Journal of the Asiatic Society of Bangladesh (Hum.), Vol. 61(1), 2016, pp.

1-37

CULTURAL AND RELIGIOUS ASPECTS OF SCULPTURES

DISCOVERED FROM SOMAPURA VIHARA, NAOGAON:
A CASE STUDY OF SCULPTURES DISPLAYED AT
PAHARPUR SITE MUSEUM

Maliha Nargis Ahmed* and Nurul Kabir**

Abstract
Paharpur Buddhist Vihara is the largest vihara discovered in Bangladesh. The
excavation work which started during the British colonial period is still going on
around the central temple area and its vicinity. This paper discusses the problem of
dating of the 63 stone sculptures which were originally attached on the surface of
the central temple area. Most of these sculptures are now housed in different
museums of India, while only a few of them are located in the Paharpur site
museum. The paper highlights the problems of dating stated by different scholars
based on execution style and suggests that further exploration should be conducted
on these sculptures to set a firm chronology of these sculptures. The authors also
takes an attempt to find out the reason for placement of Brahmanical sculptures on
a Buddhist temple.

Introduction
The Somapura Vihara, popularly known as Paharpur Vihara is the largest
ancient Buddhist settlement discovered in Bangladesh. Located in the midst of
the flat alluvial plain of north Bengal, this vihara belongs to Badalgachhi
upazila of Naogaon District of Bangladesh. The Mahavihara, consisting of a
large cruciform central temple, is surrounded by a quadrangular monastery
which houses 177 cells. Two inscriptions, one on a copper plate grant and the
other on a set of terracotta sealing, mention the existence of two vihara
belonging to two different religions in this area. The copperplate grant
mentioned the Jaina Vihara of Guhanandin at Vatagohali during 478-479 CE
(Gupta reign). It may be worth mentioning that the actual position of the Jaina
vihara has not yet been determined by the researchers and excavators.

*
Associate Professor, Department of Archaeology, Jahangirnagar University, Bangladesh
**
Associate Professor, Department of Archaeology, Jahangirnagar University, Bangladesh
2 Maliha Nargis Ahmed and Nurul Kabir

Most of the terracotta sealings mention the name of two persons, Dharmasena
and Simhasena who must be some important dignitaries in the first phase of
Pala Empire. These seals were also discovered from Nalanda Vihara. Several
specimens of the sealing refer to the ‘community of monks’ from the great
vihara of Dharmapala at Somapura which means these monks lived in this
vihara. These sealings show representation of the Buddhist ‘wheel of law’
flanked by two deer in the upper register and the legend in the lower. The big
lumps of charcoal recovered from one of the rooms appear to be remains of
palm wood probably used as rafter for roofing and was destroyed in a fire. An
inscription from Nalanda states that the forces from Vangala once attacked and
set fire to the monastery of Somapura1. The present structure of vihara along
with main temples, stupas in and around the courtyard and a separate temple of
Tara just outside of the vihara compound clearly represent the existence of a
Buddhist settlement.
Buchanan Hamilton first mentioned about the site during a survey in 1807-
1812. Later Westmaccott visited the site. Both of them clearly mentioned that a
vast architectural ruin (the central mound was a solid temple) is covered under
this mound (Paharpur).2 Sir Alexander Cunningham visited the site in 1879, he
tried to connect the Gowalbhitar Pahar and the textual documented place called
Paharpur, which was located in the village Dharmapuri. The name
‘Dharmapuri’ may preserve an echo of the name of the founder of this vihara.
He attempted to make some extensive excavation on the mound but could not
succeed as the Zamindar of Balihar; the owner of the land did not allow him to
conduct any activities. However; he made some superficial excavations on the
top of the central mound. He thought it to be a square tower of 22’ side with a
projection in the middle of each side. Cunningham thought it to be a large
Brahmanical temple (based on a terracotta plaque which he wrongly identified
as the representation of the goddess Kali). The Paharpur mound and its
enclosure came into the hands of Archaeology department after it was declared
to be protected under ‘Ancient Monuments Preservation Act’ in 1919. It may be
mentioned that in 1917 an inscribed stone pillar was discovered by a villager in

1 K.N. Dikshit, Memoirs of Archaeological Survey of India, no 55. (Delhi: Swati

Publications1991 Reprint) p.2
2 Ibid.
Cultural and Religious Aspects of Sculptures 3

course of brick hunting at the south western part of the monastery. This
inscription was brought to notice of Varendra Research Museum, Rajshahi. It
was found to contain a record of the installation of the pillar by one
Dasbalagarbha for the satisfaction of three jewels. This event led to the first
preliminary attempt of excavation of the site in 1923. Kumar Sarat Kumar Roy
of Dighapatia, founder and president of Varendra Research Society, Rajshahi
offered to make a grant to the Archaeological Survey Department to conduct
the excavation work at the site. A combined team of Calcutta University and
Varendra Research Society started the excavation work under the supervision of
Dr. D. R. Bhandarkar. Later R. D. Banerjee, G. C. Chandra and K. N. Dikshit
continued the excavation work during British period.
The Monastery and other structures in the courtyard (Figure 1)
The monastery is laid in a quadrangle which measures 822 feet on each side
externally. The exterior wall of the monastery was more than 12feet in height.
The cells are generally 13 feet and 6 inches in length, opens at a spacious
verandah which is 8 to 9 feet broad. In the middle of each of the four sides
except the north wing, there is a special block which consists of 3 cells and a
passage around them. Excluding the cells of the central block in each direction,
there are 45 cells on the north and 44 cells on other 3 sides each (south, east
and west). The highest part of the monastery mound was the main entrance hall
at the north gate. No other entrance can be seen on the west and south wings of
the vihara, the east wing shows a small passage most probably used for private
entrance. Outside the main entrance hall on the north wing a number of
structures were exposed in excavation. One of these structures in the east was
probably a waiting hall or accommodation for the guards of the vihara. Among
other structures, there are two circular structures on a square base, which were
probably the votive stupas. The broad staircase leading to the main entrance
hall was built of brick on edge over flat bricks. Though the entire monastery
was made of bricks stone pillars and pilasters were used to support the roof.
The east and west walls of the hall indicated a band of bricks on edge at a
height of 6feet 9 inches from the stone bases (pillar) to relieve the monotony of
the ashlar courses. The inner hall leads through the main verandah to a ruined
flight of steps leading to the courtyard exactly in front of the temple. On the
southern part of the monastery not far from room 73 and 74, a group of shrines
4 Maliha Nargis Ahmed and Nurul Kabir

