Maulik Hajarnis & Bhagyajit Raval
Faculty of Architecture, Parul University, Waghodia, Vadodara, Gujarat, India
Volume 6, Number 3, 2016 I Full Text PDF
Article DOI: 10.21659/chitro.v6n3.03
Received August 26, 2016;
Revised October 15, 2016;
Accepted October 17, 2016;
Published October 22, 2016
The present paper begins with a brief on the meaning and essence of a Hindu temple. It talks about the types of classification of the Hindu temples in India, on the basis of its physical attributes. The authors then try to trace the evolution of the Bhumija shikhara chronologically. The paper examines the Bhumija mode with respect to its meaning and references in literature. Finally the paper mentions various Bhumija shrines in various states of the country chronologically. The description ends with maps showing spatial distribution of Bhumija shrines across India and a graph showing state wise Bhumija shrines with respect to their time-line.
Keywords: Temple, Bhumija, Shikhara, Shrine, India
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Volume 6, Number 2, 2016 I Full Text PDF
Article DOI: 10.21659/chitro.v6n2.03
Received on April 25, 2016.
Accepted on June 13, 2016.
Published on July 14, 2016.
This article studies practice and pedagogy of three dance genres, namely folk, classical and Bollywood dance that co-exist in today’s India. First, it studies India’s folk and Bollywood dance genres, based on which are drawn five parameters of comparison. Second, it analyses the practice of Indian classical dance forms (ICDs) under these five parameters. Third, it discusses the pedagogic practice of all the three genres, and analyses how the traditional pedagogic manner (guru-shishya parampara) of ICDs has contributed to maintenance and expansion of their knowledge-repertoires. The article concludes by presenting core similarities and differences in the practice and pedagogy of all three genres.
Keywords: Bollywood, Classical, Dance, Folk, Genre, India
 Mrs Ojasi Sukhatankar (Master of Arts in Dance Cultures, Histories and Practices from University of Surrey, Guildford, UK & Bachelor of Engineering from University of Pune, India) is a classical Kathak exponent, teacher, choreographer, performer, dance-critic and software engineer, with national and international experience.
Pijushkanti Sarkar, State Govt. Employee
Dandabhukti was a prominent territorial sub-division of Ancient Bengal during the period of 6th Century A.D. to 12th Century AD that drew attraction of the historians like Acharya J. N. Sircar (1870-1958) R. D. Banerjee (1885-1931), Dr R. C. Majumder (1888-1980), Dr. D. C. Sirkar (1907-1985) and others who tried to discover epigraphic pasts and the events of the ancient times of a proud Bengal to glorify the Bengali as a race with special characteristics of its own. Bhashacharya Suniti Kumar Chattopadhyaya (1890-1977) on the other hand tried to the interpret the epigraphic discoveries of ancient Bengal in the light of Indian History from the holistic point of view.
Ancient Rarh or Radha region was divided into several smaller regions – Kankagrambhukti, Bardhamanbhukti and Dandabhukti, as parts of the Radha division. It is very much interesting to learn that the area under discussion was an integral part of that Gauda-Banga region which was a shadow zone to northern Indian society. The earliest reference to Bengal and Bengali speaking people contained in the text viz. Aitareya Aranyak written between 700 and 600 BC was indifferent to the instant society in terms of culture and civilization .‘For a long time the river Gandaka of Bihar was taken as the dividing line between civilization and barbarism and the Aryans were advised to avoid the area to its east as far as possible.. ..’ [Sen, Sukumar, 1978, vol1]
It is thus astonishing to learn as to how a non-Aryan people dominated Bengal (though not known in the name) comprising the Deltaic Ganges-Radhas region and extra Gangetic prachina Plateau region that remained neglected throughout the Greater Aryabarta [also that remained out of the limelight of the region “Shorhasha Mahajanapada” (Sixteen Great Settlements) of the Northern India] turned into region of interests with Buddhism and Jainism religions and then how rebel Buddhism and Jainism religious areas were converted into the Brahmanical settlements under the patronage of the kings of that time and it is also praiseworthy to learn as to how a settlement like Dandabhukti comprising a portion of the South Radhas and Orissa took its shape based on a national lifeline-like road passing through the western Bengal and Orissa in the environment of Buddhist culture. Classical Indian philosophers peeped into livelihood of greater Bengal and took the place of stories of Chandal Harischandra-Shaibya, Hiranyakashipu, Satyakam and so on in the life of Bengalis living in the greater Bengal while the scripts of Charyapadas were then being recorded on papers of Toolat Patra, Bhurja Patra used for Punthi (Puthi)-Patra.
