
coming right in among these lotus leaf filigrees - imagine the water scalloped in there - | 0:07:05 | 0:07:11 | |
and a beautiful pavilion around it | 0:07:11 | 0:07:13 | |
from which people could view the mausoleum, | 0:07:13 | 0:07:17 | |
the white marble reflected in the water across the river. | 0:07:17 | 0:07:22 | |
Now, what that means is that | 0:07:22 | 0:07:26 | |
the Taj Mahal is the centre of the garden both figuratively and literally | 0:07:26 | 0:07:33 | |
with a beautiful and extraordinary grand garden in front of it and across the river behind it. | 0:07:33 | 0:07:40 | |
And through the archaeological work, they've managed to reconstruct the garden much more faithfully | 0:07:40 | 0:07:46 | |
than that which you see in front of the building or, in fact, any of the other Mogul gardens. | 0:07:46 | 0:07:52 | |
It's planted up really densely with trees and shrubs, with flowers and fruit, | 0:07:52 | 0:07:58 | |
all of which are designed to enrich the senses. | 0:07:58 | 0:08:02 | |
So, what you have is a paradise garden and that was deliberate. | 0:08:02 | 0:08:06 | |
That is what Shah Jahan intended for his bride to have around her as she lay dead. | 0:08:06 | 0:08:13 | |
Shah Jahan's reign was long and glorious but it ended as it began, with tragedy. | 0:08:21 | 0:08:28 | |
Not in his paradise garden, but a few miles down the river in the Red Fort of Agra. | 0:08:28 | 0:08:35 | |
Having created for posterity the heavenly beauty of the Taj Mahal, | 0:08:37 | 0:08:42 | |
it was here, in the old ruling palace of the Mughals' Indian empire, | 0:08:42 | 0:08:47 | |
with most of its magnificent buildings, still standing today, | 0:08:47 | 0:08:53 | |
that Shah Jahan ended his reign, | 0:08:53 | 0:08:56 | |
not on the throne, | 0:08:56 | 0:08:58 | |
but as a captive. | 0:08:58 | 0:09:00 | |
But for the last seven years of his life, he was kept a prisoner here by his own son. | 0:09:06 | 0:09:10 | |
And although it was a very grand prison - a gilded cage, if you like - | 0:09:10 | 0:09:16 | |
it did mean that this balcony behind me was the closest that he could get to the Taj Mahal. | 0:09:16 | 0:09:23 | |
So he'd come and gaze out down the river to where his dead wife lay. | 0:09:23 | 0:09:29 | |
Whilst undoubtedly the Taj Mahal is the great cultural icon of India, | 0:09:38 | 0:09:44 | |
and it's essential visiting, | 0:09:44 | 0:09:46 | |
it's actually only one part of its garden story. | 0:09:46 | 0:09:48 | |
About an hour down the road, at Sikandra, is Akbar's tomb. | 0:09:48 | 0:09:53 | |
And this, with it's garden, contains an element that even the Taj Mahal can't match. | 0:09:53 | 0:09:58 | |
It was built by Shah Jahan's grandfather, The Emperor Akbar, | 0:10:01 | 0:10:04 | |
who ruled from 1556 to 1605, | 0:10:04 | 0:10:07 | |
and in many ways it's the precursor of the Taj Mahal. | 0:10:07 | 0:10:10 | |
But what makes it extremely unusual is to this day, | 0:10:10 | 0:10:15 | |
it is still filled with extraordinary animals. | 0:10:15 | 0:10:18 | |
I came, of course, to see the animals, but what I hadn't expected was a sandstorm | 0:10:24 | 0:10:29 | |
which has really whipped up out of nowhere. | 0:10:29 | 0:10:34 | |
But it's not ideal because all the animals have run away. | 0:10:34 | 0:10:38 | |
I managed to grab my hat before it disappears. | 0:10:46 | 0:10:49 | |
The storm passes and the animals return. | 0:10:49 | 0:10:52 | |
There are langurs with their young lining up to be admired and fed. | 0:10:52 | 0:10:58 | |
And blackbuck testing out their fine corkscrew horns. | 0:10:58 | 0:11:02 | |
And there are peacocks too, out-dazzling everyone and everything. | 0:11:02 | 0:11:07 | |
The Mughals valued all aspects of nature | 0:11:07 | 0:11:11 | |
and the menagerie was seen as an integral part of a true paradise garden. | 0:11:11 | 0:11:15 | |
Hunting was one of the great Mughal pleasures | 0:11:16 | 0:11:19 | |
and so the animals also provided the emperors with sport. | 0:11:19 | 0:11:23 | |
But they were only part of any Mughal garden and never the main focus of interest. | 0:11:24 | 0:11:30 | |
Remember, the gardens were based upon the Islamic ideal of paradise. | 0:11:30 | 0:11:34 | |
Paradise was a place which, above all, had abundant water, | 0:11:37 | 0:11:42 | |
and so water was always a part of paradise gardens. | 0:11:42 | 0:11:46 | |
The whole Islamic Mughal garden mythology was centred around water. | 0:11:46 | 0:11:52 | |
A large tank of water was always central and also significant - | 0:11:52 | 0:11:58 | |
the bigger the tank the more important the garden - | 0:11:58 | 0:12:01 | |
so this is a real whopper of a tank in a very dry part of the country. | 0:12:01 | 0:12:04 | |
Then you have these rills which it overflowed into. | 0:12:04 | 0:12:07 | |
You can see how lovely it would be if that was water and catching the sunlight | 0:12:07 | 0:12:12 | |
this silver line going straight down to the doorway and then leading to the tomb. | 0:12:12 | 0:12:18 | |
It's really sad that it's empty and dry | 0:12:18 | 0:12:21 | |
and I can only suppose that water is in such shortage at this dry time of year | 0:12:21 | 0:12:26 | |
that it just can't be afforded. | 0:12:26 | 0:12:29 | |
The walkways are raised right above the garden | 0:12:38 | 0:12:41 | |
with what look to me like holders for torches so you could see it at night. | 0:12:41 | 0:12:46 | |
By looking down on it, you would see the flowers below you, | 0:12:46 | 0:12:51 | |
and across into what would have been trees with the animals amongst them. | 0:12:51 | 0:12:56 | |
It wasn't until the British came and cleared most of the trees, | 0:12:56 | 0:13:00 | |
to make it look like a Capability Brown park, that you had grassland. | 0:13:00 | 0:13:04 | |
The Mughals were empire builders, | 0:13:09 | 0:13:12 | |
successfully invading India from Afghanistan in 1526. | 0:13:12 | 0:13:16 | |
During the subsequent three centuries, they created a fantastically opulent dynasty. | 0:13:16 | 0:13:24 | |
What I find really staggering about this place, Akbar's Tomb, | 0:13:24 | 0:13:31 | |
and, of course, the Taj Mahal is that they are tombs. | 0:13:31 | 0:13:35 | |
They're not palaces and yet they are enormous, glorious places | 0:13:35 | 0:13:40 | |
and it makes you realise, apart from anything else, how rich they must have been. | 0:13:40 | 0:13:44 | |
Almost incomprehensible wealth. | 0:13:44 | 0:13:46 | |