can be traced on the courtyard. These 5 shrines with a highly ornamented super
structure and a plan with a number of projections are an interesting example.
The south eastern structure exhibits the shape of a 16 sided star; on the north of
it another shrine showing two rectangular projections on a square plan
(battlement cornice and the knob indicate the date to 11th century CE). The
other 3 shrines are simpler in plan with one projection and earlier than the two
on the east. All these shrines were subsequently enclosed within a compound
wall which touches a stepped approach from the verandah. A well is located on
the north of this group. At a short distance to the west is a large hall which was
no doubt the dining hall and the well was dug to serve its purpose.
The Central Temple (Figure 1)
The colossal brick central temple is located in the center of the courtyard of the
monastery. The cruciform shape with angles of projection between the arms,
three raised terraces and complicated scheme of decoration of wall with carved
brick cornices, friezes of terracotta plaques and stone sculptures at the
basement wall are interesting example of temple architecture. The cruciform
shaped temple measures 356feet 6 inches north to south and 314 feet 3 inches
east to west with angles of projection between the arms. The temple rises in a
number of receding terraces with an ambulatory passage, enclosed by a parapet
wall. The north side of the temple provides the flight of steps to lead the first
and second terraces. In the center there is a square hollow central shaft and
around the shaft there are projections on each face of the shaft. The terraces of
these projections consist of an antechamber leading to a pillared hall
(mandapa), facing each cardinal point (north, south, east and west) and
surrounded by a continuous processional path which is enclosed by a short
wall. This way the whole ground plan takes the shape of a pancharatha type of
ground plan. On the north side it is a saptaratha, because of the flight of steps,
one more projection enhanced. The central square hollow shaft had a brick
paved floor at the level of the floors of garbhagriha and mandapa. The central
shaft has no entrance. The whole structure of the temple is enclosed by a low
enclosure wall. Alignment of the enclosure wall is parallel to the ground plan
taking the shape of pancharatha on the east, west and south and saptaratha on
the north.
Cultural and Religious Aspects of Sculptures 5

Earlier researchers regarded the temple as an abode of Mahayana philosophy of

Buddhism, based on the images found in the excavation of the vihara and
temple such as Bodhisattva Padmapani as stone relief, Budhha on earth
touching poses in terracotta plaque, steatite image of Bodhisattva Manjusri,
standing bronze image of Buddha, image of Bodhishakti Tara etc. But recent
research discovered an interesting and new development of Buddhism in this
region of Eastern India (Bihar & Bengal). The temple architecture manifests the
philosophical shift of Buddhism.3 The researchers showed that during the late
Gupta period, Mahayanist Buddhist philosophy (Image worship of Buddha)
existed in this part of Bihar and Bengal. Simultaneously with the patronage of
Barhamanical theology by the rulers the Hindu temple architecture flourished
during this period. The Buddhists adopted some architectural elements of
Hindu temple into their religious architecture in different ways such as
accumulating garbhagriha (sanctum/main prayer hall where the image is kept)
and mandapa (a reception hall in front of the sanctum) and stupa as the finial of
the temple. For example, the Mahabodhi temple at Bodhgaya, Bihar, which
belongs to late Gupta period, is a panachayatana style of temple like the Hindu
temple. During the post Gupta period the Mahayana Buddhism which
continued to prevail, made a significant shift and a new doctrine called the
Vajrayana philosophy in Bengal. The technical representation of Vajrayana was
Sunya in the sense of Vajra. Vajrayana introduced the polytheism theory of five
Dhyani Buddhas as embodiments of five skandhas or cosmic elements. These
five cosmic elements are form (Rupa), sensation (Vedana), name (Samjna),
conformation (Samskara) and consciousness (Vijnana). In Vajrayana
mythology these five cosmic elements were expressed in anthropomorphic
forms as Pancha Dhyani Buddhas. These are Vairochana, Amoghsiddhi,
Ratnasambhava, Amitabha, and Akshobhya. Each Dhyani Buddha is one aspect
of Sunya. According to Vajrayana philosophy these five Dhyani Buddhas are
placed in five directions: Vairochana in the center, he is always placed in the
sanctum of the stupa and Amoghsiddhi being in the north, Ratnasambhava in
the south, Amitabha in the west, and Akshobhya in the east. But sometimes

3 Seema Hoque and M.M. Hoque, “Understanding the Paharpur Temple Architecture in
New Perspective,” Paper presented in international seminar on Elaboration of an
Archaeological Research Strategy for Paharpur World Heritage Site and its Environment
(Bangladesh), 20-25 March, 2004, pp. 60, 64.
6 Maliha Nargis Ahmed and Nurul Kabir

their images can be found in different directions either due to intentional

removal of the image from its original position or as outcome of turning into
debris. At the temple of Paharpur, the five Dhyani Buddhas might have been
placed in one stupa where four of them were installed facing the four cardinal
directions and one of them was placed in the center of the shrine. Though none
of the image of five Dhyani Buddhas was found at four cells of the temple and
the middle shrines of the monastery’s south, east and west wing, but the
exhibiting five garbhagrihas leading to a common mandapa suggest that the
structures were constructed to install the images of five Dhyani Buddhas.4 The
researchers cited examples of cruciform temples of Ananda vihara, Bhoj vihara,
shalban vihara, Rupbanmura of Mainamati Lalmai Buddhist settlements,
cruciform temple of Holud vihara, at Naogaon. They also mentioned about the
sculptures (Dhyani Buddha Amitabha, Akshobhya, standing Buddha,
Bodhisattva Avolokiteshvara, Bodhisattva Padmapani, Bodhishakti Tara, 6th
Dhyani Buddha Vajrasattva) discovered from the sites of Manamati region.
Excavation of Itakhola mura and Kutila mura also revealed images of Dhyani
Buddha Akshobhya and Bodhisttava Avolokiteshvara. Most of the shrines had
multiple sanctum associated with common mandapa and ambulatory pathway.
Votive miniature stupas like the bronze Chaitya from Ashrafpur and bronze
replica of Chaitya from Shalban vihara exhibit similar type of structures. The
bell shaped stupa being in the center is surrounded by images of Buddha in the
niche facing four cardinal points. This is a bhadra type of superstructure.5 This
could be a replica of the evolved form of stupas constructed in this region from
7th century onwards. This type of replica made of bronze, stone, and terracotta
were also found in other Buddhist sites of Mainamati. Perhaps these replicas
could be the miniature example of the life size Buddhist temples which would
be a bhadra type of temple with stupa on the top as finial. This style continued
to be seen in the temples of Southeast Asia, for example Ananada temple, at
Pagan, Myanmar, Chandi Loro Jongrang and Chandi Sevu temple of
Prambanam in central Java, Indonesia.6

4 Ibid, p. 60.
5 S.K. Saraswati, Architecture of Bengal Book I(Ancient Phase) (Calcutta: G Bharadwaj &
Co. 1976), pp. 19-20, 65-66.
6 K.N Dikshit, Memoirs of Archaeological Survey of India, no 55 (Delhi: Swati
Publications, 1991, Reprint), p. 7.
Cultural and Religious Aspects of Sculptures 7

