The Terracotta Marvels of Bishnupur- A Testament to Bengal’s Rich Heritage

Consciously known for its assemblage of a large number of temple architecture that exquisitely represents “Bengal Architecture” in its prime peak, Bishnupur radiates and retains the flavour of a unique urban complex that was able to settle because of the “Rulers of Malla” and due to their intricate sense of structuring and development.

History

Bishnupur (LAT. 23°05’N & LONG. 87°19’E) a sub-divisional headquarters of the Bankura district in West Bengal was ruled by the Mallas from a very remote time as it had been reckoned in history from the era of 695 AD. It was founded by Raghunatha, who was from the lineage of an old Kshatriya family and gained distinction as Adi Malla. But it was Bir Hambir, his descendant, who brought the change, not only in the aspect of architecture but in the grand schemata of religion as well; it is believed that with his patronage, the belief of the Vaishnava cult by Srinivasa was spread throughout Bishnupur, and it can be sufficed to say that the ideology itself brought a lot of iconographical and perceptual influence at the “Holy Spaces” of the temples. History acknowledges that the introduction of the worship of Madana Mohana and the construction of the exquisite “Rasa-Mancha,” which is supposedly a quaint pyramidical structure laid in the center of the town, where we find the images of all the deities from the neighboring temples being assembled on the occasion of the specific “Rasa Festival” was intricately introduced by him. However, imploring changes related to architecture can be seen with Raghunatha, the successor of Bir Hambir, who is credited with having built the well-renowned temples, including Shyama-Rama, Kalachand and Jor Bangla.

Influences & Inspiration

The Terracotta Temples of Bishnupur are indeed marvelous and unique, but that is not what makes them stand out; it is the amalgamation of different artistic influences.

It is denoted that art in Bengal, in its most primal phase, was mainly religious in nature and was imitated through the medium of temples. Tracing this analogy, we find that it was during the 16^th and 19^th centuries when this region was flourished through several construction and architectural forms that were otherwise preferred in the Northern region and by the Islamic dynasty. Perception and ideology travel fast; hence, if we overview the expressive style of the “Brick and Terracotta Temples of Bishnupur”, we will find that it is part and parcel of the critically known “Bengal Style of Architecture”, which in itself evolved because of various cultural interactivity.

Under the notion of Bengal architecture, we find four distinctive styles that are further modified with time and suitability. First and foremost is the “Traditional Style,” which falls under the arena of the Pre-Muslim era. Different designs in retrospect to the specific region of Bengal have been classified under the evidence of miniature replicas or via excavated or or tumbled remains, i.e., tall curvilinear Rekha Deul, the prominent North Indian type that reached its standard initial form in the 7^th or 8^th century in Central India and then spread further. Following that, we also find the Pirha or Bhadra Deul, another type that is dominant all over the Deccan and Northern India; the construct is known for its tiered pyramidal tower. Induced by these styles, we find the combination of Pirha Deul, further surmounted by a Rekha Shikhara. And the last is the Khakhara deul, the over-capped portion that was simultaneously developed in Bengal under this particular style. Next, we find the “Hut-style” features in Bengal that were very popular and commonly found. Under this phenomenon, we had the “Ek-Bangla” or “Do-Chala” designs, which similarly infused together gave the “Jor-Bangla” design that, to date, is considered the most distinctive contribution from Bengal concerning the field of architecture.

Furthermore, we also had the char-chala and at-chala design, an innovative continuation of the post-Muslim tradition because they are superstructural features supported on vaults and arches. Moving with this, we have the “Pinnacled Style or Ratna Design,” which, along with Bangla and Chala, emerged in the 16^th century. According to history, it was one of the favourite styles of the Malla kings of Bishnupur, whose example we find in one of the oldest ruined temples of Vrindavan Chandra, established in Pancha Ratna design in 1693.

