Dr.R.Nagaswamy #6B8E23 [Despite being a Muslim country, one can still see the catholicity of Bangladesh towards Hindu, Buddhist and Islamic monuments. This has helped bring about harmony. Dr.R.Nagaswamy writes:- Editor] {At the invitation of Dr.Enamul Haque I visited Bangladesh in Feb.1999 and attended the third Interrnational conference on Bengal Art. The article gives an account of the Conference and the Great Museums of Bangladesh at Rajashahi, Mahasthan and Dakha. R.N} AN international conference on Bengal Art attended by scholars from all over the world was held recently at Dhaka, Bangladesh. The conference was organised by the International Centre for the study of Bengal Art, Dhaka, with the Government's help in three cities, Rajashah, Bogra and Dhaka, all within the reach of great Buddhist, Hindu and Islamic monuments. It was conceived by Dr. Enamul Haque, Director of ICSBA. Dr. Hague is an authority on Hindu iconography of Bengal. Essentially a Muslim country with nearly 93 per cent of the people following the tenets of Islam, while the rest follow Hinduism, one could still see the catholicity of the people of Bangladesh towards Hindu, Buddhist and Islamic monuments which they proudly claim as their cultural and artistic heritage. One of the senior Muslim judges, after listening to the author's paper on Bengal's connections with Chidambaram in Tamil Nadu, said that he was a keen student of Sanskrit. Federio Mayor, Director General of UNESCO, said that "art and literature had an important role to play in bringing people together. The study of art history contributes to the search for a culture of peace. Bengal art holds a significant place in the world's heritage and can contribute to the propagation of peace". The papers presented at the conference covered different fields of art and archaeology, such as excavations in Mahasthan in Bangladesh, Images of Mahapratisara in Bengal, Java, Central and East Asia, hero-stones of West Bengal, terracotta monuments of Bengal, the influence of Bengal temple stuccoes on Pagan, Sun images in Kathmandu valley in Nepal, Sultanate inscriptions and architecture of Bengal and so on. A special issue of the 'Journal of Bengal Art was brought out on the occasion. The delegates visited various monuments.The first visit was to Puthia on the outskirts of Rajashahi city, which has two remarkable brick temples built in the late 18th century. The entire walls of these temples is decorated with intricate brick sculpture carved in terracotta tradition, for which Bengal is well known. The Varendra Research Museum at Rajashahi houses one of the finest collection of Bengal sculptures, especialy of the Pala period, representing both Hindu and Buddhist images. The Palas were great patrons of art and religion like the Cholas of Tamil Nadu. The large collection is virtually an invitation to connoisseurs of Indian art to visit this museum to have a comprehensive view of Indian art. Most of the sculptures deserve special study but a few of them are highlighted here to emphasize their variety and outstanding merit. An image of three headed Surya from Munda, Rajshahi in the museum is unique and is identified as Martanda Bhairava. That it represents Surya is beyond doubt as he is shown on a chariot drawn by seven horses, driven by Aruna and is flanked by his consorts. His hands hold lotuses. Of the three heads visible the profiles of which are shown, one face resembles Aghora-murti in the Sadasiva images. Marthanda Bhairava Parvathi Veerandra Museum Rajashahi Pala Sculpture 11th Century In Saivite parlance, Surya is worshipped as Siva-Surya. The present image is shown with ten arms holding the emblems of Siva like trisula, damaru, kapala, katvanga, pasa clearly indicating the portrayal is that of Siva. It is of interest to mention that three headed Surya images begin to appear in Tamil Nadu from the 12th century in the gopuras of Chidambaram built by Chola rulers. A number of Saivacaryas who hailed from Bengal were appointed as Rajagurus by the Chela emperors and when the Chidambaram and other later Chola temples were built, these Bengali Rajagurus were in charge of the religious affairs of the Chola kingdom. Obviously the appearance of the three headed Surya images in Tamil Nadu is clearly due to their contact. In fact the Great Darasuram temple near Kumbakonam built by Rajaraja Chola II around 1160 AD, carries a four headed sculpture of Surya which is personified as Martanda Bhairava holding kapala, katvanga, akshmala, pasa. etc. He is also portrayed as Ardhanari in the half male and half female form. An inscription in red ochre above the niche reads Martanda, the remaining part being faded. This portrayal of Martanda Bhairava as Ardhanari-Surya is the only image found so far in Tamil Nadu and is unique in the history of Indian art. It reflects the sculpture of Martanda in the Rajasahi Museum in Bangladesh. The Rajasahi museum also houses an impressive Parvati image standing nearly six feet in height with four arms. This remarkable sculpture is of the Pala period dating to 11th Century. Another significant figure is that of Ardhanari also of the same period. In the pre-partition days, the museums used to exchange representative scultures from different parts of the country. A fine Chola broze image of Natarja of 13th Century presented by the Government Museum Madras is also in the Rajashahi Museum. The Madras museum got in exchange some lovely Pala sculptures which are on display in its gallery. The