The ground plan of Ananda temple at Pagan is cruciform; it contains a solid

square shape pile in the center surrounded by two concentric ambulatory
passages connected with each other with a sequence of vestibules respectively.
Each niche contains the colossal image of Buddha (nearly 31 feet in height).
The four niches contains last four manushi Buddhas or mortal Buddhas facing
four cardinal points.7 The followers of Buddhism made an attempt to establish a
connection between the last five mortal Buddhas with the five Dhyani Buddhas.
The placement of four mortal Buddhas at Ananda temple and as well as the
placement of Dhyani Buddhas in the different shrines (alone or together) of
Bangladesh indicates the dominance of Vajrayana philosophy. The analysis of
architectural development and evolution indicate that the central shrine of
Paharpur could be a Vajrayani temple.
Objectives of this study
This paper offers a multi-disciplinary analysis focusing on cultural history,
iconography, museology and heritage management to provide guidelines to
design display layout and planning of exhibition in the site museum. The
guidelines for museology will not only cover basic features of iconography but
also focus on the historical and contextual records of the sculptures recovered
from the site to enhance more reliable information and themes for the museum
and its visitors. It will discuss some of the problems found in current museum
exhibition gallery. One such problem is evident in the few icons (among those
of 63 stone sculptures recovered at 1930’s excavation), which are displayed in
galleries ignoring their original context. The paper will look for both
hypothetical and practical solutions in such problems towards prospect and
possibilities. Keeping it in mind researchers will discuss the classifications of
the icons made by previous researchers to draw segments in museum’s themes
and galleries. It will enhance some of the ideas regarding the subject matters
and probable dating of recovered sculptures to reappraise the reasoning of
installation of Brahmanical sculptures on a Buddhist temple.

7 Seema Hoque & M.M. Hoque, Understanding the Paharpur Temple Architecture in New
Perspective, paper presented in Proceedings of the International Seminar on Elaboration
of an Archaeological Research strategy for Paharpur World Heritage Site and its
environment (Bangladesh) 20-25 March 2004, p. 65.
8 Maliha Nargis Ahmed and Nurul Kabir

Research Methodology
This study has largely depended on literary evidence as majority of the
sculptures were taken to Ashutosh Museum of Indian Art, and Indian Museum
in Kolkata, and a very few to Varendra Research Museum in Rajshahi. It may
be mentioned that only a few independent sculptures yielded from the
excavation of 1930 (for example Balarama, Indra, Chandra, amorous couple,
Ganesha¸ etc) are now housed in the archeological site museum of Paharpur.
Researchers have had the opportunity to study only those sculptures located at
the Paharpur Museum.
The researchers also took note of the text panels accompanying the sculptures
which was not sufficient enough to make visitors clearly understand the
religious and social perspective of the sculptures. Also the labels attached could
not clearly indicate the time period of excavation as it is necessary form
museological point of view. It is important to do so because the excavation
conducted during the British period and later during the Pakistan and
Bangladesh periods yielded varieties of antiquities. For example, the 1930’s
excavation yielded mostly different types of sand stone sculptures and stone
reliefs but later excavations in Bangladesh period revealed a beautiful piece of
a torso of a Bronze Buddha image. Excavator claimed that it was found in the
later phase of the temple and this particular piece belonged to 9th -10th century
CE. The excavation at Paharpur is still in progress. That is why it may be
helpful for researchers and scholars if the time periods of excavation along with
the probable dating of objects are mentioned in the text panel or introductory
panel.
Brief history of Paharpur Archaeological Site Museum
Paharpur archaeological site museum was initiated long after the excavation
work started on the site. As a result most of the sculptures and other antiquities
yielded from the excavation by K.N. Dikshit during 1930’s were taken to
Indian Museum Kolkata and Ashutosh Museum of Calcutta University. A few
sculptures were sent to Varendra Research Museum, Rajshahi.
For some unknown reasons a site museum at Paharpur was never set up during
the British period. After several years during the Pakistan period in 1957, a
single room museum was established by the then Department of Archaeology
Cultural and Religious Aspects of Sculptures 9

and this museum housed few movable items from the excavated monastery,
amongst them were some terracotta plaques from the shrine wall and a very few
stone sculptures (originally installed at the basement wall of the central shrine).
This single room museum was constructed in an area between the monastery
and Satya Pir’s Bhita (Temple of Tara). The total floor space was 900 square
feet. After the construction of the new museum building, this building is
currently used as the guest house of the site.
After Paharpur Buddhist Vihara was enlisted as a world heritage site in 1980, a
new building for Paharpur museum was constructed in 1988 with financial help
from Norwegian Agency for Development Cooperation. The new museum
building was designed in cruciform shape keeping a resemblance with the form
of main temple of Paharpur (figures. 3, 4, 5, 6, 7). Along with the excavated
materials of Paharpur site, sculptures and antiquities from other neighboring
sites and some pieces from Mahasthangarh museum’s reserve collection were
added to the collection of this museum.
Distribution pattern of sculptures and problems of dating
A total number of 63 stone sculptures were recovered from the temple site of
Paharpur. Most of the sculptures are made of different types of sandstones such
as coloring grayish buff, grey, buff, whitish, purple, mottled and dark buff grey
basalt and bluish basalt. The installation of the sculptures in basement wall of
the temple at irregular intervals is a sharp contrast to the uniform plan and
arrangement of the temple. The northern half of the temple has 22 niches filled
with sculptures whereas the southern half has 41 niches of same content. Again
the western half shows only 25 niches whereas the eastern half has 38 niches.
This irregular arrangement is also evident between the arms of the cross; for
example, 7 niches in the northwest portion, 11 in the northeast, 20 in the
southeast, and 11 in the southwest. Furthermore, irregular pattern of sculptured
niches can be seen on the main walls of 3 cardinal points of the temple. There
are 6 niches in the southern wall and 4 each in the eastern and western walls
(See figure 2). It has also been noticed that all the 20 projecting angles of the
temple was covered with sculptured niches. Only 2 front corners of either side
of the main staircase did not contain any niche. Except for the southern end of
the main western wall, all the other 18 angles have both faces covered with
10 Maliha Nargis Ahmed and Nurul Kabir