During the 16th and 17th centuries, | 0:13:55 | 0:13:57 | |
Mughal society was at the height of its cultural and artistic sophistication. | 0:13:57 | 0:14:03 | |
Akbar's Tomb and the Taj Mahal were only two of the many magnificent gardens of that era. | 0:14:03 | 0:14:09 | |
While most now lie in ruins, all bear witness to that golden age of Mughal power. | 0:14:09 | 0:14:17 | |
Before the Mughals established their rule, | 0:14:20 | 0:14:22 | |
India was a series of individual, mainly Hindu, states, | 0:14:22 | 0:14:26 | |
each with its own ruler or Maharajah. | 0:14:26 | 0:14:29 | |
The Mughals were canny enough not to sweep away this existing culture, | 0:14:29 | 0:14:34 | |
but gave them wealth and power and let them keep their religion. | 0:14:34 | 0:14:38 | |
So, the Maharajahs continued to build and maintain their own palaces and gardens, | 0:14:38 | 0:14:43 | |
although, their gardens were not devoted to Allah, but to pleasure. | 0:14:43 | 0:14:48 | |
Thank you. | 0:14:52 | 0:14:53 | |
In my next garden, the principle pleasure is relief from the unbearable Rajasthan summer heat. | 0:15:09 | 0:15:15 | |
Built in the mid-18th century, the Monsoon Garden at Deeg was a large palace | 0:15:15 | 0:15:21 | |
with a whole range of gardens all devoted to cooling display and entertainment. | 0:15:21 | 0:15:26 | |
The Mughal gardens were based strictly upon order, restraint and harmony, | 0:15:26 | 0:15:31 | |
and although Deeg, made 100 years after the Taj Mahal, does show many Mughal influences, | 0:15:31 | 0:15:37 | |
it's frankly extravert, slightly kitsch and technically ingenious. | 0:15:37 | 0:15:41 | |
From up here on the roof, you can see clearly the layout of the Char Bagh, | 0:15:42 | 0:15:46 | |
or the Mogul, four quadrants of the garden. | 0:15:46 | 0:15:50 | |
The key difference is in the way that water is used, | 0:15:50 | 0:15:53 | |
because in Islamic and Mogul gardens, it tended to be tinkling and modest, | 0:15:53 | 0:15:58 | |
whereas here, it's festive, it's a socking great display, | 0:15:58 | 0:16:02 | |
and I think that's the key to the difference between the Moguls and the Maharajahs. | 0:16:02 | 0:16:07 | |
They did like to party and to party as extravagantly as possible. | 0:16:07 | 0:16:11 | |
The water needed for the fountains | 0:16:13 | 0:16:15 | |
and all the other extraordinary displays of water they used in the garden | 0:16:15 | 0:16:20 | |
all had to be brought up here | 0:16:20 | 0:16:23 | |
into this tank | 0:16:23 | 0:16:24 | |
which holds, apparently, 600,000 gallons - | 0:16:24 | 0:16:29 | |
every single drop of which had to be drawn up. | 0:16:29 | 0:16:33 | |
Before it was filled, all these holes around the outside - | 0:16:33 | 0:16:36 | |
there are hundreds of them - were stopped up with wooden bungs. | 0:16:36 | 0:16:40 | |
It would be filled up and would just sit there. | 0:16:40 | 0:16:42 | |
Then if wanted water to go to particular parts of the garden | 0:16:42 | 0:16:45 | |
or even particular fountains you pulled out the appropriate bung and down it went. | 0:16:45 | 0:16:50 | |
They could even change the colour of the fountains by adding dye to the water. | 0:16:52 | 0:16:57 | |
Now, this enormous quantity of water was drawn up | 0:17:00 | 0:17:06 | |
from a big deep well there | 0:17:06 | 0:17:08 | |
by a wheel into a huge leather bucket | 0:17:08 | 0:17:11 | |
that would just balance on the edge there | 0:17:11 | 0:17:14 | |
and that was drawn by ropes by a pair of oxen. | 0:17:14 | 0:17:17 | |
You can see that the ropes over the years have worn a groove in the stone. | 0:17:17 | 0:17:22 | |
The oxen would go down the hill drawing up the full leather bucket of water | 0:17:22 | 0:17:27 | |
and then come back up here and it was the job of one man | 0:17:27 | 0:17:30 | |
just to tip the water out onto this slope. | 0:17:30 | 0:17:32 | |
It ran down into this corner, underneath the walkway into the tank. | 0:17:32 | 0:17:38 | |
It took that team a whole month to fill it up. | 0:17:38 | 0:17:42 | |
To get the most from this garden it's important to imagine it as a place filled with water. | 0:17:55 | 0:18:03 | |
Instead of being a sort of monolithic stony lines, | 0:18:03 | 0:18:06 | |
these canals would be light and silvery, and reflecting the sky and the greenery. | 0:18:06 | 0:18:12 | |
There would be colour from the different fountains, colour from the reflections, | 0:18:12 | 0:18:17 | |
colour from the people in their gorgeous clothes walking around. | 0:18:17 | 0:18:21 | |
It would be a place of festival and entertainment and light, | 0:18:21 | 0:18:25 | |
and not this sort of semi-archaeological place, | 0:18:25 | 0:18:28 | |
which is fascinating but doesn't really do it justice at all. | 0:18:28 | 0:18:32 | |
This cage jutting out from the side of the building where everyone could see it was to house a tiger. | 0:18:48 | 0:18:54 | |
The ingenuity of the waterworks is extraordinary | 0:19:01 | 0:19:04 | |
and they culminate in one outrageous performance in this building. | 0:19:04 | 0:19:08 | |
This pavilion is the culmination of the Maharajah's extravagance. | 0:19:12 | 0:19:16 | |
I think it's the most opulent thing I've ever seen in a garden anywhere in the world. | 0:19:16 | 0:19:20 | |
It's the Monsoon Pavilion | 0:19:20 | 0:19:22 | |
and it was used to simulate and recreate the monsoon. | 0:19:22 | 0:19:28 | |
There was a wide canal surrounding the central area, | 0:19:28 | 0:19:32 | |
with large fountains that would flow. | 0:19:32 | 0:19:35 | |
The roof is a false roof and effectively it's a water tank | 0:19:35 | 0:19:39 | |
filled up from the basin across on the large roof. | 0:19:39 | 0:19:44 | |
When it was full, water would run down from small pipes on the inside | 0:19:44 | 0:19:49 | |
to create a curtain of rain. | 0:19:49 | 0:19:52 | |
So, the Maharajah and his friends and family could sit on the inside | 0:19:52 | 0:19:56 | |
and look through this wall of rain, just like the monsoon. | 0:19:56 | 0:20:00 | |
There were also, incredibly, metal balls inside the hollow columns | 0:20:00 | 0:20:05 | |
that banged together as the water flowed past them simulating thunder. | 0:20:05 | 0:20:10 | |
The whole thing, an orgy of water, noise and blessed coolness. | 0:20:10 | 0:20:16 | |
So, you had the rumble of thunder, the crashing of the water, the fragrance of the rain. | 0:20:16 | 0:20:22 | |
