Tag Archives: Temples

Yali- images from art

#Didyouknow the ’yalis’ or ’vyalas’ are basically ‘thamrgas’ or animals of fancy? The reliefs at Sanchi, Bharhut, Amaravati, Mathura Amaravati, Gandhara, Nagarjunakonda and paintings at Ajanta depict a variety of mythical animals. The early forms of human-animal were seen in the images of Lord Ganapati, Hayagriva (horsehead), Lord Hanuman or Vrkshakapi, monkey head, Lord Narasimha, man-lion, This concept was later expanded to include complex beings with different profiles. The Rigveda, Atharvaveda and Valmiki Ramayana all mention ‘’ thamrgas’’. The Puranas too speak of them. A shilpa text ’Aparajaitprchcha’ gives the number of ‘vyalas’ as 16 each in 16 poses. The term ‘thamrgas’ got replaced by ‘vyalas’ from the Gupta times. The Indian culture has assimilated from outside influences too. The mythical animals in early India reliefs are varied and include winged lion, beaked lion, horned lion, ‘Kinnara’, ‘kinnari’, winged deer, winged bull, otter, goat, male with eagle body and wings, male with lion body and wings, female with lion body and wings, human faced lion among others. They are classified as aerial- ‘vyomacharin’, terrestrial –’bhucharin’ and aquatic-‘jalcharin’.

In South India, the ‘vyalas’ find a special place in Chola and Vijayanagara temples. There are ‘vyalas’ in the door frames of North Indian temples.. In Odisha the ‘vyala’ are seen in the ’deulas’ of mid 10th century. The temples of the 10th century in Gujarat also have them. Central India finds representation in the temples of the Chandellas.
The basic face of a ‘Yali/vyala’ is that of a lion with a forehead of an antelope, ears of a boar and horns of a ram. The shoulders resemble that of a horse with a lion-like curve and feline feet. However many mutants are found in temples and other artwork images across India.In fact there are 16 variants of ‘Yali/vyalas’ as noted in ancient texts They can seem both gentle and ferocious, indolent yet dynamic and look dragonic. These hyper-hybrid beasts are baffling and very interesting.

Yali pillars, Krishna temple, Hampi, Karnataka.

Yali pillar, Venugopalaswamy temple Devanahalli Fort, Karnataka.

Yali figure, Chennakesava temple, Mosale, Hassan district, Karnataka.

Yali pillars, Aghoreshwara temple, Ikkeri, Karnataka.

Yali pillar, Brihadeeshwara temple, Thanjavur, Tamil Nadu.

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Soma Ghosh

References –

Krishnamurthy, K (1985) Mythical animals in Indian art, New Delhi: Abhinav Publications
2.Dhaky, M A (1965) The Vyala figures on the medieval temples of India, Varanasi: Prithivi Prakashan
3.Images are from Wikimedia Commons

Srirangam : sculptural grandeur and glory

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#Didyouknow that Tiruchirpalli or Trichy; Trichinoply as it was called before, is a city in Tamil Nadu state in southern India? The Kaveri or Cauvery delta begins 16 kilometres west of the city where the Kaveri river splits into two, forming the island of Srirangam, which is now incorporated into the Tiruchirappalli City. Here is the famous Sriranganathaswamy temple popularly called Srirangam temple. It is a temple of Lord Vishnu as Sriranganathaswamy. The Atharva veda says :

Vishnu is the Almighty Lord,

In whose three wide-extended paces

All worlds and creatures have their habitation:

Vishnu strode through all the worlds

And all the worlds gathered

As grains of dust under His feet!

It is the world’s largest functioning temple with 50 shrines, 21 towers and 39 pavillions. The temple complex covers 156 acres with seven prakaras or enclosures. Srirangam is a temple town on an island on the Kaveri river. At one time the entire population of Srirangam lived within the walls of this temple.

Gopurams, Srirangam temple complex, Trichy, Tamil Nadu.

The gopurams of the temple articulate the axial path, the highest is at the outermost prakara and the lowest is at the innermost. The Rajagopuram of the temple is the southern one which is 239 feet high, having been plated in gold. The Rajagopuram was stated to be built by Vijayanagara king Achyuta Deva Raya but it was completed by the Ahobila Matha in 1987. The diagram below shows structures in the temple complex; the gopurams, the mandapas, various shrines among others.

Layout of the temple complex, image.

Aerial photograph of Srirangam Island between Kaveri and Kollidam rivers.

The main temple has been built based on Agama texts and is dedicated to Sri Ranganathaswamy. It is a Vaishnavite temple and has many legends associated with it.It is in the inner courtyard. There is 6 meter deity of Sri Ranganathar reclining on Adisesha with five hoods in the sanctum which is entered from the south gateway. The doorway has the dwarapalas or guards Jaya and Vijaya. The mukhamandapa is also called Gayatri mandapa leading to the round sanctum surrounded by a raised square, encircling pillars and an inner square. The other images are of Lord Vishnu on Sesha, Lord Ganesha, Lord Narasimha in Yogasana and Goddess Durga. The 50 shriens include Lord Vishnu temples, Goddess Lakshmi temple, shrines of various Vaishnave scholars. The temple structures have rich sculptural detail. The temple’s vimana is embellished with sculptures, and has carved pilasters with fluted shafts, double capitals and lotus brackets. The temple complex has many mandapas, frescoes, inscriptions on its walls, tanks and granaries. The inscriptions are over 800, from 9th century to 16th century of the times of the Nayaks, Pandyas, Hoysalas and Vijayanagara rulers, are in different languages like Tamil, Sanskrit, Kannada, Telugu, Marathi, Oriya and relate mostly to temple grants and gifts, rulers, nobles and temple management. Many of the temple structures have been renovated, rebuilt over time, though the temple was looted by different rulers.

Pilasters and carvings, Srirangam.

Bracket figures, Srirangam temple.

Sculpture, Srirangam temple.

Yoga Narsimha, Srirangam temple.

Among the mandapas the 1000 pillar mandapa is a theatre like structure built during the Vijayanagara period made out of granite.

1000 pillar mandapa, Srirangam temple.

Horses middle closeup.jpeg

Warriors on horses, 1000 pillar mandapa, sculpture, Srirangam temple.

Dancer and musicians, sculpture, Hall of 1000 pillars.

Elephant being led by his mahout, sculpture, Srirangam.

During the Vijayanagara rule the temple complex developed under Sri Krishnadeva Raya. The temple structures include the Sesharayar mandapa and the Venugopala temple which have amazing sculptural work. The Sesharayar mandapa was built during the Nayaka rule. The Garuda mandapa was also made during the Nayaka rule. It has a free standing seated Garuda. Kili mandapa is next to the main shrine, made during the 17th century. The Ranga vilasa mandapa is a large community hall with murals and narratives from mythology and the epic Ramayana. The temple has many wooden monuments like the Garuda vahana, Simha vahana, Hanumantha vahana among others.