sculptured niche. It is very difficult to ascertain whether the empty walls were
originally kept like this or some parts of the series of sculptured niches went
missing even before it was exposed during the excavation since this part of the
temple was more damaged in comparison to other parts.8 Even one accepts the
fact that the idea was to fill in the walls of only to projecting angles with
sculpture niche as a part of decoration. But still that does not explain the
irregular pattern of niches on the intermediate walls or arms in between the
angular projections. In this instance, mention may be made of the north western
part which does not have any intermediate niche and there were only 4
sculpture niches in north eastern and south western part. Dikshit’s explanation
about the absence of sunlight in the north and not the availability of enough
stone reliefs is not quite satisfactory.
K. N. Dikshit notes that one group of sculptures distinctly represents the
traditions of later Gupta art.9 He termed it as the provincial manifestation of the
great Gupta art. Saraswati agreed with Dikshit on the above statement. Dikshit
termed another group as a distinct original tendency in which one may
recognize the beginning of the Bengal school which afterwards flowered into
the exuberant Pala School. A large number of sculptures of latter class represent
the Krishna cult which apparently lost its force in the Pala period. It is an irony
that during Pala period the worship of Vishnu was at its highest level in Bengal.
Such a large collection of sculptures related to Krishna legend though without
any sequence or order would indicate that a great center of Krishna worship
prevailed in this region.
S. K. Saraswati explains the irregular arrangement of the sculptures from
another angle.10 According to his theory all these sculptures were not executed
in the same period. Based on Dikshit’s observation he also divided these
sculptures into three different time periods. According to Saraswati, a few of
the specimens belong to the Late Gupta period, another group of sculptures
were produced during Post Gupta period and the last group of sculptures was
executed in between Pre Pala and Early Pala period.

8 K.N. Dikshit, Memoirs of Archaeological Survey of India no 55 Delhi: Swati

Publications, 1991, Reprint) pp.37-38, Photo 1.
9 Ibid, p. 37.
10 S.K. Saraswati, Early Sculpture of Bengal, Calcutta: Sambodhi Publications, 1962) p.39.
Cultural and Religious Aspects of Sculptures 11

In support of his argument, Saraswati also showed an example that only a

particular group of sculptures were originally part of the temple which were
installed in the angular projection of the temple. These sculptures installed on
the angular projections are almost always approximately of same height which
is proportionate with the height of the plinth. Moreover; these sculptures were
executed in same material and relevant to popular narrative theme without
having any cult significance. The subject matter is also very much similar with
the terracotta panels of the temple. This group of sculptures belonging to the 8th
century was undoubtedly part of the original structure. These stone sculptures
installed on the corner angles of the brick temple also served as binding
material which makes some sense about the existence of these sculptures where
any theological perspective was not taken under consideration. May be it
served as a part of a well planned decorative arrangement. Regarding the
Brahmanical sculptures located in the intermediate niches; he mentioned that
these sculptures were added at a later period to accommodate sculptures as
gathered from earlier structures or monuments at the site or neighborhood. He
further mentioned that in some cases the sculptured niches were cut to make
space for relatively larger sculptures and in case of smaller sculptures, the
niches were filled in with terracotta. He also commented that both the temple
and the monastery witnessed a long occupational phase for about 400 years
since 8th century CE. The installation of these Brahmanical sculptures may be
the result of the followers of Brahmanical faith who at a later phase started
frequently to reside within this establishment. During the long life of this
establishment it may happen that these niches were disturbed more than once
during repair and renovation work of the temple and perhaps new sculptures
were added. He also felt that some of the sculptures belonging to second group
which were supposed to be filling the corners are now filling up the
intermediate niches. Perhaps were picked up from the upper levels of the
monastic cells.
Although Stella Kramrisch initially agreed with Saraswati’s classification and
dating, later she changed her opinion and wrote that all the sculptured panels
are one and all to be relegated to the same period i.e., the 7th century CE. She
classified the execution style and trends into two different traditions, the one
numerically in the minority is an eastern and provincial version of
12 Maliha Nargis Ahmed and Nurul Kabir

contemporary sculpture in Madhyadesa, but the other is an undiluted and

indigenous eastern Indian contribution. The latter style is mainly employed in
showing event from the life of Krishna and other animated scenes and figures.
But when divinities are represented in samapadasthanka, a hybrid compromise
between the tradition of Gupta sculpture of Madhyadesa and Bengali form is
arrived at. From these stone reliefs, the cult images of the Pala and Sena
schools started their journey.11 Through explaining the diversity in style and
workmanship in the art of Paharpur as the result of different traditions
Kramrisch assigns all sculptures to the same age of production. However,
Saraswati did not agree with her on this issue, on the other hand he mentioned
that though Kramrisch spoke about two very distinct and divergent style of
execution (one largely influenced by Gupta tradition and the other indigenous
style) she also mentioned about the “hybrid compromises” between the two
traditions. She also mentioned that two different trends, two different traditions
might have been at work in Paharpur. But Saraswati dismissed the hypothesis.
Frederick Asher offers a different viewpoint about classification and dating of
the sculptures. He claims that the sculptures belong to the 8th century CE, the
apparent distinctions are far more properly ascribed to the hands of different
artists or different subject matters that required distinct treatment than to
different dates of manufactures. To make his argument more convincing, he
pointed out two interesting issues. First of all he critiqued Saraswati’s
classification of sculptures, and argues that the first group stone sculpture of
Balarama (6th century CE) is in no way different from the second group
sculpture of Indra (7th century CE). While the sculptures he placed in the third
group which include no major deities and naturally appear less formally
disposed. Secondly it is hard to imagine that the planners of such a major
monument would borrow the sculptures of an earlier neighborhood monument
and then plac them indiscriminately and at irregular intervals around the plinth
of the new structure. Imagining such borrowing in the course of refurbishing
the Paharpur monument is also not an acceptable idea.
It is interesting to note that most of the sculptures bear an influence of Gupta
vestiges like any other Eastern Indian sculptures at the threshold of Pala times.

11 S.K. Saraswati, Early Sculpture of Bengal, Calcutta: Sambodhi Publications, 1962) pp.
43-44.
Cultural and Religious Aspects of Sculptures 13

These Paharpur sculptures are more fluid in disposition and subtle in modeling
than the works of Devapala’s time such as Balarama images from Nalanda and
Kurkihar but they closely resemble to the 8th century imagery of Bengal such as
the magnificent Bronze Buddha from Mahasthangarh (Bodhisattva Manjusri
now kept in Varendra Research Museum) and stand apart from any 6th/7th
century works [(Vishnu from Narhatta (Bogra), and (Surya from Kashipur 24
Pargana, West Bengal)] of Bengal.12
Most of these Hindu stone sculptures do not belong to an earlier Hindu temple
in the area. Rather it was accepted and canonically prescribed practice to use
Hindu images in this position in a Buddhist temple. The Nishpannayogavali
describes mandalas in which Hindu deities occupy the outer circle essentially
corresponding to the lower level of a tiered monument. Mention may be made
of later terraced stupas at Pagan, like the Shwehsandaw temple. The temple
dated at c1060 CE exhibits the placement of Hindu deities in a similar manner
like that of Paharpur.
The alteration to some niches to accommodate the sculptures in no way proves
that they were removed from a monument in the area for using them on the
Paharpur temple. Some niches had to be altered simply because the sculptures
like those of any other monuments are not uniform in size. In fact the alteration
of Paharpur niches is not a very unusual matter. There are many other Indian
monuments whose sculptural adornment does not conform to the space allotted
for it. Asher stated the example of Gajendra Moksa panel of Deogarh temple,
which was too narrow to fit in to its niches. Only when the reliefs are cut in situ
from the fabric of the monuments surface one can expect a proper match
between relief and niche. One other thing has to be taken under consideration
that these sculptures of Paharpur were made out of stone which were to be
installed on the surface of a brick monument. When a stone niche is modified to
accommodate a sculpture carved from matching stone, the change is barely
perceptible, but with contrast between stone and brick on the basement level of
Paharpur monument, the modifications would be clearly visible.
The installation of sculptures in an irregular manner is still unexplained. It is
quite impossible to believe that these sculptures while being installed in the

