LARGE 'CANVASSES' IN TERRA COTTA TEMPLES OF WEST BENGAL

DISPLAYS WHICH OVERCOME THE  LIMITATION OF WALL-RELIEF'S SIZE

'Raasa Leela'. 29th to 33rd Chapters,10th Canto, SriMadbhagat.

Apart from Krsna, there are at least 48 human figures in this Composite Wall-relief.

Words cannot describe the ethereal beauty of this Wall-relief when Shyama Raya temple is lit up.

Shyam Raya temple of Bishnupur is a trend-setter in more ways than one in the 'art' of terra cotta temple. Creating a terra cotta wall-relief has many limitations - one of that is the unit size.  The artists' combined efforts at Shyam Raya temple created the iconic 'Raasa Leela' panel  . Scores of terra cotta temples have been built over two centuries after the one dedicated to Shama Raya  - but, this panel  still stands out.

 Displays in the best of our terra cotta temples have one limitation in common - size of a wall-relief. Artists of several temples have beaten and overcome this limitation creating a big canvass through - shall I say 'composites' - and telling a story in each of this canvasses. Almost all these canvasses are located  above/around  the arches at the entrance - 'Rasa Leela' of Shyama raya temple being an exception. Quite a few keep us beholden by their beauty and splendour.  A few more are here for the eyes of who enjoy terra cotta art.

The stories here are from our scriptures. The battle of Lanka is the most-seen theme. Only a few temples can boast of originality - I have picked up the one which has impressed me most. No large canvass from Mahabharata has  been created at all  - very surprising indeed ! Rama & Sita in Ayodhya in their full glory has inspired the artisans of several temples and I have brought that 'canvass' which I felt is the most most elegant one.

 The most carefully 'evolved' and executed Ramayana's Yuddha scene  

among terra cotta temples of Bengal.  

Ravana, taller than all others around him, in  a posture of submission and prayer 

as Rama  releases 'Brahmastra'. Celestial viewers witness the scene while Bibheesan stands aloof and still. 

Right-hand side temple @ Baronagar complex, District Murshidabad.

 

Kali the Fierce and the 'no-holds-barred' war  around Her. 

Her soldiers and those of  from the demons' side  are literally at each others' throat. Some of them are riding horses, elephants and camels. Yet others are on foot. The weapons they wield are swords,spears, shafts and their own claws.

Antpur temple, District Hoogly.

Rama & Seeta on throne @ the court of Ayoddha.

Wall-relief demonstrates remarkable European influence in layout & dresses 

the characters present wear.

Pratepswar temple, Kalna.

KRSNA & RAMA , THE ICONS of Vaishnavites - 1

A few panels from the largest and the best

All the six temples I have mentioned in the previous blog on Timeline are temples of Krsna.......therefore under deep impact of Vaishnavite scripture and literature . The biggest two I have seen  are from Shyam-Rai and Baronagar temples.In fact , the one from Shyam-Rai temple - the one depicting Rasleela - has deep root in 10th Canto ( Dasham Skandha) of 'Bhagavat Gita' as well as 'Vaishnav Padaabalee', the poems on Krsna's childhood and adolesent life in Vrindaavan.

Rasa Mandala.Shyam Rai Temple, Bishnupur.1643 AD.

Rasa Mandala  is one of the most famous among the terra cotta panels of Bengal. Almost iconic, symbolising the art of terra cotta temples of Bengal. This large panel comprises of segments forming three near concentric circles.At the centre, we find Krsna with two Gopies .Two circles outside - sixteen and twenty four figures respectively - show Krsna dancing with Gopis in many manifestations.Krsna plays drum and dances in top coners among peacocks in slightly different postures.In thr right hand corner, the peacock has spread its tail.At  the lower corners, Krsna-Radha are playing flute. A deer in the right hand corner makes the difference.

Slaying of Kansa.Siva Temple,Baronagar ( near Azimgunj) .1755 AD.

This is the 1st panel  we see as we enter the cluster of four temples at Baronagar ( near Azimgunj) . This panel on top of the left arch of the very first temple has two scenes from  the acts of Krsna-Balaram at Kansa's court. On the left is the 1st hurdle,elephant Kuvalayapeeda . As it charges , Krsna holds it by its teeth while Balaram kills its mahout.On the right , we see Krsna killing Kansa. Kansa's headgear is on the ground. His left hand holds a shield which he could not raise. Kansa's right hand holds a sword he has been unable to use as Krsna overpowered him.

The other two panels are from lesser known temples at Surul ( near Shantiniketan) and the famous Pratapeswar temple at Kalna.

Panel above LH arch of Siva Temple  at Surul. 19th century.
(Photo taken by Ruby Chatterji)

This panel has three rows. The top two rows cover one scene each. The lowermost panel has snatches from several scenes. In the top row, we  find 'Sita's Agnipareeksha' ( Sita's Trial by fire) Four sages are around the fire. Faces of Sita and three on-lookers from Rama's party disfigured. Rama and Lakshman watch from a pavilion on the right hand side.In the central row, we find Rama's court after his return to Ayodhya.Rama and Sita are seated on the throne while adulators and visitors flock in.The lower row is divided into three parts - three phases of Sita's life.. On left hand side, we find Sita in a pavilion and a maid seeks her permission with folded hands. The cental one depicts Sita and Rama in loving embrace under a tree, presumably during the their stay in the forest. An extremely rare scene. In the right hand side, Rama enters Sita's pavilion while Sita is dressing up - her hair being combed by a servant.Beyond this panel, in the right-most corner, we find Sita left in a chariot and a sage's wife bringing a pot of water to her.

Worship pf Devi Durga at Lanka. East wall.Pratapeswar Temple at Kalna.1849 AD.

A very intricately done panel. Top row has Devi Durga at the centre - flanked by Ravana, fully armed yet pondering and Rama about to release an arrow on her two sides. The panel is filled with 'Rakshasas' and monkeys in  battling mode. Durga is not in her 'Akaal Bodhan' manifestation - but 'Mahishasura-mardini' manifestation. A serious deviation from the accepted imagery !