Sesharayar mandapa, Vijayanagar period, 16th century, Srirangam temple.

Sesharayar mandapa, Srirangam temple.

Sesharayar mandapa, Srirangam temple.

Sesharayar mandapa, Srirangam temple.

Motif, Sesharayar mandapa, Srirangam.

Fencing, Sesharayar mandapa, Srirangam.

Sesharayar mandapa, Srirangam.

With the pot of nectar, Sesharayar mandapa, Srirangam.

Damsel, sculpture, Sesharayar mandapa, Srirangam.

Sesharayar mandapa, Srirangam.

Woman warrior, Sesharayar mandapa, Srirangam.

Sage Agastya, sculpture, Sesharayar mandapa, Srirangam.

Sesharayar mandapa, Srirangam.

Venugopala shrine, Srirangam temple complex.

Lord Krishna or Venugopala, Venugopala shrine, Srirangam temple complex.

Sculptures, Venugopala shrine, Srirangam temple complex.

Venugopala shrine, Srirangam temple complex.

Salabhanjika sculpture, Venugopala shrine.

Woman playing musical instrument, Venugopala shrine.

Mithuna or loving couple, sculpture, Venugopala shrine.

Woman applying vermillion, sculpture,Venugopala shrine.

References :

http://shodhganga.inflibnet.ac.in
wikipedia.org
https://poetrypoem.com
Images sourced from Wikimedia Commons

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Soma Ghosh

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Peacock in art : images from sculpture

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The peacock is a charming, graceful bird. It has magnificent tail feathers and a curved blue neck. The tail feathers can be opened up into a resplendent display when the bird dances. It is one of nature’s most splendorous sights. The peacock is the National Bird of India. it is a popular art motif in India since yore. In Sanskrit the bird is called mayura and In Hindi, mor. Zoologically the bird’s name is Pava cristatus and it is from the family of pheasants, quails, partridges and snowcocks.The peacock has a fan-shaped pretty crest which adds to its beauty. A peacock’s forelimbs are modified into wings and two hindlimbs are for general mobility. The male has the ornamental tail feathers called train consisting of upto 150 feathers !

A peacock feather.

The female is called peahen and is smaller in size. It is a plain brown bird without the train. Fully white peacocks too are there but are bit rare. The peacock rejoices on seeing the clouds and is often called meghananda. Found mostly in South Asia and Far Eastern Asia. Peacocks have been depicted in India since Harappan times. The peacock is India’s favourite bird in the Rigveda. The peacock was a favourite among the Indus Valley people, peacock has been depicted in folk literature too! Peacock was the totem of the Mauryan rulers, a word derived from mor or mayura. and has been found on stones used for the palace of Chandragupta Maurya. The peacock is an important component in the Jataka tales.

Peacock is found at the railings of the Bharhut Stupa dating to 1st century B.C, now seen at the Indian Museum, Kolkata. the northern gateway of the Great Stupa at Sanchi in Madhya Pradesh, from 2nd-1st century B.C depicts peacocks in pairs with their long tails. There are many sculptural depictions of the peacock across India across centuries.

Peacock motif, Great Stupa, Sanchi, 2nd to 1st B.C, Madhya Pradesh.

By Photo Dharma from Sadao, Thailand (017 Maya on Lotus, Couple on Horse, and Peacock) [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

The peacock is associated with Lord Kartikeya or Murugan as his vehicle or vahana. Lord Murugan is the Commander-in-chief of the Gods in Hinduism. He vanquishes Tarakasura. To achieve this Garuda (vehicle of Lord Vishnu) gave his son, the peacock to him. Lord Shiva gave him a locket and Indra gave him a string of pearls. The other gods gave him different powers. Agni gave him a shula or spear, Brihaspati gave him a danda or club, Ganga gave him a kamandala (pot for water).

Kartikeya depicted on his peacock in upper left, on a Nataraja relief on Temple 1; Ganesha in upper right corner, Parvati in lower left and a musician is in lower right, Jageshwar Temples, Uttarakhand, 7th-12th century .

By Nitin Sharma – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=28550582

Kartikeya on peacock, Hucchimalligudi, 8th century, Aihole, Karnataka.

By Ms Sarah Welch [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, from Wikimedia Commons

Abhaneri temple, 7th/8th century, Rajasthan.

By Arpita Roy08 [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, from Wikimedia Commons

Kolaramma temple, Kolar, 11th century,Karnataka.

By Shailesh.patil [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, from Wikimedia Commons

Lower panel of relief depicts musicians and dancing peacocks, 12th-century, Hoysaleswara temple, Halebidu, Karnataka.

By Ms Sarah Welch [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, from Wikimedia Commons

Image result for peacock images sculpture

Jaisalmer Palace and Fort, 12th century, Rajasthan.

By Schwiki [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, from Wikimedia Commons

Chennakesava temple, Somnathapura, 13th century, Karnataka.

By Jean-Pierre Dalbéra from Paris, France (Le temple de Chennakesava (Somanathapura, Inde)) [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

Lakhsminarasimha temple, Javagal,13th century, Karnataka.

By Dineshkannambadi [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, from Wikimedia Commons

Achyutaraya temple,Hampi, 16th century, Karnataka.

By Vu2sga [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, from Wikimedia Commons

References :

Peacock in Indian art,thought and literature/Krishna Lal, New Delhi : Abhinav Publications, 2006.
wikipedia.org

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Soma Ghosh

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Saptamatrikas in art : some depictions

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#Didyouknow that the concept of the Saptamatrikas or Seven mothers have existed since the Indus valley civilisation? Seals have been found with seven feminine deities. The seven mothers find mention in the Rigveda, the Puranas and the Mahabahrata.

By the fifth century they came to be called as Tantric Goddesses. The Mahabharata describes them as dark in colour and staying in ”peripheral areas” and that they are associated with Skanda or Kumara, son of Lord Shiva. They later came to be associated with the sect of Lord Shiva himself. Their sculptural representation in the 1st to 3rd century happened in stone. During the Gupta period(3rd to 6th century C E) folk images of the matrikas were made. Later rulers made Skanda as their model and the foster mothers became”court goddesses”. Many dynasties devoted rock-cut sculptures to the matrikas. Like at Parhari in Madhya Pradesh. Temples of the Western Ganga dynasty (350-1000 A.D) and sculptures of the Gurjara-Prtiharas (8th to 10th century A.D) and Chandella dynasty (8th to 12th century), Chalukya dynasty (11th to 13th century A.D). Initially the matrikas were considered dangerous but later took on a protective role. They are mostly depicted in lalitasana posture.