12 F.M. Asher, The Art of Eastern India, 300-800. (Minneapolis: The University of
Minnesota Press, 1980) p. 93. Plates 177, 178.
14 Maliha Nargis Ahmed and Nurul Kabir

basement of such an important religious structure were done randomly, or that

artistic or financial constraints necessitated the collection to be obtained
through plundering an earlier monument to serve the purpose of decoration or
construction.
Subject matter of the stone sculptures originally attached to
the base of the central temple
Majority of the sculptures are narratives being presented as relief or panel.
Some individual sculptures can also be seen on the temple surface. The
Dikpalas (Agni, Vayu, Indra) several standing individual sculptures of Shiva,
Ganesha, Kubera, Chandra, future Manu, demon Trisira, etc can also be seen
on the temple. Sculptures of Vishnu, Dasavatara forms of Vishnu, Surya,
female Shakti sculptures, Manasa sculptures are absent. Among the individual
female representation can be seen Yamuna and female dancing figures. The
female figurines represent the principal god such as Devaki, Radha, Subhadra,
Sita, Rati, and amorous couple etc.
The relief mainly depicted stories of Lord Krishna’s early life, his birth,
childhood miracles, his association with his elder brother, friends and female
consorts popularly known as Gopi’s ( one of the principal Gopi was Radha),
Krishna fighting demons (Chanura and Mushtika) sent by his uncle Kangshsa.
In addition scenes from Ramayana (Ram and Lakshhmana meeting Bharat and
Shatrughna, Ravana fighting with the bird Jatayu while abducting Sita,
Honuman bringing rocks to build a bridge to go to Lanka) and Mahabharata
(Arjun abducting Subhadra, Krishna’s fight with Kangsha). The only two
Buddhist iconographic representation on the temple wall are a sculpture of
Bodhisattva Padmapani which is fixed to the middle of southern wall and
another relief known as the nativity of Buddha at Lumbini garden, this panel is
located on the south western wall.13 As mentioned earlier most of these
sculptures are now housed in two museums of India and a few collections is
housed at Varendra Research Museum. Only a few specimens can be seen at the
Paharpur museum. Presence of these sculptures at the basement of Paharpur
temple was an enigma to Dikshit as the styles, subject matter and forms of the
sculptures were entirely different from the sculptures of Dhramapla’s reign.14

13 S.K. Saraswati, op. cit., p. 89.

14 K.N. Dikshit, op. cit., Reprint, p. 37.
Cultural and Religious Aspects of Sculptures 15

Classification of sculptures done by S.K. Saraswati and K.N Dikshit

First Group (c. 6th century CE)
The sculptures once installed on the surface, specially the basement wall of the
main temple were divided into three distinct groups based on material and
execution style. This classification was first done by Dikshit. Later Saraswati
made the classification in a more systematic manner. Saraswati’s primary
observation was the material of the sculptures, for example; the first group of
sculptures was made out of grey sandstone. The second group of sculptures
was made out of bluish basalt and the third was made out of black basalt.
Saraswati further added that the first group of sculptures consists of few
specimens which mainly represents individual sculptures like the sculptures of
amorous couple (one of which Dikshit identified as Radha Krishna), Yamuna,
Shiva, Balarama, Dwarpala or security guards etc. Furthermore he pointed out
the influence of Gupta sensuousness while describing the execution style, shape
and form of the body, hands, chest, waist, hip, mouth, chin eyebrows and hair
of these sculptures. In terms of plasticity this group of sculptures exhibits
charming features, the naiveté, suavity massiveness are all associated together
and synthesized into pleasing specimens of art which appear to be nearer to
those of the best days of Gupta classical idiom.
Second Group (c. 7th century CE)
The second group consists of sculptures depicting childhood stories of Krishna,
the individual gods and Dikpalas Indra, Agni, Kubera, Vayu, Chandra, Shiva,
Ganesha, present and future Manu. Among the childhood sculptures of Krishna,
one may mention the boy Krishna killing the demon Kesin, Krishna and
Balarama fighting Chunara and Mushtika and baby Krishna uprooting the
Arjun trees on his courtyard. The plastic traits of the Gupta classical norm are
found much more subdued and the sensuous import of the eastern trend
generalized and rarified to a certain extent.15 There is hardly anything left of the
plasticity and lyricism of the Gupta classical norm. The refined sensuousness of
the eastern version is also evident only in a generalized manner. This style is far
removed from the Gupta classical trend and from its eastern version as well, but

15 S.K. Saraswati, op. cit., p.48.

16 Maliha Nargis Ahmed and Nurul Kabir

is nearer to what came to be known later as the Pala style of art. They may be
regarded as the precursors of the conventional Pala images of the subsequent
days both in terms of plastic content and iconographic features.
Third Group (c.8th century CE)
The third group consists of a large number Krishna images which apparently
lost its popularity during the Pala period as it has been observed that images of
Vaishnava cult were in abundance in that period. The third group mainly
consists of narrative reliefs. Mostly scenes of Krishna’s early life like Vasudeva
carrying Krishna just after his birth in the prison of Kangsha to save him from
his uncle’s wraith, Devaki handing over the child to Vasudeva for transferring
the child to Gokula, boy Krishna with butter (nani) in his hand, Krishna and
Balarama playing with another cowherd boy, Krishna lifting the Govardhana
mountain to make shelter for people of Gokula, Balarama killing the asura
named Pralamba. Another scene of Krishna’s adult life is the fight between
Krishna and Kangsha (as identified by Dikshit but Sarsawati termed it as a
scene from Ramayana where Bharat and Shatrughna has come to meet their
elder brother Rama & Lakshmana at the forest), another sculpture depicts the
story of Subhadra’s abduction by Arjuna (Saraswati offered another version of
the panel, the scene represents the fight between Indrajit & Lakshmana).
Several events of Ramayana can also be seen in this group of stone relief, for
example, Rama and Lakshmana is in standing pose with bow and arrows in
their hands, the fight between Bali and Sugriba for the possession of Tara,
Angada; the son of Bali is also participating in the war, monkeys carrying
stones to build a bridge over the sea to reach Lanka, abduction of Sita by
Ravana and the bird Jatayu is trying to resist Ravana. A monkey fighting with a
rakshasa, (which according to Dikshit is a fight between two asuras: Sunda and
Upasunda, a theme of the Devi legend). It may be mentioned that on the reverse
side of this relief a mutilated figure of Kubera (god of wealth) could be
identified. Another relief depicts a rakhshasa with 3 visible heads called Trisira
who used to read the Vedas with one head, drink wine with the second, and
watched all quarters simultaneously with the third head. He lived a life of piety
and performed severe austerities. He was later killed by Indra with his Vajra, as
Indra was scared to be ousted by him. The third group also consists of the
image of several female dancers (4 panels) the images represent the free
Cultural and Religious Aspects of Sculptures 17