All that would last for an afternoon | 0:20:22 | 0:20:24 | |
and that piece of theatre would take the entire tank on the roof | 0:20:24 | 0:20:30 | |
that took a month to fill. | 0:20:30 | 0:20:32 | |
Now, I would go on into the central area but it's occupied by rhesus macaques, | 0:20:37 | 0:20:43 | |
who've made it very clear that it's their territory | 0:20:43 | 0:20:46 | |
and they certainly don't want me or anyone else on | 0:20:46 | 0:20:50 | |
and I'm advised they have a very nasty bite. | 0:20:50 | 0:20:52 | |
From the vantage point of the top tank, you can see that Deeg is set in a parched landscape, | 0:20:59 | 0:21:06 | |
so this extravagance of the water garden was a dramatic statement of the wealth and power of the owner. | 0:21:06 | 0:21:11 | |
The two huge lower tanks were a key part of the garden's water system, | 0:21:11 | 0:21:15 | |
but today it is being used only by local people to wash clothes and themselves. | 0:21:15 | 0:21:22 | |
The jubilant watery celebrations belong really to the past, | 0:21:22 | 0:21:26 | |
and for much of the time, the garden sits silent and dry. | 0:21:26 | 0:21:30 | |
But my next garden is a Maharajah's pleasure garden that is being brought expertly back to life. | 0:21:30 | 0:21:36 | |
So I make the journey four hours drive west of Deeg, | 0:21:46 | 0:21:49 | |
to Jaipur, the Red City and the capital of Rajasthan, | 0:21:49 | 0:21:53 | |
whose broad streets are four times as densely populated as London | 0:21:53 | 0:21:57 | |
and they throng with hectic life. | 0:21:57 | 0:22:00 | |
However much you prepare yourself for India and read about it, | 0:22:04 | 0:22:09 | |
nothing can really ready you for the sensual assault. | 0:22:09 | 0:22:13 | |
Everything you look at is an extraordinary picture, | 0:22:13 | 0:22:16 | |
the colours, the sounds, the scents, the tastes, | 0:22:16 | 0:22:20 | |
are so vivid that it is genuinely overwhelming. | 0:22:20 | 0:22:24 | |
You feel submerged from time to time. | 0:22:24 | 0:22:27 | |
And, it's all rather wonderful. | 0:22:27 | 0:22:30 | |
The garden I've come to see lies just outside the old city. | 0:22:42 | 0:22:47 | |
The water garden at Deeg is very beautiful but it is a ghost garden. | 0:22:57 | 0:23:01 | |
You feel that without the water and without lots of people, it doesn't truly come alive. | 0:23:01 | 0:23:07 | |
Well, this is a very different kettle of fish. | 0:23:07 | 0:23:10 | |
It's very alive but it's in a state of disrepair. | 0:23:10 | 0:23:15 | |
This is the Jal Mahal, and every year, after the monsoon rains have fallen, | 0:23:15 | 0:23:20 | |
this garden comes truly into its own. | 0:23:20 | 0:23:23 | |
Now in the middle of the dry season, it looks as though Jal Mahal | 0:23:25 | 0:23:30 | |
is set on the edge of a potential landfill site. | 0:23:30 | 0:23:34 | |
But actually it's positioned in the middle of a giant lake | 0:23:34 | 0:23:37 | |
and when the monsoons come, this will fill right up. | 0:23:37 | 0:23:42 | |
A vast wall barricades the valley, | 0:23:42 | 0:23:44 | |
creating a dam to hold the water that pours off the mountains | 0:23:44 | 0:23:48 | |
to form the lake which surrounds the building. | 0:23:48 | 0:23:51 | |
So this isn't a garden containing a water feature, but a water feature containing a garden! | 0:23:51 | 0:23:56 | |
In fact, there's so much water that, | 0:23:56 | 0:24:00 | |
at the peak of the floods, | 0:24:00 | 0:24:02 | |
the whole of the lower storey would be flooded | 0:24:02 | 0:24:04 | |
and you can see that the windows are staggered diagonally | 0:24:04 | 0:24:08 | |
to provide different landing stages for visitors, | 0:24:08 | 0:24:11 | |
as they came to the building. | 0:24:11 | 0:24:13 | |
But for the moment visitors are barred since the site is being restored. | 0:24:13 | 0:24:17 | |
Luckily, that doesn't include us. | 0:24:17 | 0:24:20 | |
This building may look from the outside like another wonderful palace | 0:24:23 | 0:24:28 | |
but, in fact, the whole thing exists to support a pleasure garden. | 0:24:28 | 0:24:33 | |
And when it came to pleasure, the Maharajahs bowed to no-one. | 0:24:36 | 0:24:40 | |
What style they had! | 0:24:47 | 0:24:49 | |
They created an artificial island, shaped it like a palace, | 0:24:49 | 0:24:53 | |
and then flooded an entire valley, simply to create a lovely garden. | 0:24:53 | 0:24:58 | |
And although it's fallen into disrepair, | 0:24:58 | 0:25:01 | |
the garden is being restored and reinvented | 0:25:01 | 0:25:03 | |
with the help of the American garden designer Mitch Crites. | 0:25:03 | 0:25:07 | |
What are you hoping to achieve here? What's the plan? | 0:25:07 | 0:25:10 | |
The first phase is to complete the garden | 0:25:10 | 0:25:12 | |
and we're calling it Chameli Bagh. Chameli means jasmine | 0:25:12 | 0:25:15 | |
and jasmine is a very beautiful, fragrant flower and scents the entire garden. | 0:25:15 | 0:25:20 | |
And then, inside the garden, we've taken a floral arabesque design which is a fusion | 0:25:20 | 0:25:26 | |
of all of those elements that have come from the past. | 0:25:26 | 0:25:30 | |
Hindu, Muslim, Mogul, Persian. | 0:25:30 | 0:25:33 | |
Jaipur probably, maybe only Florence, | 0:25:41 | 0:25:45 | |
and a few other cities in the world, have so many living arts and crafts. | 0:25:45 | 0:25:49 | |
These stone carvers, without any doubt their ancestors were employed | 0:25:49 | 0:25:54 | |
to create the original city of Jaipur in the 18th century. | 0:25:54 | 0:25:58 | |
And these skills have been passed on from generation to generation. | 0:25:58 | 0:26:01 | |
You're saying that the same families of craftsmen | 0:26:01 | 0:26:06 | |
are still working on this that worked on the original building. | 0:26:06 | 0:26:10 | |
No-one is in touch with second millennium BC roots, the way India is | 0:26:10 | 0:26:15 | |
and that makes India very special. | 0:26:15 | 0:26:18 | |
You've lived here for over 40 years, | 0:26:18 | 0:26:21 | |
tell me what it's like to experience the monsoon - I can hardly imagine. | 0:26:21 | 0:26:26 | |
Well, it's an extraordinary time. | 0:26:26 | 0:26:28 | |
This is April. | 0:26:28 | 0:26:30 | |
The heat hasn't even hit yet. Heat and dust hasn't even hit. | 0:26:30 | 0:26:33 | |
Soon it will become hotter - 47, 48, 49 degrees | 0:26:33 | 0:26:38 | |
and then the sky will turn yellow and the sun will turn lavender | 0:26:38 | 0:26:44 | |