According to a legend the matrikas were created to assist Lord Shiva in a battle agianst Andhakasura as per the Isaanasivagurudeva paddhati. The matrikas are the powers of the associated devas. In Shaktism they are believed to have assisted the Devi in her fight against demons like Raktabija. The saptamatrikas are Brahmani,Vaishnavi, Maheshwari, Kaumari, Varahi, Chamunda and Indrani.

Vaishnavi, Varahi, Indrani and Chamunda, National Museum, New Delhi.

By Nomu420 – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=32743578

Brahmani : She is four-headed and has yellowish complexion with vahana or vehicle of a hamsa/swan. She represents the power of associated deva Brahma. She holds a rosary or noose and kamandalu (water pot) or lotus stalk or a book.She is also shown seated on a lotus with the hamsa on her banner. She wears various ornaments and is distinguished by her basket-shaped crown called karandamakuta

Vaishnavi : From Vishnu; is described as seated on Garudaand having four or six arms. She is depicted holding Shankha (conch), chakra (Discus), mace and lotus and bow and sword or her two arms are in varada mudra (Blessing hand gesture) and abhaya mudra (“No-fear” hand gesture). Like Vishnu, she is heavily adorned with ornaments like necklaces, anklets, earrings, bangles wearing a cylindrical crown called kiritamukuta.

Maheshwari : From Shiva; Maheshvari is depicted seated on Nandi (the bull) and has four or six hands. The fair complexioned, Trinetra (three eyed) goddess holds a trishula (trident), damaru (drum), Akshamala (A garland of beads), panapatra (drinking vessel) or axe or an antelope or a kapala (skull-bowl) or a serpent and is adorned with serpent bracelets, the crescent moon and jatamakuta, a crown formed of piled, matted hair.

Kaumari : From Skanda or Kumara;the god of war. Kaumari rides a peacock and has four or twelve arms. She holds a spear, axe, a shakti (power) or Tanka (silver coins) and bow. She is sometimes depicted six-headed like Kumara and wears the cylindrical crown. In Tamil Nadu, Karumari Amman is a favored deity.

Varahi : From Varaha; the boar-headed form of Vishnu or Yama – the god of death, has a boar head on a human body and rides a ram or a buffalo. She holds a danda (rod of punishment) or plough, goad, a vajra or a sword, and a panapatra. She wears a crown karaṇḍa mukuṭa with other ornaments.

Chamunda : Chamundi and Charchika is the power of Devi (Chandi). She is very often identified with Kali and is similar in her appearance and habit. The identification with Kali is explicit in Devi Mahatmya. The black coloured Chamunda is described as wearing a garland of severed heads or skulls (Mundamala) and holding a damaru (drum), trishula (trident), sword and pānapātra (drinking-vessel). Riding a jackal or standing on a corpse of a man (shava or preta), she is described as having three eyes, a terrifying face and a sunken belly.

Chamunda, sculpture.

By Daderot – Self-photographed, Public Domain, https://commons.wikimedia.org/w/index.php?curid=11384120

Indrani : From Indra; the Lord of the heaven. Seated on a charging elephant, Aindri, is depicted dark-skinned, with two or four or six arms. She is depicted as having two or three or like Indra, a thousand eyes. She is armed with the vajra(thunderbolt), goad, noose and lotus stalk. Adorned with variety of ornaments, she wears the kiritamakuta.

Another eighth Matrika is Narsimhi or Narasimhika, Prathyangira, and Atharvana Bhadrakaali, is the power of Narasimha (lion-man form of Vishnu). She is a woman-lion goddess who throws the stars into disarray by shaking her lion mane. Ashtamatrika is revered in Nepal.

Saptamatrika panel, National Museum, New Delhi.

By Rohini (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Matrikas Temple, Aihole, Karnataka.

By Benjamín Preciado Centro de Estudios de Asia y África de El Colegio de México (Trabajo de Campo 1977) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)%5D, via Wikimedia Commons

Vaishnavi and Varahi fighting asuras (demons),folio from a Devimahatmya,Sirohi, Rajasthan, 1675-1700.

Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

Saptamatrika, Ellora (Cave 21),Maharashtra.

By Leon Yaakov from Tel Aviv, ISRAEL – Ellora Caves, May 2012, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=37357560

Mantra ratnakara decipting Matrikas, Wood and multi-layered paper,Nepal.

By NA – Freer Gallery [1], Public Domain, https://commons.wikimedia.org/w/index.php?curid=2804473

Saptamatrika, Nepal, 11th century.

By I, Sailko, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=12403566

Saptmatrikas,terracotta, Maurya period, National Museum, New Delhi.

By Nomu420 – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=32740370

Saptamatrikas flanked by Shiva on the left and Ganesha on the right, Los Angeles County Museum of Art, U.S.A, 9th century.

By Ms Sarah Welch – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=44761691

Goddess Durga leads the eight Matrikas in battle against demon Raktabija. Folio, Devi Mahatmya, Nepal, 18th century.

By Unknown Nepali – Source: LACMA[1]. Transferred from en.wikipedia to Commons. Original uploader was Redtigerxyz at en.wikipedia Transfer was stated to be made by User:Giggy. 2007-07-11 (original upload date), Public Domain, https://commons.wikimedia.org/w/index.php?curid=3351664

References :

http://www.anistor.gr
wikipedia.org

Posted by :

Soma Ghosh

©author

Vijayanagara art : glimpses from Tadipatri

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The term Tadipatri means palm-leaf. It is a place in the Anantapur district in Andhra Pradesh, south of India. Tadipatri is famous for its awesome Vijayanagara temples with their style of art and architecture. Tadipatri came into prominence during Vijayanagara period. It was flourishing village during Chalukyas of Kalyani period. Vijayanagara kingdom was founded in 1336 A.D by brothers Harihara and Bukka when they declared independence from the Delhi Sultanatate. Tadipatri was developed by Nandela Viraraghavaraju. During the rule of Devaraya II Pemmasani chiefs emerged. The earliest member was Pemmasani Thimmanayudu who might have joined Vijayanagara service during Virupaksha period of 1460-85. His three sons were Ramalinganayudu, Yera Thimmanayudu and Chinna Thimmanayudu. The Bugga Ramalingeswara Swamy temple was built by Ramalinganayudu, a shrine of Lord Shiva on the bank of the River Penna, between 1490 and 1509, after he succeeded his father in governance of Yadikisima. He was a notable chief under Krishnadevaraya (1509-29).

The temple is built of granite, richly carved with the superstructures in brick and stucco. Schist stone has been used like the Hoysala temples. Schist has been used in the gateways. The temple complexes at Tadipatri are well developed having a main shrine and a devi shrine each with an open rangamandapa. The main shrines in this temple complex are of Ramalingeswara, Parvati and Lord Rama. The other smaller shrines of Chandesa and Virabhadra are to the north and south of the Ramalingeswara shrine. Closed mandapa with porches in cardinal direction is seen in the Ramalingeswara temple. The temple complex has a prakara with gopurams to the south, west and north. There is a mandapa having the navagrahas in the north-east and at the south west corner, there is a kalyanamandapa.