flowing positions of the dancers. The dwarpalas (3) of this group (one of them
was identified as the security guard of King kangsha’s prison where Vasudeva
and Devaki were held as captives) are also executed in a lively manner,
especially when they are tired of continuous watch and trying to catch a sleep.
The amorous couple (3 panels) belonging to this group do not poses the
restraints of the first group couple of Radha and Krishna. One of the reliefs has
been identified as the figure of Kamadeva and Rati. The execution style of
these figures clearly indicates the liveliness and intimate relationship of the
couple. Few couples are shown a moment of exchanging kisses with each other,
while the other panel shows the couple feeding each other. Beside the above
subjects, Dikshit mentioned about several conversational pairs. These panels
mainly depict popular stories and events of day to day life. For example, an
ascetic is perhaps explaining something to a lay person; two ascetics are
engaged in most mysterious metaphysical discussion. Sage Garga with Nanda,
the former communicating the prophecy about child Krishna, another panel
shows Kinnras enjoying a pleasant chat, a person assuring and comforting a
fellow who stands with bent knees and clasped hands, a vidyadhara with boots
and a garland in his hands can be seen in a panel. Two persons are about to start
a fight is also shown in a panel.
Relief no 52 on the south western wall, portraying a woman standing with cross
legs and grasping branches of a tree above, with a child to her right with the left
elbow on her hip and further out a man with his right hand touching his hips,
according to Saraswati it has some compositional affinity with the scene of
Nativity of the Buddha in the Lumbini garden and might have been an attempt
by a Paharpur artist to explain the sacred event.
This group of sculptures represents a genuine and undiluted indigenous
tradition. They fully illustrate the strength and vitality of the native art idiom
along with its dynamic and emotional content. It represents an art of people
naive, lively spirited. Though stylistically it is very crude and coarse, the lively
and powerful compositions of the entire relief are quite aesthetic and have some
kind of social significance. This sort of artistic expression is seldom found in
stone. Saraswati felt this particular art style is generally popular in terracotta,
but quite uncommon in stone relief.
18 Maliha Nargis Ahmed and Nurul Kabir

Image of Padmapani
The image of Padmapani Avolokiteshvara is the only sculpture which has a
definite Buddhist association other than the birth of Buddha mentioned earlier.
The god stands in rigid samapadasthanka pose and has two hands: the left
holding a lotus by stalk and the right (broken) was perhaps was in varada pose.
Two attendant figures can be seen standing on two sides, but they are too
mutilated to make identification. The head of the god is surrounded by a lotus
halo and the stela is rounded at the top, which is fringed by two courses of
ornamental borders. This disposition of niche with the image was definitely a
later insertion. The sculpture belongs to early Pala period. This image was
intended for special veneration which is clear from the masonry kunda that had
been built in front of it.
Loose stone images such as stone head of Bodhisattva, fragmentary image of
Hevajra with Shakti, mutilated torso of Bodhisattva, standing female figure of
Tara discovered during Dikshit’s excavation mostly belongs to 10th-11th century
which indicates the continuity of Buddhism in the establishment. The only
Brahmanical sculpture found here belongs to Kubera.
Description of some selected sculptures of Paharpur Museum
Some of these sculptures were originally installed on the main temple of
Paharpur monastery. They are now displayed at the site museum of Paharpur.
Indra (Figure 8)
The sculpture is made of coarse grey sandstone, also known as black basalt.
Measurement of the sculpture is (75.5 x43.5) cm. It is dated 8th century CE16
and the accession number is S-4. Nose, hands and left foot of Indra, trunk and
feet of elephant, left side of slab is now missing. According to Saraswati’s
classification this image represents the second group.
Indra, is the lord of the heaven and guardian of eastern quarter. The deity stands
in Samapada pose in front of his vahana elephant “Airavata”. The sculpture (no
29, position on the temple wall see figure 2) was originally installed within a

16
Enamul Haque & J. Gail Adalbert (eds), Sculptures in Bangladesh: An Inventory of
Select Hindu, Buddhist and Jain stone and Bronze Images in Museums and Collections of
Bangladesh (up to 13th century) (Dhaka: The International Center for Study of Bengal
Art, 2008) p. 241.
Cultural and Religious Aspects of Sculptures 19

niche of south eastern section of the temple’s basement wall. The god has two
arms and a halo behind the head. The halo is ornate with a beaded border; He
holds a small round object and another roundish object slightly larger in size in
his raised left hand. Thus his distinctive attribute the vajra is conspicuous by its
absence.
He is clad in a pleated loin cloth fastened by a chain girdle with a circular
member in the center. The upper part of his body is bare; a transparent shawl is
visible on his arms. He wears an udarabandha in his belly. He wears a twisted
necklace consisting of several beaded strings, elaborate earrings, armlets and
wristlets. Curls of twisted lock of hairs, falls on each shoulder of the deity. His
head is crowned with an ornamental jatamukuta held by a bejeweled diadem.
His forehead is marked with a horizontal third eye. His mount Airavata stands
in profile behind Indra’s legs, a number of horizontal folds are visible on the
upper part of its trunk holding a bunch of leaves.17 The slab preserves on its
right side part of the upright jam, depicting vertical creeper scrolls of
remarkable fineness and elegance, partly overlapped by the elephants head. At
the top, the niche frame is indented; the left part of the frame is missing.
According to Dikshit the figure of Indra must have been introduced on account
of his connection with the Krishna legend of lifting the Govardhana
Mountain.18 After this event Indra is said to have crowned Krishna or may have
been fixed there as the guardian of the eastern quarter in which direction the
sculpture faces. The sculpture is somewhat stiff but vigorous and the face of
god is lit up with a broad smile.
Krishna killing demon Kesin (Figure 9)
The sculpture is made of sandstone of harder variety. Measurement of the
sculpture is (79.5x 43) cm. It is dated to 6th century CE,19 and the accession
number is A-6. According to Saraswati’s classification the sculpture belongs to
the second group.
This sculpture was originally fixed on the south east wall of the central temple.
The panel shows that young Krishna standing to the left boldly charging the