and it becomes hotter and hotter and more humid | 0:26:44 | 0:26:46 | |
and you know the rain is up there but it doesn't come down. | 0:26:46 | 0:26:49 | |
And people who feel like clawing at the sky, to make it come down. | 0:26:49 | 0:26:53 | |
It's there but it doesn't fall. | 0:26:53 | 0:26:54 | |
When it falls, if anybody - children, adults - riding in a car, | 0:26:54 | 0:27:00 | |
you get out of the car and you stand in the rain, you just stand there. | 0:27:00 | 0:27:05 | |
Thank God, it's come, finally it's come. | 0:27:10 | 0:27:13 | |
It's a great, great relief. | 0:27:13 | 0:27:15 | |
The garden's empty because it's the middle of the day, and it is quite phenomenally hot. | 0:27:22 | 0:27:28 | |
Heroically hot. | 0:27:28 | 0:27:30 | |
Everybody other than the odd mad dog and one even madder Englishman, | 0:27:30 | 0:27:36 | |
is taking refuge from the sun. | 0:27:36 | 0:27:39 | |
But seeing it in its empty state, it reinforces the fact that this is the first of my gardens I've seen | 0:27:39 | 0:27:45 | |
in the process of being made and very early stages too. | 0:27:45 | 0:27:48 | |
And that's interesting and exciting because it brings home, | 0:27:48 | 0:27:53 | |
it brings to life the continuity that is expressed here. | 0:27:53 | 0:27:57 | |
The continuity of materials that come from the same quarries, of craftsmanship, even of craftsmen | 0:27:57 | 0:28:03 | |
because it was their ancestors that made the original building two and a half centuries ago | 0:28:03 | 0:28:07 | |
that were connected to the people that made the Taj Mahal, that go back thousands of years. | 0:28:07 | 0:28:14 | |
But while the Maharajas built their grand palaces for spectacular outward display, | 0:28:19 | 0:28:24 | |
there's another type of Hindu garden I very much want to see. | 0:28:24 | 0:28:28 | |
One created primarily to satisfy inner needs. | 0:28:28 | 0:28:31 | |
If you're not careful, it's easy to assume that a culture is best represented | 0:28:33 | 0:28:37 | |
by the gardens of the great and the good. | 0:28:37 | 0:28:39 | |
But it's not all maharajahs' palaces here in Rajasthan, | 0:28:39 | 0:28:43 | |
and true Hindu gardens can be found best in temples | 0:28:43 | 0:28:47 | |
and I'm now going to see a very modest temple with its own little courtyard garden. | 0:28:47 | 0:28:53 | |
My guide to the sacred plants of this Hindu Temple Garden is Saurab Sinclair. | 0:28:55 | 0:29:01 | |
-Shoes. -Shoes off. Is that really important? | 0:29:01 | 0:29:04 | |
It is, it's to keep the purity of the space. | 0:29:04 | 0:29:07 | |
They haven't seen my feet! | 0:29:07 | 0:29:09 | |
That's part of your purity at the moment. | 0:29:09 | 0:29:12 | |
Now you say this is a typical Hindu garden. | 0:29:14 | 0:29:18 | |
That's correct. This is a temple garden really. | 0:29:18 | 0:29:22 | |
Everything here is because it's auspicious or it's worshipped. | 0:29:22 | 0:29:26 | |
You've got the jasmine, | 0:29:26 | 0:29:28 | |
the banana, | 0:29:28 | 0:29:31 | |
-people tree... -Which is essential. | 0:29:31 | 0:29:33 | |
Which is essential. | 0:29:33 | 0:29:34 | |
The branches look more like the roots | 0:29:34 | 0:29:37 | |
and they believe that's how it connects the two worlds together, that it's upside down. | 0:29:37 | 0:29:41 | |
My feet are connecting rather painfully to the surface. It is so hot! | 0:29:41 | 0:29:45 | |
We should move to the temple. | 0:29:45 | 0:29:46 | |
That's really hot! | 0:29:48 | 0:29:50 | |
-It's a warm courtyard. -Now this obviously is the temple itself. | 0:29:50 | 0:29:53 | |
This is the main temple. | 0:29:53 | 0:29:55 | |
There's a little Krishna temple around the corner but this is the main sanctity of the temple. | 0:29:55 | 0:30:01 | |
-HE SPEAKS HINDU -What were you asking for there? | 0:30:01 | 0:30:03 | |
I was asking for the blessings, which would be the water with some basil in it. | 0:30:03 | 0:30:08 | |
So that you can be blessed. | 0:30:10 | 0:30:11 | |
Right, what do I have to do? | 0:30:11 | 0:30:13 | |
Big bit of basil there. It's all falling out. | 0:30:13 | 0:30:16 | |
-So just touch it to your lips and over your head. -OK. | 0:30:16 | 0:30:21 | |
-That's it. -Fully blessed! | 0:30:21 | 0:30:23 | |
I'll show you the plant, it's right here if you can brave the courtyard again. | 0:30:23 | 0:30:28 | |
It looks sort of a bit like marjoram, doesn't it? | 0:30:28 | 0:30:31 | |
But it's... | 0:30:31 | 0:30:32 | |
HE SNIFFS | 0:30:32 | 0:30:34 | |
Oh, gosh, it's much more pungent and intense. | 0:30:34 | 0:30:38 | |
They continuously pluck it to place into the water, to place on lunar eclipses in your food. | 0:30:38 | 0:30:45 | |
They use the seeds to give it to widows so that they keep their chaste. | 0:30:45 | 0:30:50 | |
-Quells their lust. -Quells their lust. | 0:30:50 | 0:30:53 | |
The design of this little garden isn't important. That's not the point. | 0:30:53 | 0:30:57 | |
The plants are being grown as material for fragrant offerings, | 0:30:57 | 0:31:00 | |
or for their religious symbolism. | 0:31:00 | 0:31:03 | |
This small temple garden | 0:31:06 | 0:31:08 | |
is actually closest to the pure Hindu idea of a garden that there is. | 0:31:08 | 0:31:14 | |
But the Moguls were very wise when they let Hinduism exist, | 0:31:14 | 0:31:19 | |
and places like this could continue as they always have done for centuries, | 0:31:19 | 0:31:24 | |
and the Maharajahs didn't reject all the Mogul influences. | 0:31:24 | 0:31:29 | |
They absorbed them and made something of their own and again there was a coexistence. | 0:31:29 | 0:31:33 | |
If there is such a thing as a typical truly Indian garden, then I suppose that this is it. | 0:31:33 | 0:31:39 | |
And it's interesting that the most humble and practical of gardens is still in constant use | 0:31:39 | 0:31:44 | |
while those of the rich and powerful eventually fall away. | 0:31:44 | 0:31:47 | |
And the main reason for this is that here, in the bone dry north of India, water is so precious | 0:31:47 | 0:31:52 | |
that you need incredible wealth just to maintain a garden. | 0:31:52 | 0:31:55 | |
When the money dried up, so did the gardens. | 0:31:55 | 0:31:58 | |
But down south, in the lush hills of Kerala, | 0:31:58 | 0:32:01 | |
the climate is so perfect for plants, almost all plants, | 0:32:01 | 0:32:05 | |
that money practically grows on trees. | 0:32:05 | 0:32:08 | |