Even before the invasion of the Central Asian Muslim leaders-turned-administrators at the dawn of the 13th century AD, the greater Bengal was divided into small independent states like Gouda, Radha, Banga, Sumbha, Barendri, Pundravardhana, Bardhamana-bhukti, Kankagrambhukti, Harikel, Samatata whence Dandabhukti and Tamralipti went into oblivion. Famous laureate Dinesh Chandra Sen mentioned the whole region of ancient Bengal as Brihat Banga (Greater Bengal). As far as the epigraphic study goes, before a period of one hundred year of the Gauda’s emerging as a great settlement under the Guptas, Dandabhukti settlement came into limelight. Access the Full Text>>
Ardhendu Ray, Centre for Historical Studies, Jawaharlal Nehru University, New Delhi
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This essay discusses the cultural significance of a lesser known terracotta motif Navanarigunjara in the temples of Bishnupur and relates it to various types of representation of the same motif found in Pata paintings. Moreover, it looks into its origin and evolution and its position in temples.
“Simplicity is the ultimate sophistication”. Remembering the quote of Leonardo da Vinci when I visited the exhibition at Victoria Memorial Hall (VMH), Kolkata to see collection of “Kalighat Paintings” from Victoria & Albert (V & A) Museum, London and VMH in the year 2011 and wondered how some simple brush strokes of water colour have given birth to these master pieces, the elegant Bengali folk arts. I have visited several museums after that to get the inherent taste of this gracious art and found a great zeal to write a review with the knowledge that I have gathered these days.
Kalighat Paintings refer to the class of paintings and drawings on hand-made or more usually on machine-made paper produced by a group of artists called ‘Patuas’ in the neighbourhood of the famous Kali temple at Kalighat in between 19th and earlier 20th Century.
A N Sarkar & C Mackay1 remarked that “The Kalighat school of painting is perhaps the first school of painting in India that is truly modern as well as popular. With their bold simplifications, strong lines, vibrant colours and visual rhythm, these paintings have a surprising affinity to modern art”.
One of the earliest pieces of description on Kalighat paintings by Ajit Ghose2 is also worth to be mentioned here. He said: “The drawing is made with one long bold sweep of the brush in which not the faintest suspicion of even a momentary indecision, not the slightest tremor, can be detected. Often the line takes in the whole figure in such a way that it defies you to say where the artist’s brush first touched the paper or where it finished its work…”
Dr. Lopamudra Maitra, Symbiosis Institute of Media and Communication (SIMC- UG), Pune
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As the torrential rain gushes down the plastic and tarpaulin sheets of the narrow alleys in Kumartuli, covering the half-made clay idols, the smell of wet earth emanates, reverberates, encircles and rises up to announce the arrival of the auspicious occasion— Durga Puja. Finally, as the dawn of Mahalaya announces the arrival of the Devipaksha and the last ablutions are offered to seek blessings from one’s forefathers on the banks of the sacred river Ganga, the artisans of Kumartuli pronounce the occasion through invoking the powers of the female goddess by painting the eyes of the idols of Durga, famously known as Chokkhudaan or bestowing of the eyes. A popular and annual sight in the region every year, this relatively small, yet largely famous and well-renowned region of Kumartuli stands tucked within the narrow lanes and by-lanes of Sovabazar area of the northern region of the present city of Kolkata (West Bengal, India) and the relatively recent construction of the underground metro-railway station of the same name. A busy place for idol-makers, the kumbhars, their small and narrow workshops, aligned against their crowded tenements, hum with the buzz of activities at most times of the year, especially during the time of the Durga puja. Over the years, the region has experienced a surge and witnessed changes in the style of the clay idols, their expression and depictions, especially the ones made for Durga puja. Carrying forth a string of history within itself, as these depictions represent a strain of continuity of the famous worship of female deities of the region, the changes and alterations in visual depictions of the idols made in Kumartuli also help to reflect new ideas and ideologies in the age of new-media, forming an important part of Visual Anthropology. Based on an extensive fieldwork in the region of Kumartuli and various parts of Kolkata throughout the month of Aswina (September-October) between 2011-2012, this paper tries to look into the significant aspects of the representations of the idol-making formats of Kumartuli, their changing presentations and new reflections and how the local history, oral traditions and lores still manifest themselves through these changing representations.