Carvings, Ramalingeswara temple, Tadipatri, Anantapur, Andhra Pradesh.

Carvings, Ramalingeswara temple complex, Tadipatri, Anantapur, Andhra Pradesh.

The main shrine stands on adishthana , has a mukhamndapa with porches on south and north sides, antarala and the garbagriha. The temple has rich sculpture in the niches, pillars and walls. The images of Lord Shiva include Kevalamurti in the gopura. Also images as Sukhasanamurti, Dakshinamurti, Uma-maheswaramurti,Vrsabharudamurti, Natarja,Ardhanarimurti and Bhiksatanamurti. Chandeswara is seen in a small shrine north to the main Ramalingeswara temple. The gopuras depict Parvati seen in sambhaga adorned with jewellery; the kiritamakuta,chandrakundala, kuchabandha,girdle and purnoruka. Lord Ganesha is seen in diffrent forms of Sthanakamurti and Nrityamurti or Dancing Ganesha. He is also seen as Yanakamurti or the riding form. He is seen as asanamurti or in a seated form.

Temple view, Ramalingeswara temple, Tadipatri, Andhra Pradesh.

The Ramalingeswara temple has images of Kumara or Lord Murugan (Kartikeya) riding a peacock, standing or in seated position. Goddess Durga is seen depicted in the Gopura in various forms. Lord Brahma, Goddess Saraswati , Surya are also depicted. The saptamatrikas Brahmi,Vaisnavi,Indrani, Chamunda, Maheswari,Kaumaari and Varahi are seen in the open mandapa.

Lord Vishnu is seen seated on adisesa in the Ramalingeswara temple. Lord Vishnu riding on Garuda is depicted at the north gopura of the temple. Goddess Lakshmi is is depicted on the north gopura of the the Ramalingeswara temple. There is a shrine dedicated to the 12th century reformer, Ramanuja. A tall figure in the southern gopura of a noble is of the builder with a tall conical cap and short waist cloth.

Carvings, Ramalingeswara temple, Tadipatri, Anantapur, Andhra Pradesh.

The temples at Tadipatri have upapithas. The wall pattern shows bays and recesses. Doorjambs have two or three jambs, the broad jamb has salabhanjika sculpture. Ceilings are like a grid with coffers with lotus medallions or a dome having three tiers and a big pendentive. Bas reliefs are mostly found at Tadipatrit temples. In the niches smaller deity figures have been placed.

Carvings on ceiling, Ramalingeswara temple, Tadipatri, Anantapur, Andhra Pradesh.

Carvings, North gopura, Ramalingeswara temple, Tadipatri, Anantapur, Andhra Pradesh.

Carvings, Ramalingeswara temple, Tadipatri, Anantapur, Andhra Pradesh.

Hoysala artistic influence is seen in the sculpture; similar motifs, kirtimukhas, floriate arches etc. There is resemblance in the jewellery depictions too. Facial features have similar prominent eyeballs and high eyebrows. The art at Tadipatri bears resemblance to the Chennakesava temple at Pushpagiri. The temple depicts contemporary life depicting wrestlers, warriors, shepherds,hunting scenes, monkeys and horses.

Carving of salabhanjika, Ramalingeswara temple, Tadipatri, Anantapur, Andhra Pradesh.

References :

Temples of Vijayanagara/Jayaprada, V, Delhi : Bharatiya Kala Prakashan, 1998.

wikipedia.org

All Image attributions

rajaraman sundaram [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)%5D, via Wikimedia Commons

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Soma Ghosh

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Art of Kerala : magnificent murals

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Kerala is at the southern end of the Indian peninsula. It is a part of the Western Ghats of India. Verdant with copious rainfall it is home to many trees, spice plantations, an amazing amount of flora and its well-known backwaters in the south. Kerala, often referred to as God’s own country has a very interesting history of mural making. Believed to have started in the 7th and 8th century; majorly influenced by Pallava art. The oldest Kerala style murals have been found at a rock cut temple of Thirunandikara, now in Kanyakumari in Tamil Nadu which was probably made in the 9th or 10th century. There is some doubt about mural making in between 10th and 13th centuries but from the 14th to 16th century many were made and continue to this day after continuing revival efforts.

The content of the murals are mostly religious and mythological depicting legends. Flora and fauna also figure in the wall paintings. Magnificent murals are found all over Kerala. Murals have been made at palaces, termples, churches and also some other spaces. The Kanthaloor temple, Thiruvananthapuram, The Mattancherry palace, Cochin, Vaddakumnathan temple, Thrissur to mention a few. Murals have been made at churches at Alappuzha, Thiruvella, Angamly and Akkaparambu. Some temple murals are highlighted here. Also some depictions from Kalyana bhavanam or marriage halls.

Ananthasayanam, mural, 21st century, by artist Sastrasarman Prasad, Sree Karthyayani Temple, Kunnamkulam, Thrissur,Kerala.

By Mural paintings (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

The Mattancheri palace was built by the Portuguese in 1555. It is commonly called Dutch palace since 1663 after the Dutch made additions and renovations to it. there are shrines in the palace compound. Next to the palace is the Cochin synagogue built in 1567. On the west of the palace are murals painted in 1000 square feet in four chambers and two low ceilinged rooms from the 17th to mid 19th century. The depictions are from the Ramayana and some Krishna-lila scenes. The eastern chambers have Lord Shiva and Vishnu depictions. The scenes are dominated by browns,golds and red browns with touches of jewel-like green. There are many paintings which include Lord Vishnu as Anantasayana, Lord Krishna lifting Mount Govardhan, Lord Shiva with Parvati on Kailasa, Krishna with gopis, marriage of Lord Shiva and Parvati. Also Lord Shiva with Vishnu as Mohini.

Mattancherri Palace, Cochin,Kerala.

By Ranjith Siji (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

Mural, Lord Shiva with Mohini, Parvati looking away in anger, Mattancheri palace, Cochin, Kerala.

By Mark Hills (originally posted to Flickr as mattancherry palace) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

The Padmanabhapuram palace is located 40 kilometres from thiruvananthapuram, now in Tamil Nadu though historically a part of Kerala. This palace was a royal site, a centre for contact between the ruler Maharaja with visitors from abroad and for discussions with his advisors. The murals at the palace are from the 17th and 18th centuries mostly found on the upper floor of the 4 storey tower, in a sacred bedroom devoted to Lord Vishnu. Deities and tales from the Puranas are depicted on all four walls. The colours are light with uses of pastel shades and white as well. an are of 900 square feet is painted with murals. Lord Shiva resting with Parvati, Lord Krishna playing on his flute with gopis around him; are also depicted in the palace.