For over 1,000 years, traders have made fortunes in the port of Kochin. | 0:32:12 | 0:32:16 | |
And the town is deliciously infused with the smell of the commodity that lured them here. | 0:32:16 | 0:32:22 | |
The warm, exotic scents of spice. | 0:32:22 | 0:32:24 | |
The influence of a succession of spice merchants from around the world | 0:32:24 | 0:32:29 | |
can still be seen in the old Dutch streets, the 16th-century Portuguese church, | 0:32:29 | 0:32:33 | |
and, most dramatically, in the beautiful Chinese fishing nets. | 0:32:33 | 0:32:38 | |
Spices have drawn people here from the other side of the world for hundreds and hundreds of years. | 0:32:42 | 0:32:48 | |
The Chinese were the first to come here. | 0:32:48 | 0:32:50 | |
Then the Portuguese came at the end of the 15th century, | 0:32:50 | 0:32:53 | |
then the Dutch took over at the end of the 17th century | 0:32:53 | 0:32:56 | |
and finally the British took possession at the beginning of the 19th century. | 0:32:56 | 0:33:00 | |
So there's been wave upon wave of colonisation, | 0:33:00 | 0:33:04 | |
based entirely upon the spice trade. | 0:33:04 | 0:33:07 | |
Given its geographical position, | 0:33:11 | 0:33:13 | |
the coast of southern India is a natural staging post for trade between the West and the Far East. | 0:33:13 | 0:33:19 | |
But what makes it ideal for the spice trade | 0:33:19 | 0:33:22 | |
are the perfect growing conditions in the lush green hills inland. | 0:33:22 | 0:33:27 | |
Hot, wet and steamy and yet, critically, cooled by cloud, | 0:33:34 | 0:33:39 | |
the mountain jungles are rich with treasure growing on the hillsides. | 0:33:39 | 0:33:44 | |
These forests are the indigenous habitat of some of the most valuable plants in the world. | 0:33:44 | 0:33:49 | |
So, appropriately enough, my next visit is to a spice garden. | 0:33:49 | 0:33:54 | |
Part small-holding, part permaculture | 0:34:02 | 0:34:05 | |
and part botanical garden, Mr Abraham's plot defies categorisation. | 0:34:05 | 0:34:09 | |
But one thing is instantly apparent - it is expertly tended, | 0:34:09 | 0:34:12 | |
with some of the world's most sought-after plants growing happily here in his tame piece of jungle. | 0:34:12 | 0:34:17 | |
The star of the garden is a plant native to Kerala, | 0:34:17 | 0:34:22 | |
which finds its way on to practically every dining table in the world. | 0:34:22 | 0:34:26 | |
-You can see the pepper here. -Ah-ha. | 0:34:26 | 0:34:28 | |
See the pepper growing, see. | 0:34:28 | 0:34:31 | |
So it grows as a little bundle of seeds? | 0:34:31 | 0:34:34 | |
Actually when the flower comes, | 0:34:34 | 0:34:36 | |
it is white in colour and when the rainwater oozes from the top to the bottom the pollination happens. | 0:34:36 | 0:34:43 | |
-So it's pollinated by rainwater? -Yeah, no honeybees, no wind. | 0:34:43 | 0:34:46 | |
It is through the rainwater the pollination happens. | 0:34:46 | 0:34:49 | |
If no rain, no fruit grows... | 0:34:49 | 0:34:51 | |
And you see when they ripe they become red colour, you see the red colour here... | 0:34:51 | 0:34:55 | |
And if you peel the skin off and dry that, it's white pepper. | 0:34:55 | 0:35:00 | |
See the green and red? Dry in the sun - within one day both these will change to black colour. | 0:35:00 | 0:35:06 | |
-Which do you prefer? -You want to taste one pepper? | 0:35:06 | 0:35:10 | |
Lets try that one. | 0:35:10 | 0:35:11 | |
White one - the most strong one. | 0:35:11 | 0:35:14 | |
OK, see if I can take it, if I'm man enough. | 0:35:14 | 0:35:16 | |
Do you have a bottle of water with you? | 0:35:18 | 0:35:20 | |
No. It is strong! | 0:35:20 | 0:35:22 | |
It's nice, its good, it's not nasty is it. It's just hot. | 0:35:22 | 0:35:25 | |
It's hot and high flavour | 0:35:25 | 0:35:27 | |
-and you know it is the best pepper in the world. -Really? | 0:35:27 | 0:35:30 | |
Yes, pepper originated in Kerala. | 0:35:30 | 0:35:32 | |
-And it did come from here? -Yeah. | 0:35:32 | 0:35:35 | |
-I tell you what, I can hardly speak! -HE LAUGHS | 0:35:35 | 0:35:38 | |
The pepper's just hit me. I haven't got any water, but I will survive. | 0:35:38 | 0:35:43 | |
'He did warn me! | 0:35:43 | 0:35:45 | |
'Then Mr Abraham led me to a stand of another very valuable, native Kerala spice.' | 0:35:45 | 0:35:51 | |
-Ah, this is cardamom, the queen of spice. -The queen... | 0:35:51 | 0:35:56 | |
You know, that's the fruit. | 0:35:56 | 0:36:00 | |
See here, see the fruit grows in... | 0:36:00 | 0:36:02 | |
we call it the panicle, it comes just at the bottom of the plant. | 0:36:02 | 0:36:06 | |
This is the plant, actually. | 0:36:06 | 0:36:09 | |
It grows up in the shade, under the trees, bigger trees only. | 0:36:09 | 0:36:13 | |
Do you want to taste some fresh cardamom? | 0:36:13 | 0:36:15 | |
Do you know, I honestly don't know what cardamom tastes like, | 0:36:15 | 0:36:19 | |
but it is a really important spice, isn't it? | 0:36:19 | 0:36:22 | |
-It is the taste of India. -I've got to taste it, haven't I? | 0:36:22 | 0:36:26 | |
It is used in tea, coffee, in, um, sweet preparation, meat preparation, and in many medicine it is used. | 0:36:26 | 0:36:33 | |
It is very good for blood circulation, like ginger. | 0:36:33 | 0:36:38 | |
It's very seductive. | 0:36:38 | 0:36:40 | |
'Mr Abraham and his family have been growing spices on this plot entirely organically, for three generations. | 0:36:40 | 0:36:47 | |
'It is fascinating to see something that you hardly think of | 0:36:47 | 0:36:51 | |
'as a plant at all growing in its natural home.' | 0:36:51 | 0:36:53 | |
That is coffee. | 0:36:53 | 0:36:55 | |
Yes, I thought I recognised that. I've never seen coffee in flower. | 0:36:55 | 0:36:59 | |
This is coffee arabica. | 0:36:59 | 0:37:02 | |
-It's lovely. Like jasmine. -Smells like jasmine. | 0:37:02 | 0:37:05 | |
-What's this in the corner here? -That is turmeric, | 0:37:13 | 0:37:17 | |
and it is the root of the turmeric that is the real spice. | 0:37:17 | 0:37:22 | |
-This is the root. -Pinch it and see the colour. -Can I break this? | 0:37:22 | 0:37:28 | |
The fresh one is mostly used for medicines, | 0:37:28 | 0:37:31 | |
against snake bites, spider bites and so on... | 0:37:31 | 0:37:33 | |
It kills all the poisons. | 0:37:33 | 0:37:36 | |
In India you have the relationship between health and food | 0:37:36 | 0:37:39 | |
