Satara, 240km South East of Mumbai, is a place with very rich Cultural and Historical background, dating back right from Shivaji Maharaj era to end of Peshwai. Satara has number of religious places around. Some of the temples are 500 to 600 years old. One of such old temple complexes devoted to Lord Shiva is “Shree Kshetra Mahuli”. This is birth place of the famous Chief Justice in Peshwa regime, Mr. Ramshastri Prabhune. He was known for his straightforwardness in giving justice irrespective of who was the accused. He was known for his unbiased opinions. Ram Shastri held office during later part of 18th Century.
Shree Kshetra Mahuli is situated at confluence of rivers Krishna and Venna. Krishna being major river of the two. This place is also called as “Dakshin Kashi”. There are three major temples of Lord Shiva namely, Vishweshwar, Rameshwar and Sangameshwar. There are a few more temples as well but I could not get names and details of these. Vishweshwar side is called “Sangam Mahuli” whereas Rameshwar side is called “Kshtra Mahuli”.
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 1673, Zamindar Rameshwar Ray left Patuli and settled in Bansberia or Banskabati as it was known earlier in Hooghly. Bansberia is located besides our holy river Ganga, and in between Tribeni and Bandel. Zamindar Rameshwar Ray was gifted this village of around 400 Bigha of Land and its Zamindari by the Mughal emperor Aurangzeb who also gifted him the prestigious title of King. From this time onward many of his kith and kin settled in Bansberia.
The Brihadeesvara Temple stands as a supreme example of Chola architecture. Built on a scale appropriate enough to house the presiding deity, Sri Brihadeesvara, or the Lord of the Universe, the temple continues to excite wonder at its many unique architectural features and living presence as a centre of Saiva devotion. During the period when Chola power was in the ascendant, (around 850-1350 AD) architecture in the Tamil country went through dramatic changes. Indeed before the time of the most famous Chola king, Rajaraja I, gopurams in temple complexes were not built on a very grand scale. During the reign of Rajaraja I, the temple at Tanjore was built not only as a monument to the sway of Chola power over many southern lands but as a living sign of Saiva concepts and beliefs. It was called ‘Dakdhina Meru’ as a complement to the ‘Uttara Meru’ or the sacred mount of Kailasa, thought of as the spine of the universe. The Dakshina Meru was thought to be a centre of divine power analogous to the northern centre of Sri Kailas. Many inscriptions of Rajaraja I (A D 985-1012) reveal him to be a great warrior and an ardent devotee of Shiva. It is this spirit of ardent devotion that visualizes the entire temple complex itself as a visible symbol of the divine presence. Over the centuries the successive powers of the Nayakas and the Marathas added smaller shrines and other embellishments to the temple complex in a manner that is a tribute to the original founder as well as the spirit of Saivism.
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