The artifacts, we commonly refer to as ancient Bengal art, were carved during the Pala period of the thirteenth century. Pala sculpture derives its origin from the late Gupta style but later on deviated from it. One of the main reasons for this deviation was the fusion of classical mannerisms with the indigenous style of Bengal. The mixed style that was an experiment in the mid-7th century continued through the 8th century and culminated in a specialized idiom of art in the 9th century.

Plate -1, The life-size red-stone torso of the Kushan period (Mathura School of Art) in the Asutosh Museum Calcutta from Skanda-dhap locality of Mahasthan (Bogra) shows the 2-handed god, standing in abhanga with a long staff in his left hand. This sculpture is made according to Brihatsamhita. The Brihatsamhita, supplies one of the earliest iconographic descriptions of the 2- armed Kartikeya where he is named Skanda. The right hand is damaged near the shoulder, a part of the palm being broken, still enough remains to be seen that it was in abhaya Similarly, the tip of the staff is also broken, but that it was a spear (sakti) can easily be imagined. The legs are broken from beneath the knee. Its identification as Kartikeya is though not without doubt, the emblem of sakti and the name of the find-place (Skanda-dhap) along with Kalhana’s mention of a temple of Skanda-Karttikeya at the same place, are strong points for its identification. According to Kalhana’s Rajatarangini, this idol was the witness of King Jayapida and Kamaladevi’s love story.

Plate-2, is a rectangular plaque (5th century AD). It’s the earliest representation of three deities of the Gupta period granting luck and prosperity. The left corner is Slightly damaged. All deities are seated and two armed. Most probably, the central figure is the Main deity, because a flat is placed under her feet. The left figure is Lord Ganesh. Here he is two-armed. His right hand is missing. Ganesh is two armed in Gupta period. In our relief Ganesh sits in an easy pose (lalita asana or sukha-asana) on a stool-like object. No rat is shown with him. He wears a lower garment and a snake (naga upavita). The hair is shown with circular buns. The second and central female figure is an extraordinary creation in the terracotta art of Bengal. It’s the image of Abhisheka Lakshmi or Gaja Lakshmi. Her two legs resting on the lotus. In her right hand, she has a round fruit. In her left hand, she holding a lotus type flower. She wears a Skirt the folds of which are marked with lines. The two small elephants are standing on a pedestal. She wears single-beaded necklace, circular ear rings, bangles and armlets which are quite typical for Gupta period. Her hair- style is also typical 2 for the Gupta period. On each side, there is a beehive-like arrangement of hair, and in the middle, simple plaited hair buns. The extreme right and third male figure is the image of Lord Kubera. He sits in lalitasana pose. He wears a short lower garment, single bead necklace and ekakundalin (one having only one earring). In his right hand, he holding a circular flat object. It may be a large coin or a jewel. This artefact is now in Bangladesh National Museum.

Plate-3 shows an excellent terracotta plaque. It’s depicted a very important scene of Ramayana ‘Hardhanubhanga’. This is a very magnificent figure of Rama and also an excellent example of Bengal terracotta art. This plaque shows, Rama is mastering the huge bow, which lies broken, to win Sita as his wife in swayamvar. The central figure is the image of Sage Vishwamitra who admires Rama’s deeds by putting his right hand over his shoulder. The extreme right figure is Lakhsmana. He watches with wonder standing close by. This artefact is now in Bangladesh National Museum.

Plate-4, This image of Vishnu (6th AD to 7th century AD) is really a masterpiece of Bengal found in Rajakpur, Bogura near Mahasthangarh. This idol is standing in Tribhanga pose. The deity stands on a plain pedestal. his left leg is slightly apart from the right one. This time his two weapons (ayudhas), gada and cakra, have been personified; his lower right-hand touches the knob, which is the head of the Gada-devī who stands in a graceful position facing the lord with folded hands. The god’s lower left-hand touches the rim of the large disk (cakra), the Cakrapuruşa standing with crossed arms on his chest. The deity wears a different type of tiara-like crown with a disk in the middle showing the head of a lion with two pearl strings coming out of it (kirtimukha?). His large ears are damaged, but the ear-stud of the right ear can be seen.

Plate-5, This beautiful relief sculpture tells the tale of Shiva drinking poison. This sculpture is rarely seen across India. This masterpiece was made in the 5th to 6th century and is found in Sompur Mahavihara complex. Shiva is standing in Tribhanga pose. He wears a short drawer-like lower garment (paridhana) tied with a cord. Probably middle figure is seen as goddess Parvati. Ganas of Shiva is also seen in this panel.

Vishnu rests his lower right hand on Chakrapurusha, the personification of his war discus, the chakra. His lower left-hand rests on the head of Gadadevi, the female personificaiton of his mace. Vishnu standing in Abhanga pose. This bronze sculpture was found in Bihar, and made in the early 9th century. The four-armed deity stands in the prescribed samapada position on a lotusbase, holding in his upper right hand a round object with a pointed element in the middle and a conch (Sankha) with the spiral below in the upper left hand. The deity wears a diadem tied with circular knots and flying ribbons on both sides. He has similar 3 ear-studs. In this idol Yajnopavita as far as the navel and Vanamala down to the level of the knees also seen. This idol is now in the Metropolitan Museum of Art, New York.

Plate-7, The bronze image from Bengal in the Metropolitan Museum of Art (New York) of c. 9th century AD. shows the god accompanied by Pingala and Dandi. Probably, that period’s Surya idols were influenced by Brihatsamhita. The diadem on the head has three elements: the central one is large and has jewels in the middle. The diadem is tied to the head and the knots are visible. The eyes are wide open with large, bow-shaped eye-brows. The deity wears kundala in each ear, which is visible in front of the rolled hair-locks. There is a circular prabha behind the head. He wears a beaded necklace (ekavali), but surprisingly there is no upavita. He wears a dhuti which clings between his legs and curls towards the pedestal like a twisted rope.

Plate -8, This Buddha Sakyamuni (11th century AD) from Kurkihar is the scene where Buddha is seen at the moment of enlightenment, with his right hand reaching down to touch the earth, bearing witness to his past refined and meritorious actions, including those in countless past lives that brought him to this point of ultimate realization. The Buddha sits in a yogic posture, deep in meditation. His enlightenment allowed him not only to realize, but also to teach, the Four Noble Truths, as stated in the inscription on his lotus throne. Of all dispositions proceeding from a cause The Tathagata [Buddha] has explained the cause and he has explained their cessation also This is the doctrine of the great Shramana [the great ascetic or meditator—the Buddha]. This sculpture is now in Baroda Museum and Picture Gallery Gujarat.

References:

1. Gourishwar Bhattacharya, (2000), Essays on Buddhists, Hindu, Jain iconography & Epigraphy, Dhaka.
2. Enamul Haque, (1992), Bengal Sculptures,Dhaka 1992

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