17 Enamul Haque & J. Gail Adalbert (eds.), op. cit., p. 241.

18 K.N. Dikshit, op. cit., p. 43.
19 Enamul Haque & J. Gail Adalbert (eds.), op. cit., p.240.
20 Maliha Nargis Ahmed and Nurul Kabir

horse shaped demon Keshin by thrusting his left elbow into the jaws of the
animal (no 30, position on the temple wall see figure 2). The figure under the
left foot of Krishna is the fallen demon (keshin) assuming the human form. The
right hand of the god is turned up to deal a blow at asura who has already
seized his left arm. The three tufts of hair on the crown which has resemblance
to the lateral tufts of the crow’s wings. This feature is properly described as
kakapaksha in Sanskrit literature. On the two sides are what appear to be
plantain trees. He wears a lower garment which reaches his knees and fastened
to waist with a chain girdle. An udrabandha (scarf) goes round his belly the
frills of which are displayed on the right very prominently. Among other
ornaments, the torque with dominant medallion and tiger claws goes very well
with the boyish Krishna.
Earlier Dikhsit mistakenly identified the panel as the story of Dhenuka badh
(demon/asura in the form of an ass the event took place in a palm grove) by
Balarama and Krishna. Later Saraswati correctly identified the panel as Krishna
killing the demon keshin.
The story was stated in Harivangsha and other puranas, demon keshin was sent
to Vrindavana by king Kangsha, Krishna’s uncle to destroy Krishna who was
destined to put an end to him and his evil ways. The panel is a narrative of how
keshin was killed by Krishna.
Vayu (Figure 10)
The sculpture is made of bluish basalt. Measurement of the sculpture is (83×39)
cm. It is dated 8th century CE20 and the accession number is 1. According to
Saraswati’s classification the sculpture belongs to the second group. (no 39,
position on the temple wall see figure 2). Face of female attendant and pedestal
is damaged. Vayu the god of wind and guardian of the northwestern quarter
stands in samapadasthanaka pose on a projecting plain pedestal. He is clad in a
short loin cloth reaching down to his knees, fastened by a girdle with a circular
clasp in the centre. The upper part of his body is bare. He wears a beaded
necklace, two different kinds of ornaments, keyuras on his upper arms and arm
rings. His head is embellished with a diadem, his hairstyle consists of curled
urdhvakesha locks (reminds one about the conventional curls of Buddha)

20 Enamul Haque & J. Gail Adalbert (eds.), op. cit., p. 241.

Cultural and Religious Aspects of Sculptures 21

arranged in a broad bun. His forehead is marked with a circular dot. His head is
framed by an inflated shawl the ends of which he holds symmetrically in his
both hands. Flanking the shawl at the height of the head are two rectangular
blocks bearing diamond shaped and circular ornamental design (partly damaged
and restored).Vayu is accompanied by two small attendant figures. The male
figure to his left is dressed and ornamented like the principal figure; his right
hand is raised holding an indistinct attribute while his left hand rests on his
thigh. The face of the female figure on the right is damaged; she holds her
hands in a similar way as her male counterpart. Both attendant figures have a
shawl with fluttering ends just like the principal figure.
Originally the rectangular slab formed the part of a niche which was located on
the southern basement wall of the temple. The placement of the sculpture on
the south and the inflated shawl being regarded as noose or pasha led Dikshit to
a misidentification. Dikshit due to its position on the south regarded the
sculpture as Yama. Saraswati was pretty much convinced about Dikshit’s
identification of the image, he further asserts by saying that the male attendant
was Chitragupta and the female attendant was Dhumorna, wife of Yama.
According to iconographic text Vishnudharmottaram, Dhumorna is to be
sculpted with her husband Yama. Then again he pointed out about the attributes
and mount of the god. According to some texts, noose is one of god’s attribute
but in most cases Yama is accompanied by his mount buffalo and holds a
club in one of his hands. He further stated that pasha or noose is particularly
the emblem of Varuna (the lord of the ocean and guardian of the western
region). It is the southern position of the god led him to believe that it was the
image of Yama.
Regarding the execution style of this sculpture Saraswati states “A precise and
definitive modeling characterizes the physical form, to which the harsh lines of
the face seem to be rather jarring.”
Later scholars identified the sculpture as Vayu.21 The position of the sculpture
in southern wall and misinterpretation of the inflated shawl as noose or pasha

21 Gerd Mevissen. Cited in Enamul Haque & J. Gail Adalbert (eds.), Sculptures in
Bangladesh: An Inventory of Select Hindu,Buddhist and Jain stone and Bronze Images in
Museums and Collections of Bangladesh (up to 13th century) (Dhaka: The International
Center for Study of Bengal Art , 2008), p. 242.
22 Maliha Nargis Ahmed and Nurul Kabir

led to the previous misidentification of the image as Yama. There is no doubt

that the identity of the image is Vayu, whose distinctive sign especially in
Eastern Indian representation is the inflated cloth framing his head.
Chandra (Figure 11)
The sculpture is made of black basalt. Measurement of the sculpture is
(85x38.5) cm. It is dated 8th century CE22 and the accession number is S-1.
According to Saraswati’s classification the sculpture belongs to the second
group. The sculpture was originally located on the northwest angle of the
basement wall of the temple.
Chandra, the moon god, stands in samapadasthanaka pose on a projecting plain
pedestal (partly damaged) between two plantain trees reaching up to his
shoulders. He is clad in a long loin cloth fastened by a girdle knotted in the
center. On the upper part of his body he wears a broad vastropavita. Otherwise
the entire figure is devoid of ornaments. The long hair is artistically arranged in
a jatamukuta, above which is shown a large lying crescent moon. The right
hand is raised holding an akshamala while the lowered left holds a small
kamandalu. Originally, the rectangular slab formed part of niche in the north
western section of the basement wall of the central temple. It is damaged and
has been restored with cement at the upper left corner. This particular piece of
sculpture was first identified as Shiva Chandra Sekhara (no 60, position on the
temple wall see figure 2) by K.N. Dikshit. R. D. Banerjea described the image
as Shiva conceived as Somnatha. Later S.K. Saraswati discarded the earlier
identification, he mentioned that the sculpture does not have the urdhva linga
and vertical third eye of Shiva, and there are several images of Shiva at
Paharpur which bears the above iconographic marks which means the builder
followed the iconographic text while executing the sculptures of Shiva.
Furthermore; based on the crescent-mark and iconographic marks of Moon god
in Agni purana (the god should have a water pot and a rosary as his attributes);
he identified the sculpture as Chandra, the moon god. Saraswati comments on
the sculpture’s execution style, “It is a rather fine sculpture, and though the face
is slightly abraded, it has a beautiful smile. A soft and sensitive modeling and a
certain amount of linearism characterize the figure.”

