Before Illambazar became a place of money making of
European traders and landed aristocrats by 18th. Century, it was a
place of cultural exigency. By 17th Century Vaishnavism became very
popular in Illambazar and surrounding. On the other hand some natural resources
escalated the commercial situation in Illambazar. The duo played a role in
cultural life of Illambazar. On the backdrop many temples were built in this
region though we often find similar stories of myths, tales and Hindu deities
but structures are divergent. Especially we never had any experience of
hexagonal structure which we can find in Illambazar.
The figures we find on that particular temple are
Mahishashurmardini Durga. The Clash between Rama and Ravan, men and women playing different instruments
like veena and two stringed instruments.
The most interesting part of this temple is a vertical
structure of human and animal. Here we can find different layers of elephant’s
tigers, horses and human figures facing downward. Such concept is definitely
unique. With respect to the other temples of
Birbhum there is no such figurine. Scholars have worked on it but it is
hard to conclude anything. This structure is majorly known as “Mrityulata”, but
the explanation behind this is also complex and controversial.
Fortunately we find another example of it on a temple
from Gurap, Hughly. This temple is known as Nandalal temple and the figure
which is known as Mrityulata shows as a horse devours a hapless animal. The over sized rider arched over his mount. On
the other hand there is another temple from Chandannagar where we can find
another example of Mrityulata which is almost damaged but the portion that
still remains consists of ascending human and animal. Thus it is tusk
of historians to rewrite the history in a comparative way so that we could know
what lies beneath in past.
The origin of Mrityulata is controversial so its usage.
Apart from Illambazar we have another example of Mrityulata in Birbhum. In
kenduli, the birthplace of Joydev, there is a spectacular evidence of
terracotta art where we have prolonged form of Mrityulata. So there is no doubt
that Mrityulata is not unknown to the artisans of this region. We have said
earlier that Hooghly is another place where we get to see some glimpses of this
style. Thus it would not be wrong to suggest that the notion of Mrityulata had
been here for certain time which shaped the minds of artisans and their
superiors. But from where did the notion come is still not known.
Apart from Mrityulata we have figures with various
musical instruments. Now-a-days we are accustomed with such instruments but it
would not be wrong to suggest knowing about the cultural practice of those
people. There is another plaque which shows a group of women, standing on a row
and playing flutes and drums. One can find some dancing figures also that make
sense and indicate to festival and other ceremonies. Wheels, floral designs are
very usual features of terracotta temples of Bengal and Illambazar temple is
not an exception to it.
This is beyond any doubt that European architecture
inspired artisans to portray Indian figures in a different way . Here in
Illambazar we have a figure, playing veena : today this veena shows like a gun
with a bayonet. We do not know whether this is an architectural mistake,
erosion through time or a deliberate portrayal of gun like veena, but it would
not be wrong to suggest colonial expansion triggered the minds of artisans.
There is another temple in the middle township which
testifies our explanation of colonial expansion. Though this temple is
dedicated to a Hindu God or goddess but there are some figures which indicate
the extent of colonial influence. There we have a group of sepoy who are
carrying rifles. It is true that along with European merchant’s army troops
come here when administration was taken by company in 1786.
Change of administration affected economic life.
Illambazar become a commercially viable place . Finally it was culture that
moved parallel with money. Lacquer was one of the materials that helped many of
the European merchants to make fortune. David Erskine was one of them. Gradually
the scenario changed. A riverside settlement become a busy commercial place
from an ensemble of small market place and today we have variations of
terracotta art (mostly based on our trip to Birbhum, August, 2016).
References :
1. Paschimbanger Sanskriti. Binoy Ghosh. Part-1. 8th. edition, Kolkata.
2. Social mobility in Bengal. Hitesh Ranjan Sanyal.
3. Mukul Dey Archives. Chitralekha.
Research - Sritam Mukherjee.
1. Paschimbanger Sanskriti. Binoy Ghosh. Part-1. 8th. edition, Kolkata.
2. Social mobility in Bengal. Hitesh Ranjan Sanyal.
3. Mukul Dey Archives. Chitralekha.
Research - Sritam Mukherjee.
Pictures - Santanu Roy and Sritam Mukherjee