sorted out and its very sophisticated and very successful... | 0:37:39 | 0:37:44 | |
In the West, we don't do this and it's clumsy. | 0:37:44 | 0:37:48 | |
-You can start. -You're dead right, we can start and we should start. | 0:37:48 | 0:37:52 | |
'I think that one of the best ways to understand the past is to smell | 0:37:55 | 0:37:58 | |
'and taste it, and seeing these spices grow underlined the extraordinary historical wealth | 0:37:58 | 0:38:05 | |
'to be had from India, based upon plants that could be easily grown and then traded at vast profit. | 0:38:05 | 0:38:13 | |
'The tropical mountain climate is not just ideal for growing spices, | 0:38:13 | 0:38:17 | |
'but also another plant, introduced by the British from China, | 0:38:17 | 0:38:21 | |
'and which provides the raw ingredient for the one thing I always miss most on my travels - | 0:38:21 | 0:38:27 | |
'a nice cup of tea. | 0:38:27 | 0:38:28 | |
'The British originally introduced tea growing to India | 0:38:28 | 0:38:32 | |
'in the early 19th century when tea was moving from the preserve | 0:38:32 | 0:38:37 | |
'of refined society to ordinary working people.' | 0:38:37 | 0:38:39 | |
'This was encouraged mainly because it was an alternative to alcohol, | 0:38:42 | 0:38:46 | |
'but also because it needed boiling, so the water was purified, | 0:38:46 | 0:38:51 | |
'making it a safe as well as a temperate drink. | 0:38:51 | 0:38:54 | |
'I hadn't expected tea to make such a bewitching scene.' | 0:38:56 | 0:39:00 | |
'Walking through it is like wading through a vast, bristly green sculpture.' | 0:39:03 | 0:39:09 | |
The tea crop makes for the most beautiful landscape | 0:39:09 | 0:39:14 | |
because the bushes are organised in a series of crazed patterns, | 0:39:14 | 0:39:21 | |
like drying mud, | 0:39:21 | 0:39:23 | |
and that mixture of uniformity | 0:39:23 | 0:39:26 | |
and rhythmic but irregular change, | 0:39:26 | 0:39:32 | |
is just like a lot of modern topiary. | 0:39:32 | 0:39:35 | |
In fact, I'd go so far as to say, this is as beautiful | 0:39:35 | 0:39:39 | |
as many a garden. They're called tea gardens. | 0:39:39 | 0:39:42 | |
It raises that perennial question, when is a garden not a garden? | 0:39:42 | 0:39:46 | |
I think in a place like this that question becomes irrelevant, | 0:39:46 | 0:39:50 | |
the whole thing just evaporates | 0:39:50 | 0:39:53 | |
into one beautiful, man-made arrangement of plants. | 0:39:53 | 0:39:59 | |
'All tea is produced from the leaves of camellias. | 0:40:09 | 0:40:13 | |
'In fact, the vast majority | 0:40:13 | 0:40:15 | |
'of all tea comes from one particular species, | 0:40:15 | 0:40:18 | |
'which is camellia sinensis, the Chinese camellia.' | 0:40:18 | 0:40:22 | |
It's just these tender leaves that are picked | 0:40:22 | 0:40:26 | |
and it's that that produces your morning cuppa. | 0:40:26 | 0:40:31 | |
'These perfectly manicured hillsides are a combination | 0:40:35 | 0:40:39 | |
'of natural and man-made beauty, | 0:40:39 | 0:40:42 | |
'although I suspect that the women working in them might see them in a less ecstatic way. | 0:40:42 | 0:40:47 | |
'They are maintained to look like this only as a result of their constant labour, | 0:40:47 | 0:40:52 | |
'with much of the crop still harvested entirely by hand. | 0:40:52 | 0:40:56 | |
'They are called tea gardens, but I am not going to count them | 0:40:56 | 0:41:00 | |
'as one of my 80 gardens, although it was fascinating to see them. | 0:41:00 | 0:41:04 | |
'However, the tea company here does maintain a real garden | 0:41:04 | 0:41:08 | |
'at its head office, and that is where I am going now.' | 0:41:08 | 0:41:12 | |
'The Railway Garden is built around a de-commissioned railway station in the hill town of Munnar. | 0:41:21 | 0:41:26 | |
'But crikey! It is rum do. | 0:41:26 | 0:41:30 | |
'It's just like stepping into a hand-tinted postcard of a 1930's British garden.' | 0:41:30 | 0:41:37 | |
This is a very strange place. | 0:41:47 | 0:41:51 | |
I'm not sure I know what to make of this at all. | 0:41:51 | 0:41:54 | |
So you've got hydrangeas, just like my grandfather used to grow. | 0:41:59 | 0:42:03 | |
And snapdragons, Salvias, Alstroemerias - | 0:42:06 | 0:42:11 | |
all the ingredients of an English garden, | 0:42:11 | 0:42:14 | |
but it doesn't look like any kind of English garden that I've seen for, what... | 0:42:14 | 0:42:19 | |
30, 40 years? | 0:42:19 | 0:42:21 | |
'This garden looks like a pre-war time warp. | 0:42:23 | 0:42:27 | |
'But, astonishingly, it was created as recently as 1980.' | 0:42:27 | 0:42:31 | |
These rows of salvias | 0:42:37 | 0:42:41 | |
and white alyssum, now white alyssum takes me back. When I was a child, | 0:42:41 | 0:42:46 | |
the bedding by the front door, year in, year out, was white alyssum and pelargonium, | 0:42:46 | 0:42:53 | |
but what's curious is that anybody over 50 coming from England would recognise | 0:42:53 | 0:42:58 | |
lots of elements of this garden with a sort of dreamy nostalgia. | 0:42:58 | 0:43:03 | |
But anybody under 35 or 40 | 0:43:03 | 0:43:05 | |
would recognise practically nothing here. | 0:43:05 | 0:43:08 | |
It would be completely surreal. | 0:43:08 | 0:43:11 | |
When would this tea have been picked? | 0:43:17 | 0:43:20 | |
-Yesterday. -Really? -Yes. | 0:43:20 | 0:43:22 | |
We've got... | 0:43:25 | 0:43:26 | |
a yearly flower show that we have and it's organised by the YWCA, | 0:43:26 | 0:43:31 | |
that's the Young Women's Christian Association. | 0:43:31 | 0:43:34 | |
and, er, every year the garden comes first. | 0:43:34 | 0:43:38 | |
It's got so many flowers around, it makes you feel good. | 0:43:38 | 0:43:42 | |
I like the entire garden, it's beautiful. | 0:43:42 | 0:43:46 | |
Is it deliberately evoking British connections? | 0:43:46 | 0:43:51 | |
This garden has a lot of British touch in it. | 0:43:51 | 0:43:54 | |
But I think if you go elsewhere you may not find a garden as beautiful as this. | 0:43:54 | 0:43:59 | |
In general, do people like those British connections, | 0:43:59 | 0:44:03 | |
or is it something that is done for historical reasons or because they like the result? | 0:44:03 | 0:44:08 | |
I think they do like the British association. | 0:44:08 | 0:44:10 | |
They've left behind a lot of cultures which we still do follow. | 0:44:10 | 0:44:16 | |
'This garden is a relic from colonial days, although in fact | 0:44:18 | 0:44:22 | |