The Krishnapuram palace, built in the early 18th century at Kayamkulam is located north of Kollam (Quilon) and has a mural of Gajendramoksham of 154 square feet made around 1725-40. There is also an image of Ganesha. At some places European influences can be seen.

Krishnapuram palace1.jpg

Krishnapuram palace, Kayamkulam, Kerala.

By Appusviews at Malayalam Wikipedia – Transferred from ml.wikipedia to Commons by Sreejithk2000 using CommonsHelper., CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=12762847

Gajendramoksham, Krishnapuram Palace, Kayamkulam, Alappuzha, Kerala.

By Essarpee1 – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=32662595

The magnificent art of mural painting is well depicted in many temples across Kerala. The Vaddakumnathan temple at Thrissur, the Chemmanthita Siva temple, Thrissur, Kudamaloor, Kannur, Thodeekkalam, Kannur, the Sreevallabha temple, Thiruvalla the Mahadeva Siva temple, Ettamanoor, Pallikarup Mahavishnu temple, Mannarkad, Palakkad, the Padmanabhaswamy temple at Thiruvananthapuram, Guruvayur temple, Guruvayur, Vaikom temple, Kottayam, among many others.

The Sreevallabha temple at Thiruvalla, Pathanamthitta is dedicated to Lord Sree Vallabham and is very old. It is built on the banks of the Manimala river. The temple has fine stone-wooden carvings and grand architecture. There are superb murals paintings in the sreekovil (sanctum sanctorum) of Matsya avatara, Kurma, Varaha, Narasimha, Vamana, Sudarshana, Parashurama, Venugopala, Lord Krishna, Kaaliyamardana episode, Balarama, Dakshinamurty, Purusha sukta, Lord Rama, Lakshmi, Ganapati, Kalki avatara.

Sreevallabha Temple, Thiruvalla, Kerala.

By Ssriram mt – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=42076069

Garuda, mural, Sreevallabha temple, Thiruvalla, Kerala.

By Dvellakat (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

The Vaikom Mahadeva temple in Kottayam is an elliptical plan temple founded in the 11th or 12th century. The murals here are dedicated to the story of Lord Shiva. The paintings are bright and the colours are intense. At the Mahadeva temple at Ettamanur in Kottayam is an awesome panel of Lord Shiva as Nataraja on the inner wall of the gopura, 12 feet by 8 feet in size from the 16th century ! Lord Shiva is seen trampling the demon apasmara.

Vaikom Mahadeva Temple, Kottayam, Kerala.

By Sivavkm (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

The Thodeekkalam Shiva temple at Kannur is believed to be 2000 years old ! It is having much admired murals which depict stories of Lord Shiva and Lord Vishnu. Also the rural life from the 16th to the 18th centuries. The two-storied temple associated with the Pazhassi royal family of Kottayam, has 150 murals painted over an area of 700 square feet on the walls of the garba-griha or sanctum sanctorum. The splendorous murals are painted with naturally sourced pigments and red, saffron-yellow, green, white, blue, black, golden yellow hues dominate the panels.

Mural painting of Ganesha, Thodeekkalam Shiva temple, Kannur,Kerala.

By Vijayakumarblathur – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=48710571

Thodeekalam_mural_paintings

Mural painting, Thodeekkalam Shiva temple, Kannur, Kerala.

By Vijayakumarblathur (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

The Pundareekapuram temple near Thalayolaparambhu in Kottayam has Lord Vishnu as the main deity on his Garuda along with Bhoodevi. The murals of this temple were made most probably in later 18th century. The themes include Mahisasuramardini, Krishnalila, Sri Rama-pattabhishekam among others. The murals are bold and striking with accurate lines. Many images of Nagaraja along with Garuda are found in the temple.

Pundareekapuram temple.jpg

Pundareekapuram temple, Kottayam, Kerala.

By Sivavkm – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=16060370

Pundareekapuram temple mural, Kottayam, Kerala.

By Sivavkm – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=16060393

Kalyana-bhavanam mural painting, Achikanam, Kasargod, Kerala.

By Vijayanrajapuram – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=53875551

Mural at Olavakhode Railway Station, Palakkad, Kerala.

By Prof tpms (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

References :

Temple arts of Kerala/Bernier,Ronald M, New Delhi : S Chand & Company Ltd, 1982.
Murals of Kerala/Shashibhushan,M.G, Tvm : Department of Public Relations. (article)
connectingmalayali.com
wikipedia.org

Posted by :

Soma Ghosh

©author

Architecture of Bengal : piety and variety

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The history of urbanisation of Bengal seems to have started since the 1st millennium B.C ; after the decline of Indus valley civilisation. Ancient Bengal was a centre for trade and urban networking, with contacts up to Persia. The archaeological sites like Chandraketugarh, Mahasthangarh and Mainamati, the Bateshwar ruins all are evidence of a highly organised urban set-up. Architectural remains of early Bengal remain scarce, stupa fragments have been found at some archaeological sites. The Pala architecture is remembered for its constructon of viharas and stupas. The Somapura Mahavihara is an iconic monument built by the Palas (now in Bangladesh).

Somapura Mahavihara, Paharpur, Bangladesh.

By Masum-al-hasan – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51184053

The mode of building in rural Bengal is the paddy roofed thatched traditional chala type of huts. Temples have drawn inspiration from this and amazing number of temples have been constructed in different districts of undivided Bengal with many interesting variations. What follows in the rest of this write up is the variety and piety of these structures, many of which are still available for us to see !

Village in a clearing at Sundarbans showing thatched huts, drawing, Frederic Peter Layard, January 1839.

By British Library – British Library, Copyrighted free use, https://commons.wikimedia.org/w/index.php?curid=11175234

In early times wood and bamboo were used as building material. After that bricks were used. The land of Bengal has alluvial soil and stone is not much available. Hence brick is used for building. the architectural parts were made of stone and wood, black basalt, sandstone , granite and black marble. Initially lime or mud was used for the floor concrete. Later mortar was used and lime was used as a plaster. the accounts of travellers Fa-Hien and Hieun Tsang mention temples of stone and brick in ancient Bengal. The Ramcharita of Sandhya Kar mentions Bangarh as an important temple city. But most of these temples have not survived to this day and have destroyed either due to climate or by invaders.

The main types of temples in Bengal are many and varied yet a basic similarity is detectable, a beautiful architectural signature !