Development of The Architectural Culture

Now, following the statement of David McCutchion, the religious architecture in Bengal can be conveniently divided into three periods, i.e., Early Hindu (up to the end of 12^th century), Sultanate (14^th to early 16^th century) and Hindu Revival (16^th to 19^th century). As discussed before, the arrival of the Muslims set a sharp mark and consolidation between the Hindu chief and Muslim overlords, settling a peaceful environment amongst the individual groups under which Bengal became an independent entity, and following the two centuries, exclusive culture in Bengal developed, which gave prominence to literature and architecture. Of course, the pre-dominant architecture included mosques, tombs, and serais, which categorized the basic form along with large domed chambers with corner minarets, but what added aesthetics towards it was the pinch of local characteristics, i.e., the curved cornice which was taken from bent bamboo eaves of the village hut and an indigenous Terracotta decoration to the land which was without stone.

                   

According to Dineschandra, one of the most impactful influences in Bengal architecture was through “Pauranik Renaissance”, which steadily rose in the late 14^th century through Sanskrit scriptures and with the emergence of Gauriya Vaishnavism that came from the preachings of Chaitanya; this in result was the contribution towards the revival of Hindu art and architecture in Bengal temples that coincided with that period. Strategically, it was a boom that aesthetically represented Hindu culture in the temples rather than only the Islam influence, and with regards to this, we find a lot of Radha Krishna temples in the 16^th and 17^th centuries span with Terracotta decoration, which iconified the saga of Vaishnavism in the holy spaces.

Designs, Motifs & Elemental Features

Even though construction and style differed yet, similar interlinks in relation to planning the temples have been found, and for better understanding, we will take the infrastructures of Keshta-Raya, Shyama-Raya, and Madana-Mohana, where we will discuss the similar planning system that connects the three “holy spaces.” Starting with the “Temple Facades,” which were completely covered with sculptures, often on four sides and extending even into the interiors of the sanctuaries and porches, we see this in the Shyama Raya and Keshta-Raya temple.

Next, we find the “Corner Elements” projected in every temple and created by horizontal panels; these are carved sections implementing various subjects- episodes from Mahabharata, Ramayana and Krishna-lila legends are profusely reflected here. Not just horizontal but even vertical plaques are also alternately projected and recessed, culminating the themes, which include hunters and archers above which rose arabesque foliations and looped stalks. This, in particular, is seen in the Madana-Mohana temple.

“Wall Panels” discussed in the case of Keshta-Raya are also similarly found on the principal facades of Madana Mohana, where the walls are divided into panels by horizontal, curved, and vertical bands; these panels are uniformly distributed over the façade and gently swell over the entrance. Even in this aspect, we find the illustration of Ramayana and Krishna-lila heavily retelling their stories and showcasing an essence of devotion.

Next is the notion of “Base Friezes”, and precisely in the scholars’ words, “In two or three layers, these run onto the engaged columns and free-standing columns at the porches.” (In brief, this is a decorative band or panel, which is a very crucial part of the entablature of a building, it is similarly used in the interior or exterior walls of the building. And in the prospect of architecture, it is located in between the architrave and the cornice. It is generally decorated with sculpture, bas-reliefs, or other patterns) Even in the upper layer of the frieze, we find Krishna-lila stories or Ramayana battle scenes; interestingly, it is seen that the frieze which is divided into two or three layers consist individual themes because the other layers as per studies display very nominal scenarios which include hunting, royal processions, boating, warriors, dancers and such. Apparently, they also interlay animals.

 

Present Scenario- Encroachment in the Land of Bishnupur

It is a very known fact that Bishnupur, even though is renowned as the “Temple town of West Bengal”, is still under the tentative category with respect to the UNESCO World Heritage Site. Thus, there has been a long debate concerning this factor; the Archaeological Survey of India submitted the said entry in the year 1998 on 3^rd July, and in the year 2019, it was last updated, but since then, there have been no upcoming changes. Admiring the aesthetics and the unique temple architecture, it is a wonder why the region has still not been labelled as one of the prominent Heritage sites. Well, research implies that one of the sole reasons for this delay is the encroachment observed near the temple area of Bishnupur. As per the statements given by the officials of ASI, it has been indicated that several inhabitations of unauthorized constructions, including shops, eateries, and buildings, stand deliberately very close to a 300-year-old canon called “Dalmadal,” which is exquisitely crafted and is 3.8-meter-long. History retells that this antiquity was used in 1742 in order to repel Maratha attackers in Bengal. The signboard of the Archaeological Survey of India clearly declares this as a protected area and prohibits constructions within 100 meters, but still, we see unauthorized infrastructure. We also find houses being built close to the Heritage Monument of Rash Mancha in the said region.