Art of Bengal, which was mainly religious in nature, was expressed through the medium of temples. Brick temples of Bengal (built between 16th and 19th century) forms one of the most distinctive groups of sacred monuments in India. Due to multiple artistic influences acting upon the region during this period the Brick temples of Bengal show wide range of forms and techniques of construction. Hence the temples constitute a coherent series in their architecture and sculpture, characteristically expressed in brick and terracotta. The chronological span also significant coinciding with the emergence of the new Bengali culture. “In fact, the Bengali temples may be viewed as one of the most important manifestations of this regions culture, closely associated with contemporary movements in religion, literature and the arts as well as with broader political, social and economic developments.”[i] Due to the political unification and consequent independence of Bengal; a unique Bengali style of monumental architecture was created which was also an expression of the local idioms. “Another important result of this change was the combination of Hindu and Muslim elements as intrinsic part of Bengali culture: thus, Muslim rulers and monumental Islamic architecture, but Hindu revivalism and religious poetry.”[ii]
Iconography is a field of study that concerns itself with the evaluation of symbols and their significance in religion. It aids in establishing context and helps to link the beliefs and myths of the past to the practices of the present. Any attempt to discuss iconography of temples needs to start with a look at why icons are created. The need for religious iconography is multifold in nature. First, it seeks to make the intangible concept of the gods real through physical presence. Religious iconography has a language of its own which seeks to make the god visible through a certain set of characteristics that are predetermined by rules that originated in ancient times. Secondly, religious icons in the days prior to the industrial revolution provided a unifying effect by their occurrence in temples across a region or a kingdom. Even though the actual mode of worship may differ from region to region within India, the icons themselves are pan-Indian. Icons associated with temples may also be a sign of the wealth or social standing of the person who finances the temple building process. Removing the icons makes religion itself a vague concept which is not as easily disseminated. One other function icons perform is as a record of a certain period in history. The intentional removal of icons during certain historical events can provide clues to the socio-political climate of the time and be reflective of invasion or change of patronage.
In those days when there was no discovery channel or BBC; people learnt about distant lands through the travels of brave travelers who undertook perilous journey across thousands of miles. Travelling was certainly not easy in those days when there were no airplanes, motor vehicles or diesel powered ships. Travelling was also not possible through personal endeavor only; often travelers undertook voyage under the patronage or sponsorship of religious institutions or funding from Kings. For these travelers who mainly travelled on foot, caravans or by ships, India was always a favored destination for number of reasons. Stories of the great wealth of India had reached far and wide, the abundance of Buddhist literature and monasteries also invited the travelers to come to India. So we may say India was an attractive destination because of both material and spiritual reason, and thus we find a number of travelers visiting India at different times. Hsüan-tsang, Ibn Batuta, Jean Baptiste Tavernier, Francois Bernier all visited India in different times and left for us a reliable picture of life in India in those times.
In Bengal school of temple architecture Deul style has its own place. Divided mainly between Bongiyo deul and Oriya deul this particular shape of temple or place of worship are few in this part of Bengal but each of them are unique and enrich. Deul temples are tower like structure with expansion on the either side. It is simple but majestic in presence. Jatar deul of South 24 Parganas and Bahulara deul of Onda village in Bankura are two most famous deul structure temple in Bengal. With this we have another lesser known deul temple in a small village near Burdawan and Birbhum border. This one known as Echai Ghosher deul holds an equal importance in the study of Bengal temple.