Firstly the Bhadra type : roof is of horizontal tiers which diminish gradually and are topped with a amalaka sila. The Rekha type has a sukanasa shikhara or tower which is curvilinear and topped by a amalaka sila carrying a kalasa or pot of plenty. A hybrid of these exists which is bhadra with a stupa as acrown. Another variety has a shikhara as a crown. The Sarvatobhadra is a square temple with four entrance points on four sides. Usually five storeys and sixteen corners, spires and turrets are parts of the temple. The hut or chala type of temple have sloping roofs. The ratha type is arranged in tiers of bent cornices, corners with miniature curvilinear towers and topped by a large sized shikhara. The Bhadra type of temples can be studied by the image of Nandi pavillion at Ekateswara at Bankura district, with two receding tiers. the evolution of this type is exemplified at Jangibadi in Dhaka with a amalaka sila crowning the structure. Further on, it can have kalasa as already mentioned, as in Mandoli, Kumarpur. The Rekha deul or temple are slimmer, taller, curvilinear and built on a square platform. with a amalaka sila or kalasa crowning the structure. Gothic architecture has influenced the design of these temples. The hut or chala type of temples has sometimes been called ‘cottage architecture’ of Bengal which resembles the thatched roof. There are many such temples across Bengal. The terracotta temples when classified based on their number of spires or superstructures are a type of chala or ratna respectively. The single hut are the ek-chalas, the double huts type are called the do-chalas. The others include triple huts, the teen-chalas, twin huts the Jor-mandirs or temples, the twin double hut type and the grouped hut type.

Twin hut type or Jor-Bangla are temples where two do-chala hut type temples are joined. The twin temples of Bimanagar, Nadia and Bishnupur, Bankura are of this type and decorated with ornate carvings. The hut type also influenced the Sultanate architecture of Bengal.

Jor-Bangla Temple, Bishnupur, Bankura,West Bengal.

http://www.flickr.com/photos/kgabhi/8415024198/

The Rasamancha at Bishnupur is different and does not conform to the styles mentioned. It has a circumbulatory passage on all sides. It has a square chamber with arched openings and has a pyramidal roof. It stands on a five-foot high platform. The innermost gallery has 5 arched openings on each side, the 2nd has eight and the last has four arched openings. The outer arches have four do-chala roofs with one smaller four chala at the corners for decoration.

Bishnupur Rashmancha.jpg

Rashmancha, Bishnupur ,West Bengal.

By Chiranjibmazumdar1 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=37129790

The temples across Bengal are mostly on platforms up to 6 feet in height. The main temple has a sanctum, with a covered verandah in front mostly with three arches with pillars. On top of the temple there are spires. The Kalighat temple at Kolkata is a char-chala or having four sloping roofs. The Ratha typre of temple is exemplified by the temple at Kantanagar (presently at Bangladesh) at Dinajpur. The ratha type combines the hut and shikhara design. These temples stood on platforms with bent cornices and three arched openings on each side. A long spire is in the centre surrounded by 4,8,12,16 or 24 spires. The Hangeswari temple at Hooghly is a 13 spired ratha temple, south facing having 12 arches with ornate terracotta design. 25 spired ratna temples or panchabhimsati ratna are seen at Krishna Chandra temple at Kalna, Bardhaman. The Ananda Bhairabi temple at Sukharia, Hooghly built in 1813 has three storeys and 25 towers. At some places separate rathas were made. One example is at the Radha Gobindo temple at Bishnupur in Bankura district.

Ek-ratna, the Madan-Mohan Temple of Bishnupur, Bankura, West Bengal.

By AsisKumar Sanyal (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Raghunathjee Temple with Shiva as deity at Ghurisha.jpg

Char-chala, Raghunathjee Temple, Ghurisha.

By Amitabha Gupta – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=41750396

Palpara temple in Nadia is a char-chala,one of the earliest forms of temple architecture in Bengal , built in the 17th century by Gandharba Roy, also called Math mandir and Kali Mandir. The char chala structure stands on a raised plinth and is made of brick facing south . and is around 21 metres tall. The decorated arched entrance is flanked by brick pillars on either side. The area above the arched entrance once contained intricately carved terracotta panels. Some scenes from the Ramayana, geometric and floral patterns and the lotus motif still remain. Later the char-chala was modified into the at-chala, which consists of a char-chala upon a char-chala, and is a most common type of temple architecture in Bengal.

Char-chala, Palpara Temple, Nadia,West Bengal.

By Biswarup Ganguly – Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=16882959

Pancha ratna, Shyam Rai Temple, Bankura,West Bengal.

By Dr. Indranil Banerjee (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

The temples of Bengal and their exquisite architecture has influenced the temples of Burma, Siam, Cambodia, Java and Nepal. The sculpture at the temple vide the terracotta art was the art of the common people. 17th century onward to the 18th century was a period of expression both for the artists, craft-persons and the patrons alike. The patrons were the rulers, landlords and wealthy merchants. There was a lot of temple building at Bardhaman, Birbhum, Bankura, Nadia, Hooghly and Murshidabad. The depictions on the temples are condensed and full of vitality. There are panels of processions, soldiers, horsemen,elephants with their riders, deities, geometrical motifs, floral motifs, miniature temple are shown above the other. Scenes from the epics, social scenes,, Europeans, love scenes too can be seen at different places. The 19th century saw some flat roofed temples being built. Temple building of this type went on up to the middle of the 19th century. It declined under Western influence.

At-chalas, 26 Siva Temples in Khardah beside Ganga, Barrackpore,West Bengal.

By Aryan paswan – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21324358

At-chala, Bhukailash Shiv Temple, Khidirpur, Kolkata.

By Kinjal bose 78 (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

Nava-ratna, the Dakshineswar Temple, Near Kolkata,West Bengal.

Von Dakshineswar Temple view from outside the temple gates.JPG: Dhruba08derivative work: Vinkje83 – Diese Datei wurde von diesem Werk abgeleitetDakshineswar Temple view from outside the temple gates.JPG:, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=19348092

Radhashyam Temple - Bishnupur.jpg

Ek-ratna, Lalji Temple in the city of Bishnupur, West Bengal.

By Amartya Bag – http://www.flickr.com/photos/26529222@N02/4374679207/Uploaded by MrPanyGoff, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=19800539

Ek ratna, Ananta Basudeba Temple, Hooghly, West Bengal.

By Amartyabag (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons.

Panchavimsati Ratna, Lalji Temple,, Kalna,Bardhaman,West Bengal.

By Sudiptorana – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21745887

The word deul is actually a nomenclature given to a temple style of Orissa, North India and Deccan between 6th and 10th centuries. The temples of Bengal are termed as the Rekha deul, having a square sanctum, curvilinear shikhara or tower, vertical ridges or projections on the walls.

Rekha deul, Pratapeswar Temple, Kalna, Bardhaman, West Bengal.

By Piyal Kundu (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)%5D, via Wikimedia Commons

Rekha deul, temple of Ichai Ghosh, Bardhaman,west Bengal.

By BengaliHindu – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=36800791

Rekha deul, Banda, Purulia,West Bengal.

By Amitabha Gupta (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons.

Rekha deul, Mothurar Deul, Faridpur (in Bangladesh).