National Museum of Bangladesh, Dhaka, houses the finest collection of Bengal sculptures. Tastefully arranged and lighted, each sculpture in the Museum stands out throbbing with aesthetic refinement. Some of the Pala sculptures portray regional peculiarities not noticed in other parts of India. One image of Siva stands just behind the Goddess Uma-Gauri. Both the figures are shown two armed, Siva holding a trident in one arm, his other arm is on the shoulders of the goddess. A royal umbrella is held by an attendant above the figure of Siva identified as Kalyanasundara group. This lovely portrayal has no parallel in Tamil N adu. The nearest image from the South that could be cited as a parallel is what is called Alingana Chandrasekara. The sculpture in the Dhaka museum is a superb specimen. The other type which is a unique sculpture, figures Parvati standing behind an impressive Linga which is shown in full form. The Goddess standing behind is four armed holding akshamala and manuscripts in the rear arms while both the front arms are held in dhyana pose above the Linga. This is obviously akin to what is called Tapah-Kamakshi doing penance to obtain Siva as her husband. Some of the bronzes on display are excellent examples of the metal workers of Bengal under the Palas. Parvathi worshiping Linga Buddha bronze Pala Sculpture 11th Century Pala Sculpture 8 Century National Museum Dhaka Paharpar Two archaeological sites of great significance, in Bangladesh are Paharpur and Mahasthan. Paharpur is a gigantic Buddhist temple built by the Pala ruler Dharmapala around 775. A.D. It is built entirely of brick with a few stone sculptures made to adorn the basement. The main structure is a big square with angles of projection between arms and rises in several tiers to more than seventy feet in height. The main structure alone is built of a square of about 350 feet by 310 feet enclosed on the outer side by a parapet wall in each of the two upper tiers. There are projecting shrines on each of the four faces with a preceding mandapa. The basement is decorated with terracotta panels. The corner and central niches of the basement were decorated witl stone sculptures. Interestingly in this Buddhist monument, the stone sculptures on the basement represented Hindu images of popular worship, mostly representing scenes from the Mahabharata and Krishna legends pointing to the catholicity of the time. Hindu gods were considered as much a part of Buddhism in those days as Buddhist deities were part of the Hindu pantheon. Over 63 stone sculptures were in situ till a few years ago but now a considerable number have found their way to museums and a few are lost. This monumental temple was flourishing till at least the 13th century when invaders destroyed the temple and the monastery. The importance of the temple to Indian architecture could be gauged from the fact that it provided the inspiration for the Buddhist temple at Pagan in Burma and the Candi temples in Central Java. In view of its importance UNESCO has declared the Paharpur temple as world heritage monument. Mahasthan dates back to the beginning of the Christian era. There is a high mound in the centre of the town over which a mosque has been built in the 17th Century. Hence, no excavation could be conducted at the site. However the outskirts of the mound yielded a big stone slab with Brahmi inscription of the Gupta period, (4th century, CE). A little away from the mound, archaeological excavations revealed the remains of a Siva temple where a Nandi sculpture was recovered in the sanctum area and beneath it a huge terracotta urn was found and this is now housed in the site museum. Beside this Nandi, a massive stone lintel with carvings was also unearthed. Mahasthan has been celebrated as a great Siva-kshetra from early times. A very clear reference to this kshetra is found in a Tamil Tevaram hynm of Appar in the 7th century. This sacred place has been expanding over the centuries with fortifications and settlements, relics of which can be seen even now. On account of its importance, a joint excavation has been undertaken by the French Archaeological team headed by Professor J.F. Sailes, Director of Maison de l'Orient Mediterranean, Lyon, in France and the Bangladesh team. The excavations have been going on for the past six years yielding valuable results bringing to light brick walls of domestic settlements, terracotta figures, pottery etc. which are beginning to unfold the history of this region. An impressive site museum has been built that houses early terracotta pieces, some stone sculptures and other artefacts found in and around Mahasthan. The Hindu scultpures of Pala period are the most attractive exhibits. An exqquisite stone sculpture, nearly four feet in height,is that of Goddess Kanyakumari doing penance. One of the most impressive mosques in Bangladesh is in Kusumbha (in Nasgaon district) which we visited. It was built by Sulaiman in 1558 in the reign of Gyazuddin Bahadur Shah. Though a modest structure in dimensions, its facade and interior are decorated with intricately carved stone work that attract the attention of the visitors. It is one of the earliest mosques in Bangladesh to survive. A few other mosques of the same period and form are in nearby regions and are considered landmarks in the Islamic architecture of Bangladesh. Bangladesh has a very rich artistic collection for Indian art lovers to visit and appreciate. R.Nagaswamy The Hindu, Sunday, August 8, 1999