Like an archaeologist, the artist Zareen Tasnima reaches back into the spiritual soil of our rich past, not to reconstruct it with academic detachment, but to reawaken it through presence, texture, and form. In the 4th century, the kingdom of Samatata entered into recorded history through Samudragupta’s Allahabad Inscription. By the 7th century, Chinese monk Hiuen Tsang described it as a thriving Buddhist centre with 30 Viharas and a network of great learning that foreshadowed today’s residential universities. These lands gave rise to Shalban Vihara, Ananda Vihara, and others sanctuaries for contemplation and artistic expression. Zareen’s charcoal works resonate with the visual vocabulary of this lost world: stillness, sacred form, spiritual proximity. Her choice of charcoal raw, immediate, elemental is a quiet homage to what archaeology leaves behind when colour fades, brick and stone erode. With each stroke and shaded detail, we are reminded of the terracotta plaques, the sculpted Avalokitesvara, and the ornate Vajrasattva that adorned these monastic compounds now dispersed, taken, or hushed by time.

– Sufi Mostafizur Rahman, Professor of Archaeology, Jahangirnagar University.

Rishabhanatha from Surohor, Rajshahi

This drawing is inspired by a rare black stone sculpture of Rishabhanatha, discovered in Surohor, Rajshahi—one of the earliest known Jain images in Bangladesh. As the first Tirthankara, Rishabhanatha is depicted seated in deep meditation, surrounded by rows of miniature Jinas, symbolizing enlightenment and spiritual liberation. The artwork reflects the early flourishing of Jainism in North Bengal, even before the rise of Buddhism, and offers a glimpse into a sacred tradition deeply rooted in the subcontinent’s cultural memory.

Vairochana from Mahakali, Munshiganj

This artwork is based on a finely carved black stone sculpture of Vairochana (or Amitabha) from Mahakali, Vikrampur—now housed in the Bangladesh National Museum. The figure sits in serene meditation on a lotus pedestal, framed by a richly decorated stele that reveals the ornate architectural language of the later Pala period. Despite damage to the top of the slab, the elongated form and intricate detailing highlight the cosmic and transcendent aspects of the Buddha. This image reflects the aesthetic refinement and symbolic depth of Buddhist art in Bengal.

Goddess Ganga from Deopara, Rajshahi

This drawing is inspired by an extraordinary sculpture of the river goddess Ganga, found in Deopara, Godagari, Rajshahi and preserved in the Varendra Research Museum. Dated to the Sena period, this figure stands out for its sensual elegance, exquisite detailing, and remarkable three-dimensional modeling. The goddess is adorned with rich ornaments and jewelry, yet the graceful softness of her body is delicately expressed through the sculptor’s refined craftsmanship. This work exemplifies a harmonious balance between divine ornamentation and the poetic realism of the human form.

Ardha-Narisvara from Purapara, Munshiganj

This drawing is based on a rare and refined black stone sculpture of Ardha-Narisvara, preserved in the Varendra Research Museum and originating from Purapara, Munshiganj. Sculpted in the round, the figure harmoniously unites the masculine features of Shiva and the graceful traits of Uma, symbolizing divine duality. The sculpture’s balanced symmetry, serene expression, and subtle detailing reflect the artistic finesse of the Bengal school. It stands as a powerful representation of cosmic unity in form and spirit.

Uma from Mahesvarpasha, Khulna

This drawing is based on a magnificent 13th-century black stone sculpture of Uma, preserved in the Khulna Museum. The goddess stands on a double lotus, surrounded by six female attendants, within a richly carved temple-like frame. Despite the loss of three hands, her elegance is highlighted by the delicacy of her sari, conical crown, and ornate jewelry. Above her, the prabhavali frames a linga and miniature Brahmanical figures, reflecting both divine symbolism and narrative detail. The composition celebrates the grandeur of late Pala-Sena artistry, echoing sacred stillness and sculptural opulence.

Ambika from Morotail, Bogra

This drawing is inspired by a captivating black stone sculpture of the goddess Ambika, discovered in Morotail, Bogra and housed in the Mahasthangarh Museum. Attributed to the Sena period, the seated figure of Ambika is rendered with serene dignity as she holds a child on her lap—a powerful emblem of maternal grace and fertility. The composition is marked by soft yet disciplined modeling, expressive detailing, and a deep sense of intimacy. Despite minor losses, the sculpture reflects a rich sculptural tradition where divine femininity and human warmth converge in quiet harmony.