By Imranforestry (Own work) [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

References :

Terracotta art of Bengal/Biswas,S.S,Delhi : Agam Kala Prakashan,1981.
Indian terracotta art/Ganguly,O.C, Bombay : Rupa and Co,1959.
wikipedia.org
aishee.org

Posted by :

Soma Ghosh

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Terracotta art of Bengal : depictions from the Ramayana

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The temples of Bengal (undivided) are well known for the intricate terracotta work and carvings. The themes depicted are many. Among them the Hindu epics Ramayana and Mahabharata are also seen at many places. Scenes and characters from the epics are sculpted.

Showcased below is a a terracotta creation from a temple at Surul, a village in Birbhum, West Bengal adjacent to Visva-Bharati University, founded by Rabindranath Tagore. Depicted below are scenes from the epic Ramayana. The battle between Lord Rama and Ravana at Lanka has been sculpted above the arch.

Terracotta carving of Ramayana, Surul , Birbhum, West Bengal.

Pic source : wikitravel.org

The Ramayana was composed by Sage Valmiki (5th century B.C to 1st century B.C , ie. more than 2500 years ago. It is the story of Lord Rama, an avatar of Lord Vishnu of Hinduism. It has over 24,000 verses spanning 5 chapters and is the longest epic poem of Hinduism. Rama is the prince of Ayodhya , eldest son of King Dasaratha. Rama is to succeed him but King Dasaratha’s second wife Kaikeyi wants her son Bharata to be on the throne. She schemes against Rama and sends him along with his wife Sita into exile for 14 years. During this time Sita is kidnapped by demon king Ravana of Lanka. However with the help of his brother Lakhsmana , who accompanies him on his exile and the monkey general Hanuman, an ardent devotee of Lord Rama, Sita is rescued after a fierce battle. After the exile they come back to Ayodhya and Lord Rama is crowned king. They have two sons Lava and Kusha. However Sita is accused of being unfaithful and asked to prove her chastity. She prays to Mother Earth and vanishes for ever but is immortalised; as per the epic. Ramayana is very popular and Rama and Sita are thought of as ideals and their victory is taken as the victory of good over evil. There are many sub-stories which teach valuable moral lessons. The great epic has been depicted in art since ancient times. There are miniature paintings, sculpture, modern paintings, translations in many languages, versions in other Asian countries, songs, films and television serials about the epic, given its timelessness and popularity. Thus the terracotta temples in Bengal (undivided) are no exception and could not escape the magic of this epic story.

Sage Valmiki, painting, unknown artist.

By …, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1058109

Scene of the battle at Lanka between Rama with his forces and Ravana, print, British Library, London.

See page for author [Public domain], via Wikimedia Commons

The Kanta Nagar temple at Dinajpur in Bangladesh was built by Maharaja Pran Nath, started in 1704 and completed by his son Maharaja Ramnath by 1722. It is a magnificent edifice with fine terracotta carvings. The epics are depicted on the temple, some characters can be seen on the pillars too !

Kantanagar temple, Dinajpur,Bangladesh.

By Kazi Rashed Abdallah – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51935398

Detailing of terracotta, Kantanagar temple,Bangladesh.

By Tanhaaa7 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51471853

Terracotta, Kantajiu temple, Kantanagar, Bangladesh.

By Shahnoor Habib Munmun (Own work) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)%5D, via Wikimedia Commons

Kantanji’s Temple, Dinajpur, Bangladesh.

By Omar Shehab (omarshehab) – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2595736

The Radhabinod temple at Jayadev Kenduli, a village in Birbhum district of West Bengal depicts scenes from the epic Ramayana. It is a navaratna temple, one having nine spires. Jaydev Kenduli was believed to be the birthplace of Jayadeva, the composer of Gita-Govinda from the 12th century, a classic Sanskrit work on Radha-Krishna and the gopis of Vrindavan. The gopis were the other cowherd girls who loved Lord Krishna. The land of Birbhum has been known as the land of red mud.

The Radhabinod temple was built by Maharaja Kirtichand of Bardhaman in the 17th century. The Ramayana scenes at the temple depicts the battle between the demons and the monkey army or vanar-sena.

Radhabinod Temple at Jaydev Kenduli, Birbhum,West Bengal.

By Chandan Guha – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=6080659

Ramayana scene at Radhabinod temple, Jaydev Kenduli, Birbhum, West Bengal.

By Chandan Guha – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=6080705

References :

Terracotta art of Bengal/Biswas,S.S,Delhi : Agam Kala Prakashan,1981.
Indian terracotta art/Ganguly,O.C, Bombay : Rupa and Co,1959.
wikipedia.org

Posted by:

Soma Ghosh

Terracotta art of Bengal : some flora depictions

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Nature has always inspired man and his creations. He has embellished them by things he has seen around him. Flora like flowers,trees,foliage,fruits,lotuses,creepers,honeysuckles and fauna like elephants,horses,camels,bulls,birds like swans,parrots have all been depicted in scenes and decoration on religious shrines, temples and other monuments across India, over centuries. Sculpture depictions on religious monuments using flora and fauna was as per the relevance of the subject and artistic convention of the time and region. In Buddhist art the bodhi tree, the jambu tree ,the sala and the asoka tree are very significant as they are part of Lord Buddha’s life. He was born in a sala grove under an asoka tree, mostly meditated under jambu trees and attained enlightenment under a bodhi tree. Trees, flowers et al. were used decoratively to enhance the sculptural composition for a more splendid effect. Palm trees, kalpavrikhshas, some fruit trees like sita-phal (custard apple), coconut,mango and banana have all been used as motifs. Kalpavriksha (wish-fulfilling divine tree)with rectangular fruits is found at Aihole and another one at Ellora datable to 10th century. Floral depictions use the roundel frequently in sculptural art which has a common motif . The roundel could have another decorative motif within. A naga is depicted inside the roundel on ceiling sculpture of 8th century Alampur temples in Telangana in South India. Lotus is the national flower of India and is the most popular motif. It is associated with poornaghata or pot of plenty. Plenty includes health, wealth and a long life. Lotus represents abundance, purity and fullness of life. Sculptors used various motifs from nature to decorate pillars,ceilings,borders,facades and pilasters.The creeper,honeysuckle,scrolls have all been used as motifs.

The terracotta temples at Bengal have also used the floral motif to heighten the impact and decoration of the plaques and sculptures. Floral medallions and designs surround many creations and themes. Floral borders depict the mastery of the craftsman, as one can see from the examples below which serve as illustrations. Islamic influence on the designs can be felt at some places.

The depictions below are of a twin temple at Baidyapur, Bardhaman district of West Bengal. Probably built around 1550 by Shubhananda Pal, the temple is a classic example of rekha deul architecture The temples are connected by a corridor. This type of temple is called a jora-deul. The floral motifs are prominent and striking; sculpted centuries ago !