'the Raj was already a distant memory when it was created. | 0:44:22 | 0:44:25 | |
'But in its own dotty way, I think it is completely charming.' | 0:44:25 | 0:44:30 | |
You know what it's like, it's like, um... | 0:44:30 | 0:44:32 | |
ladies sitting by the sea, | 0:44:34 | 0:44:37 | |
in a row, | 0:44:37 | 0:44:39 | |
quite comfortable with their lives but looking back over it, | 0:44:39 | 0:44:43 | |
rather than looking forward. | 0:44:43 | 0:44:45 | |
'For all the eccentric Englishness of the garden, | 0:44:49 | 0:44:52 | |
'as I leave I am confronted with a reminder that I'm actually a long way from home!' | 0:44:52 | 0:44:57 | |
We are walking down here because there is an elephant on the back of a lorry there. | 0:44:57 | 0:45:02 | |
I don't know what it is doing or where it is going, but I have never seen an elephant like that before. | 0:45:02 | 0:45:07 | |
What a beautiful, beautiful animal. | 0:45:12 | 0:45:15 | |
Last night one of the production team was woken up by a terrible crashing in the night | 0:45:17 | 0:45:22 | |
and couldn't imagine what it was, and went out and it was an elephant tearing up the garden in the hotel. | 0:45:22 | 0:45:28 | |
Seeing that makes you realise that we are in another country here. | 0:45:28 | 0:45:34 | |
OK, this is not something I thought I would never say - | 0:45:38 | 0:45:42 | |
follow that elephant! | 0:45:42 | 0:45:44 | |
I'm now going back north to visit a much more potent symbol | 0:46:22 | 0:46:26 | |
of British influence on India - the capital city of New Delhi. | 0:46:26 | 0:46:31 | |
'New Delhi was designed by the British as a statement | 0:46:36 | 0:46:39 | |
'of power and order, established with massive confidence in stone, | 0:46:39 | 0:46:44 | |
'parks and grand vistas. | 0:46:44 | 0:46:46 | |
'It is landscape architecture on a breathtaking scale.' | 0:46:46 | 0:46:50 | |
I've seen pictures of this, or photographs... | 0:46:50 | 0:46:53 | |
but actually in the flesh it's much more impressive, the whole scale is much bigger than I'd imagined. | 0:46:53 | 0:46:59 | |
'In 1912, the building of New Delhi began. | 0:47:06 | 0:47:09 | |
'It was to be a city suited to the grandeur of its status | 0:47:09 | 0:47:12 | |
'as India's new capital, and this enormous project was given | 0:47:12 | 0:47:16 | |
'to a relatively young and unknown English architect, Sir Edwin Lutyens.' | 0:47:16 | 0:47:21 | |
Now, the extraordinary thing about Lutyens is that although he was a wonderful architect | 0:47:21 | 0:47:27 | |
and designer, actually, I know him best as a garden designer, | 0:47:27 | 0:47:31 | |
because he and Gertrude Jekyll did a whole series of gardens at the beginning of the 20th century, | 0:47:31 | 0:47:36 | |
which you can still visit. | 0:47:36 | 0:47:38 | |
So, for me, this take me from the highways and byways of England | 0:47:38 | 0:47:44 | |
to the Imperial Capital of the British Raj. | 0:47:44 | 0:47:49 | |
An interesting little detail I've just noticed is that on the metalwork of the gates, | 0:47:49 | 0:47:53 | |
you have the Tudor rose of England alternating with the lotus, | 0:47:53 | 0:48:00 | |
the symbol of Hindu India. | 0:48:00 | 0:48:02 | |
'Lutyens was an extraordinary man, able to work in an astonishing range of forms, | 0:48:08 | 0:48:13 | |
'drawing inspiration wherever he found it.' | 0:48:13 | 0:48:16 | |
'Here in New Delhi, I believe that he struck exactly the right note, | 0:48:21 | 0:48:25 | |
'mixing imperial pomp with its Mughal and Hindu heritage.' | 0:48:25 | 0:48:29 | |
The thing I find really extraordinary is that Lutyens, | 0:48:32 | 0:48:36 | |
who was capable of designing exquisite relatively small gardens and light fittings | 0:48:36 | 0:48:41 | |
and kitchen surfaces, could simultaneously be designing this vast imperial city. | 0:48:41 | 0:48:48 | |
'Lutyens incorporated parks, avenues and trees into his design | 0:48:53 | 0:48:57 | |
'for New Delhi, not only making it a beautiful green city, but also a cooler one, | 0:48:57 | 0:49:01 | |
'providing shade and lowering the temperature of the centre by several degrees. | 0:49:01 | 0:49:07 | |
'I think New Delhi is a masterpiece and despite being created as a statement of Imperial power, | 0:49:07 | 0:49:12 | |
'it is an honourable inheritance from the British Raj.' | 0:49:12 | 0:49:16 | |
'The irony of new Delhi is that by the time it was completed | 0:49:16 | 0:49:19 | |
'in the early thirties, it was almost redundant.' | 0:49:19 | 0:49:22 | |
Within 10, 15 years, the British Empire in India was over | 0:49:22 | 0:49:26 | |
and it became just another piece of its past, | 0:49:26 | 0:49:30 | |
like the Red Fort behind me built by Shah Jahan, the builder of the Taj Mahal. | 0:49:30 | 0:49:35 | |
That is a symbol of the lost Mogul Empire, and through the gardens, | 0:49:35 | 0:49:40 | |
I've just seen the way that cultures come and go | 0:49:40 | 0:49:42 | |
and they adopt and absorb each other and that's how they survive. | 0:49:42 | 0:49:46 | |
It's like the streets, where different colours and creeds | 0:49:46 | 0:49:49 | |
and religions all mingle in this chaos, but somehow seem to be remarkably tolerant. | 0:49:49 | 0:49:55 | |
But, before I leave India and before I finish this journey, | 0:49:55 | 0:49:59 | |
I'd love to see a modern garden and to see where India possibly is going to. | 0:49:59 | 0:50:05 | |
'And so, I'm making one final journey, | 0:50:06 | 0:50:09 | |
'catching the 8.30 express from Delhi heading north to Chandigarh, | 0:50:09 | 0:50:14 | |
'in the foothills of the Himalayas.' | 0:50:14 | 0:50:17 | |
'I'm off to visit a garden famous not just for its completely | 0:50:19 | 0:50:23 | |
'unique beauty, but also for the incredible story of its creation. | 0:50:23 | 0:50:29 | |
'This is 25 acres of labyrinthine, sculpted gardens. | 0:50:29 | 0:50:34 | |
'It is a bizarre and magical vision of modern India.' | 0:50:34 | 0:50:38 | |
'The Rock Garden of Chandigarh is the creation of a single man, | 0:50:47 | 0:50:52 | |
'who started building it in the 50s in a clearing in the jungle, | 0:50:52 | 0:50:56 | |
'using just stones and waste material, without telling a soul.' | 0:50:56 | 0:51:01 | |
This is all the waste, they look like broken loos, actually, and basins as much as anything. | 0:51:06 | 0:51:13 | |
See, that's from a urinal, says he, touching it! | 0:51:13 | 0:51:17 | |
These are old insulators, aren't they? | 0:51:20 | 0:51:22 | |