News articles highlight that it is the “one-storied” concrete structures which stand in the way of Bishnupur Temples from making it to the UNESCO World Heritage site that was enlisted 20 years ago. Here, the case of violation is prominent, and as an apparent example, we find brick-built and thatched huts standing uncomfortably close to the ASI Bishnupur sub-circle office, which is rather situated inside a protected compound that houses the temple of Kalachand and Radha-Madhav both declared as monuments of national importance. Similarly, we find the case of Rasa Mancha, built-in 1600 A.D., where it has been analyzed that more than a dozen one-storied and two-storied constructions eminently occupy the 100 meters prohibited range from the boundary of this cultural heritage infrastructure; where it has been strictly notified by the Ancient Monuments and Archaeological Sites and Remains Rule, 1959 that the area up to 100 meters and beyond it, i.e., 200 metres must not be occupied and hence prohibition on this regulated areas has been censoriously conveyed. But seldom does any individual follow these rules. In fact, as stated explicitly by Bimal Sinha, the Deputy Superintendent of Archaeology Kolkata Circle, “Bishnupur was not pursued because of the violations of the construction norms around protected monuments. In case we resubmit the entry, everything will lie exposed when UNESCO undertakes verification.”

Conclusion

It is to be concluded by stating that the terra-cotta temples of Bengal are a panorama of uniqueness in itself; it’s a revolving prospect that showcases a complete change in building construction materials, i.e., from stone to brick, which didn’t only influence aesthetics in architecture but it made sure of the fact that new applied technology and materials are to experiment with and encouraged the notion of sculpting and motifs while constructing a temple. Before that, we see how, in many cases, stones were carved in temples to enhance their beauty, but now, in this spectrum, sculptures demanded to be moulded, which, as a result, also uplifted the art of Bengal. Finally, the Terracotta temples unveil how the marvelously the ‘Ratna’ form of infrastructure came to be by adopting specific norms of style from Islamic architecture, the sikhara of Rekha Deul and also from the arena of vernacular architecture; it is exquisite how culminating all forms gave rise to such an establishment which till this date doesn’t fail to astound us.

Unfortunately, one of the most significant setbacks faced by the Bishnupur sub-division is the lack of development due to which the temples are on the path of ruins. We further understand this from a collective data that speculates how the amalgamation of tourists and outsiders have insisted that the temples are in dire need of funding when it comes to the subject of restoration and nothing other than strict government regulations can uplift the situation. A lot of initiatives are still in process but hardly any remarkable actions have been found that is been taken for the betterment of the “Holy spaces.”

 

 

References

• Origins and Developments. (1983). In G. Michell (Ed.), Brick Temples of Bengal: From the Archives of David McCutchion (pp. 15-29). Princeton University Press.
• McCutchion, D. (1983). Brick Temples of Bengal: From the Archives of David McCutchion (G. Michell, Ed.). Princeton University Press.
• Bain, Worrel Kumar. (2016). Bishnupur: A Town of Cultural Excellence. 65. 89-105. 10.1177/2277436X20160107.
• Das Chatterjee, Nilanjana. (2014). ROLE OF CULTURE IN THE PROCESS OF RESOURCE CREATION: A CASE STUDY ON TEMPLE TOWN BISHNUPUR, DISTRICT BANKURA, WEST BENGAL, INDIA. Bandyopadhyay, Dr & Guha, Sudeshna. (2017). Terracotta Temples of Bengal: A Culmination of Pre-existing Architectural Styles