Avalokitesvara from Namuja, Bogra

This drawing is based on a striking black stone sculpture of Avalokitesvara, discovered in Namuja, Bogra and now housed in the Mahasthangarh Museum. Carved with six arms and an elongated body, the figure displays the serene majesty and compassionate presence typical of Mahayana Buddhist iconography. Despite slight damage to the face and hands, the sculpture radiates spiritual calm and technical finesse. Its rarity and refined execution mark it as a significant work within Bengal’s sculptural heritage.

Parashurama from Ramkali Dewal, Rajshahi

This drawing is inspired by a black stone image of Parashurama, preserved in the Bangladesh National Museum and originally from Ramkali Dewal, Rajshahi. The sculpture shows the axe-wielding sage in a calm yet powerful stance, his four arms holding symbolic attributes. Carved with clarity and balance, the figure reflects the early Pala style’s focus on order and idealized divinity. The smooth modeling and upright form reveal the sculptor’s disciplined vision of divine wrath and restraint.

Marichi from Pior, Comilla

This drawing is inspired by a remarkable black stone sculpture of the three-faced goddess Marichi, discovered in Pior, Chandina, Comilla and preserved in the Mainamati Museum. Despite slight damage, the figure displays exquisite miniature carvings and powerful iconography typical of Tantrika Buddhist tradition. The goddess is portrayed in a dynamic posture, richly adorned, exuding divine energy and spiritual potency. It is considered one of the finest representations of Marichi found in Bangladesh.

Tara from Suaganj, Comilla

This drawing is based on a delicate black stone image of Tara discovered in Suaganj, Comilla, now preserved in the Mainamati Museum. Though small in scale, the sculpture is remarkable for its bronze-like composition and richly perforated back-slab, echoing early traditions. Tara is seated gracefully on a lotus pedestal, her body adorned with fine ornaments and a serene expression of divine compassion. The composition blends stylistic elegance with spiritual intimacy, making it a unique representation in Bengal’s Buddhist art.

Balarama from Paharpur, Naogaon

This drawing is based on a fine sandstone sculpture of Balarama from the Central Temple of Paharpur, now preserved in the Paharpur Museum. Shown under a seven-hooded serpent canopy, the four-armed deity stands with strength and grace, holding a pestle and ploughshare—his signature attributes. The serene yet slightly intoxicated expression and the presence of wine-bearing attendants echo Puranic tales of divine indulgence.

Apitakuca from Kasippur, Mymensingh

This drawing is based on a rare black stone sculpture of Apitakuca, discovered in Kasippur, Mymensingh and now preserved in the Bangladesh National Museum. This unique composite form, blending divine and symbolic imagery, reflects the complex spiritual expressions of 12th-century Bengal. The goddess, carved with poised elegance and minute ornamentation, embraces a linga rising from a lotus base—representing union and cosmic balance. Its architectural precision and sculptural depth mark it as a standout of later Pala artistry.

Gaja-Lakshmi from Jora Deul, Rajshahi

This drawing is inspired by a finely carved black stone image of Gaja-Lakshmi from Jora Deul, now housed in the Bangladesh National Museum. The goddess stands gracefully in the center, flanked by elephants pouring water over her from vessels—a traditional symbol of prosperity and purity. Despite minor damage, the sculpture reveals the early Pala style’s elegance in posture, ornamentation, and serene expression. The composition is both symbolic and sensuous, capturing the divine aura of Lakshmi in her most auspicious form.

Surya Deva from Mainamati, Cumilla

This drawing is inspired by a striking black stone image of Surya, the Sun God, discovered in Mainamati and now preserved in the Mainamati Museum. Standing tall with radiant symmetry, the deity holds lotus stalks in both hands—symbols of cosmic light and fertility. Flanked by celestial attendants and adorned in regal attire, the figure radiates divine authority and luminous grace. The sculpture reflects the Pala period’s mastery in blending spiritual symbolism with ornamental finesse.

Mother and Child from Joypurdanga-para, Natore

This drawing is inspired by a beautifully composed black stone sculpture of a reclining mother with child, discovered in Joypurdanga-para, Natore, and now housed in the Mahasthangarh Museum. Rich in domestic warmth, the figure of the mother rests on a cushioned couch, attended by maids and divine symbols above. Unlike standard iconography, the composition reflects a royal lady’s opulent life rather than strict religious imagery. The scene is delicately modeled, offering a glimpse into the tender intimacy and worldly grace of maternal affection in early medieval Bengal.

About the Artist 

Zareen Tasnima is a recent graduate in architecture from North South University, with a deep-rooted passion for heritage, sculpture, and storytelling through art. Her works explore the spiritual and cultural layers of Bangladesh’s archaeological relics, translated into expressive charcoal sketches. “মাটি, মূর্তি ও মানস — Earth, Idol & Mind” is her debut solo exhibition, where memory, history, and artistic instinct converge in tribute to the country’s timeless icons.