They're beautiful. | 0:51:22 | 0:51:24 | |
And, presumably, these are water pots. | 0:51:24 | 0:51:26 | |
'Created on land its maker didn't even own, | 0:51:32 | 0:51:35 | |
'for years it was undiscovered, a totally secret fantasy. | 0:51:35 | 0:51:39 | |
'But in 1971 it was finally stumbled upon and very nearly bulldozed. | 0:51:39 | 0:51:45 | |
'But, to their eternal credit, the local authorities realised that it was a work of genius | 0:51:45 | 0:51:50 | |
'and not only decided to keep it but gave its maker, Nek Chand, now an old man, their full support.' | 0:51:50 | 0:51:56 | |
Why in this place? | 0:51:56 | 0:51:57 | |
Why here? | 0:51:57 | 0:51:58 | |
I knew this place no building will be erected at any time. | 0:51:58 | 0:52:03 | |
This is open space. | 0:52:03 | 0:52:06 | |
And why did you do it? What made you do this? | 0:52:06 | 0:52:09 | |
Because whenever I saw the material lying on the ground, | 0:52:09 | 0:52:14 | |
on the roadside, behind the hotels and restaurants, | 0:52:14 | 0:52:18 | |
I used to collect these things on my bicycle. | 0:52:18 | 0:52:22 | |
-So you gathered all the materials on your bicycle? -Yes. | 0:52:22 | 0:52:26 | |
That must have been quite a job. | 0:52:26 | 0:52:29 | |
It was hard work, my job was also hard work | 0:52:29 | 0:52:34 | |
and this...to bring the stones from the hills, | 0:52:34 | 0:52:40 | |
it is also a very difficult job. | 0:52:40 | 0:52:42 | |
And you have people, I imagine, from all over the world coming here. | 0:52:42 | 0:52:47 | |
Did you ever imagine that would be the case when you were quietly making this garden? | 0:52:47 | 0:52:52 | |
Never, I never imagined it. | 0:52:52 | 0:52:56 | |
What a life! | 0:52:56 | 0:52:57 | |
It is a god gift. | 0:52:57 | 0:52:59 | |
'I bet people thought, "Oh, there's that mad bloke again, riding around collecting all his rubbish,"' | 0:53:07 | 0:53:13 | |
and they didn't know that secretly | 0:53:13 | 0:53:16 | |
he was creating this stony jewel | 0:53:16 | 0:53:20 | |
in the middle of the jungle. I mean, how romantic is that? | 0:53:20 | 0:53:23 | |
That's the best garden story in the history of the world. | 0:53:23 | 0:53:27 | |
'The visitor to this garden enters into a private fantasy world, linked by narrow passageways | 0:53:32 | 0:53:38 | |
'and deep gorges, twisting through its maze-like structure.' | 0:53:38 | 0:53:42 | |
Look at that. | 0:53:44 | 0:53:46 | |
Look at that, look at that! | 0:53:47 | 0:53:50 | |
'Everything is strange. Everything is a delight. | 0:53:52 | 0:53:56 | |
Everywhere you look, there is something extraordinary and something that assaults you | 0:53:56 | 0:54:00 | |
and challenges preconceptions | 0:54:00 | 0:54:02 | |
and that is what this garden is doing, | 0:54:02 | 0:54:05 | |
every little twist and turn, you think, "Wow, what's going on there?" | 0:54:05 | 0:54:10 | |
I love it, I love it, I love it. | 0:54:20 | 0:54:23 | |
You see this type of thing is really good, broken...I don't know what, stone bosses, all different sizes, | 0:54:45 | 0:54:52 | |
put irregularly on a path. Now, all conventional logic | 0:54:52 | 0:54:58 | |
says either space them evenly, or put them to one side, | 0:54:58 | 0:55:01 | |
but I like the fact that you have got to negotiate your way and pay attention! | 0:55:01 | 0:55:07 | |
Whoa! | 0:55:29 | 0:55:31 | |
My theory is that gardening is grown-ups going outside to play, | 0:55:32 | 0:55:37 | |
and if you garden in the same spirit as you went out when you were a child, on a lovely summer's day | 0:55:37 | 0:55:43 | |
and made camps and played cowboys and Indians or whatever | 0:55:43 | 0:55:46 | |
and ran around, and then came in all hungry and had your tea, | 0:55:46 | 0:55:50 | |
then A) you'll enjoy gardening more, and B) the gardens will be better. | 0:55:50 | 0:55:54 | |
And this exemplifies that. | 0:55:54 | 0:55:57 | |
See, look at that man there holding his cup. | 0:56:05 | 0:56:09 | |
And others holding old cups... And he's made out of cups. | 0:56:09 | 0:56:15 | |
And here we seem to have most of Indian wildlife. | 0:56:18 | 0:56:22 | |
We've got macaques, and we've got leopards or tigers. | 0:56:22 | 0:56:26 | |
And poor old skinny elephants, | 0:56:26 | 0:56:29 | |
it's really good fun. | 0:56:31 | 0:56:33 | |
Can you think of a better way of recycling | 0:56:35 | 0:56:39 | |
than making it into beautiful art? | 0:56:39 | 0:56:41 | |
It should be compulsory - do something beautiful with your rubbish. | 0:56:43 | 0:56:47 | |
I've just been overwhelmed and delighted by this garden, | 0:56:52 | 0:56:55 | |
I've just loved it and it seems to me a perfect modern image | 0:56:55 | 0:57:01 | |
that represents India and humanity beautifully | 0:57:01 | 0:57:05 | |
and it's one of the most pleasurable gardens | 0:57:05 | 0:57:10 | |
I've ever visited, and I think one of the great gardens of the world. | 0:57:10 | 0:57:14 | |
'I said, at the beginning of this journey, that I was a bit daunted. | 0:57:16 | 0:57:20 | |
'The extremes of India seem so shocking, | 0:57:20 | 0:57:22 | |
'and its life force so fierce that I wondered how I would cope. | 0:57:22 | 0:57:26 | |
'But I have been completely seduced by the place. | 0:57:26 | 0:57:30 | |
'Through its gardens, I have had an intoxicating taste | 0:57:30 | 0:57:34 | |
'of its plants, people, history and landscape. | 0:57:34 | 0:57:38 | |
'From the paradise gardens of the Mughal emperors, | 0:57:38 | 0:57:41 | |
'to private pieces of tame jungle and the patterned landscapes of the tea gardens, | 0:57:41 | 0:57:45 | |
'India is the most life enhancing place that I have ever visited.' | 0:57:45 | 0:57:51 | |
And to finish in this garden, | 0:57:51 | 0:57:54 | |
which is modern, | 0:57:54 | 0:57:56 | |
based entirely on humanity, on one man's vision | 0:57:56 | 0:58:01 | |
and yet visited and shared literally by millions every year, | 0:58:01 | 0:58:04 | |
seems to me a great symbol for modern India. | 0:58:04 | 0:58:07 | |
And I leave not remotely daunted, but full of hope. | 0:58:07 | 0:58:12 | |
Next time, my travels will take me to the continent | 0:58:17 | 0:58:20 | |
with the most diverse climate, plant life and landscapes on the planet. | 0:58:20 | 0:58:25 | |
A land almost twice the size of Europe - South America. | 0:58:25 | 0:58:29 | |
Subtitles by Red Bee Media Ltd | 0:58:49 | 0:58:52 | |
E-mail [email protected] | 0:58:52 | 0:58:55 |