Twin temples, Baidyapur, Bardhaman,West Bengal.

By Sujay25 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51806013

Floral motifs at twin temples at Baidyapur, Bardhaman, West Bengal.

By Indrajit Das – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51789270

Vegetal designs at twin temples at Baidyapur, Bardhaman, West Bengal.

By Indrajit Das – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51789275

The Lalji temple has 25 spires and is a Panchavimshati-Ratna. It was built by Braja Kishori Devi, the wife of Maharaja Jagat Ram in 1739. Built of bricks, and the walls are covered with terracotta figures. The panels depict ornate floral designs. One can also see the seamless motifs in vegetal patterns.

Lalji Temple, Kalna, Bardhaman, West Bengal.

By Sumit Surai – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51950563

Lalji Temple, Kalna, Bardhaman, West Bengal.

By Sumit Surai – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51950067

Lalji Temple, Kalna, Bardhaman, West Bengal.

By Sumit Surai – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51951738

The Shyamrai temple is a pancharatna temple built in 1643 by Raja Raghunath Singha. The temple has an ocatgonal central shikhara and the remaining four are square in shape. Lord Krishna’s life is depicted on the ornate carvings. Each side of the temple has three arches. The seamless designs and the floral patterns are awe-inspiring to the onlooker.

Shyamrai temple, Bishnupur,Bankura,West Bengal.

By Jonoikobangali (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)%5D, via Wikimedia Commons

Motifs at Shyamrai Temple, Bishnupur, Bankura,West Bengal.

By Amartyabag (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Motifs on pillar, Shyamrai Temple Bishnupur, Bankura,West Bengal.

By Amartyabag (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Floral medallions, below arches at Jor Bangla temple, Bishnupur,Bankura, West Bengal.

By Jonoikobangali – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=14932883

Terracotta Lotus Medallion, Palpara Temple,Nadia,West Bengal.

By Biswarup Ganguly, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=35082415

References :

Terracotta art of Bengal/Biswas,S.S,Delhi : Agam Kala Prakashan,1981.
Indian terracotta art/Ganguly,O.C, Bombay : rupa and Co,1959.
wikipedia.org

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Soma Ghosh

Terracotta temples of Bengal : grandeur revisited at Kalna

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The area of Bardhaman in Bengal has been named after the 24th Jain tirthankara Mahavira Vardhamana. The area was called Bardhamanbhukti around 700 B.C, a part of Rarh. One of the 16 janapadas of ancient India, the Magadhan dynasty, the Mauryas, the Kushanas, the Guptas have ruled it. The Gauda, the Pala, the Senas have ruled before the Khilji powers. Bardhaman was a paragana during Mughal period. Emperor Jahangir took the wife of Sher Afghan as his consort, the jagirdar of Bardhaman who was killed near Bardhaman in 1606; Meher-un-nissa, who later became Nur Jahan. In seventeeth century Raja Krishnaram Rai was made the zamindar of Bardhaman by Emperor Aurangzeb. The Rai family was the governing family of the area. Kirti Chandra Rai expanded his region and defeated the Raja of Bishnupur. Chitrasen followed and was given the title of Raja by the Mughals in 1740. He was succeeded by Tilakchand Rai when the British acquired Bardhaman and many other areas of Bengal.

Against the backdrop of many a political scene and happening, the town of Ambika Kalna or Kalna there have been lot temple building activity and construction of monuments like the Rajbari. Kalna is on the western bank of the Bhagirathi river.

Kalna is home to many temples. The Naba-Kailasha temple , Bijoy Vaidyanath Temple, Giri Gobardhan Temple,Gopalji Temple,Jaleswar Temple, Krishna Chandraji Temple Lalji Temple, Pancharatna Temple, Pratapeswar Siva Temple in Rajbari complex, Rameswar Temple, Ratneswar Temple and Rupeswar Temple. A few temples are highlighted with the structures and carvings in terracotta reflecting the refined art technique of the time.

Rajbari complex,Ambika Kalna, Bardhaman,West Bengal.

By Piyal Kundu / পিয়াল কুণ্ডু (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)%5D, via Wikimedia Commons

The Naba Kailash temple was built by Maharaja Teja Chandra Bahadur in 1809 ad these atchala brick Temples are made out of auspicious numerical combination in two concentric Circles and dedicated to Lord Shiva. The outer circumference contains 74 temples and inner circumference has 34 temples. The temples represent beads in a rosary symbolically. the outer circle’s shrines have the linga made of black stone, and the inner circle’s shrines have the linga made from white marble. All the lingas can be seen from the centre of the temple complex.

Naba Kailash temple, Kalna, Bardhaman, West Bengal.

By Indrajit Das – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51920155

Naba Kailash temple, Kalna, Bardhaman, West Bengal.

By Manojit Pati – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=28070367

Inner Circle Entrance, Naba Kailash, Kalna, Bardhaman, West Bengal.

By BengaliHindu – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51952698

The Krishna Chandra Mandir was built in 1752 by Maharani Laxmi Kumari Devi. It has 25 spires. Epics are depicted on the walls of this beautiful temple.

Krishna Chandra Mandir, Kalna, West Bengal.

By Schwiki – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51810228

Krishna Chandra Mandir, Kalna, West Bengal.

By Indrajit Das – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51953945

Krishna Chandra Mandir, Kalna, West Bengal.

By Schwiki – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51951562

Krishna Chandra Mandir, Kalna, West Bengal.

By Sujay25 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51951981

The Lalji temple has 25 spires and is a Panchavimshati-Ratna. It was built by Braja Kishori Devi, the wife of Maharaja Jagat Ram in 1739. Built of bricks, and the walls are covered with terracotta figures.

Lalji temple,Kalna,Bardhaman, West Bengal.

By Piyal Kundu / পিয়াল কুণ্ডু – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=5702479

Lalji temple, Kalna, west Bengal.

By Sumit Surai – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51950563

Lalji Temple - Kalna - Outer Panel - 2.jpg

Lalji temple, Kalna, west Bengal.

By Sumit Surai – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51950707

Lalji Temple depicting terracotta sculpture, Kalna, Bardhaman, West Bengal.

By Piyal Kundu / পিয়াল কুণ্ডু – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=5702521

Rameswar Temple, Kalna,Bardhaman,West Bengal.

By Sujay25 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51805016

Rameswar Temple, Kalna,Bardhaman,West Bengal.

By Sujay25 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51806016

Rupeshwar temple,Kalna,West Bengal.

By Ajit Kumar Majhi – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51566183

References :

Terracotta art of Bengal/Biswas,S.S,Delhi : Agam Kala Prakashan,1981.
Indian terracotta art/Ganguly,O.C, Bombay : rupa and Co,1959.
wikipedia.org

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