22 Enamul Haque & J. Gail Adalbert (eds), op. cit., p. 243.

Cultural and Religious Aspects of Sculptures 23

Balarama Avatara (Figure 12)

The sculpture is made of sandstone. Measurement of the sculpture is (83x43)
cm. Dated to 5th -6th century CE,23 and the accession number is 2. According to
Saraswati’s classification this image represents the first group.
The sculpture of Balarama Avatara (no 24, position on the temple wall see
figure 2) was positioned along with the images of Krishna and Radha (no 22,
position on the temple wall see figure 2) and Yamuna (no 23, position on the
temple wall see figure 2) on the long wall facing the south in the second angle
on the south east portion. All these images are related with Krishna’s life.24
Here Balarama, the elder brother of Krishna has been represented as an avatara.
The sculptor apparently paid special attention to these figures. They finely
executed and sheltered the images in the recess embellished with lotus leaf
pattern bricks. According to Saraswati the ornaments worn by the god shows
the characteristics of Late Gupta tradition. Dikshit commented that the happy
expression on the face of the god with somewhat gaping eyes is a characteristic
of the period, as also noticed in knee joint. The god Balarama standing on a
plain pedestal with a slight bend (abhanga). Over his head is a seven-hooded
snake canopy, an indication of Balarama being not only the elder brother of
Vishnu or Krishna but also an avatara. The god has four hands, the upper right
and left hands hold a pestle and a ploughshare respectively. The lower right
hand holds a wine cup and the left hand is akimbo. The prominent circular
kundala in the right ear and a rather tiny ordinary ring in the left ear, recall
similar sanction in the iconographic texts. He wears a lower garment, a three
string girdle, an udarbandha and scarf passes diagonally over his thighs. The
sacred thread hangs up to his knees. One the two sides are two attendants, one
male and the other female, the female holding a wine flask and a cup in her two
hands. Although, the attendant figures being a little crude, the refined execution
and naturalistic modeling of the main figure make the whole image an elegant
specimen of Paharpur group of sculptures.25

23 Enamul Haque & J. Gail Adalbert (eds.), op. cit., p. 240.

24 K.N. Dikshit, op. cit., p. 44.
25 Enamul Haque & J. Gail Adalbert (eds.), op. cit., p. 241.
24 Maliha Nargis Ahmed and Nurul Kabir

Subhadra-harana (Figure 13)

The sculpture is made of whitish grey sandstone and its accession number is S-
8. Measurement of the sculpture is (50.5x27.5) cm Dr. Enamul Haque dated the
sculpture to 6th century CE.26 But if one considers Saraswati’s classification it
cannot be dated before 8th century CE.
This sculpture (no 54, position on the temple wall see figure 2) was originally
positioned at the southern end of the main western wall of the central temple.
The panel represents two divine figures; both of them are holding a bow with
arrow drawn at each other. They both have halo behind their heads indicating
their divine status. The figure on the proper left is held on the shoulder of a
standing figure which has been identified as Krishna on Garuda and the other
one (Arjun) on the right shown on a chariot, two wheels of which are shown in
profile. Another figure, probably a female (the way in which hair is dressed at
the back of the head) is bowing low, perhaps scared to see the result of the
conflict. The most probable identification of the scene is the incident described
in Mahabharata. The story speaks about carrying away or kidnapping Subhadra
(Krishna & Balarama’s sister) by Arjun in his chariot and Krishna had to put up
a mock fight with his friend Arjun to make an attempt to rescue Subhadra so
that his elder brother Balarama’s ego is not hurt. Dikshit identified this
sculpture as Subhadraharana; Saraswati and other scholars also agreed with
Dikshit. However; it may be mentioned that Saraswati also stated another
explanation of the sculpture. He mentioned that alternatively the panel might
represent the story of Ramayana, it may be the fighting scene between Indrajit
(Ravana’s son) and Lakshmana (younger brother of Rama) who is narrated
sometimes on fighting perched on the shoulder of the monkey chief Hanuman.
Fragment of a colossal Buddha (Figure 17)
The sculpture is made out of bronze. The height is c. 83 cm. It is dated to c.
9/10th century CE27. It was discovered from a monk’s cell in the eastern wing of
the vihara. Accession number is not stated in the text panel. The fragment of a
colossal Buddha bronze preserves the upper part of the body and the head. The

26 Ibid, p. 243.
27 Enamul Haque & J. Gail Adalbert (eds.), op. cit., p. 246.
Cultural and Religious Aspects of Sculptures 25

arms are shorn off. The folded smaghati covers both shoulders. The rounded
face shows the characteristics of urna, half closed eyes, full lips and elongated
earlobes. The head dress depicts the ushnisa and small snail curls. The image is
reminiscent of Classical Gupta art. It must once have been the largest standing
bronze image in Bengal. Lohiuzen–de Leeuw suggests a former height of c.240
cm of the complete image. The standing image of Buddha was found as buried
upside down in cell 37 underneath the second floor of the late phase of the
monastery.
Interpretation of socio-cultural and religious aspect of the period
The stone sculptures have a common ground with the terracotta plaques placed
just above them on the wall of the central temple, Paharpur. Both in terms of
subject matter are narrative in nature. Earlier the subject matter of the stone
sculptures has been discussed in brief, regardless of dating; majority of these
stone reliefs mainly depicts colorful and magical events of Krishna’s life,
stories from Ramayana and Mahabharata, day to day activities of human being,
occupation of male and female (dwarpala and dancer respectively), relationship
between man and woman etc. Among the individual sculptures, such as
Dikpalas, Two important issues which are still a matter of debate; one is the
dating of these sculptures, as they lack uniformity in terms of their material,
execution style, in some cases iconographic features. So whether these
sculptures represent three groups or two groups or a single group, is still
uncertain. However; a common link can be seen in the subject matter of S.K.
Saraswati’s first group (6th century CE) and third group (8th century CE) of
sculptures.
Another issue is the reason behind installation of Brahmanical sculptures to
decorate the surface of Buddhist temple. Dikshit in his report mentioned that
the example of installation of Brahmanical sculptures on a Buddhist temple can
be seen in Nalanda Mahavaihara. He further added these sculptures were
offered as readymade materials on the spot from the neighboring ancient Hindu
temples, he also mentioned about the reverse side of some stone sculptures
which still exhibits defaced faces of some gods and a particular panel exhibits
the defaced face of Kubera. The theory of reuse can be considered if one
regards the irregular pattern of installation and diverse subject matter of the
stone sculptures.
26 Maliha Nargis Ahmed and Nurul Kabir

It has already been suggested earlier in this paper that recent research on the
architectural development of the central temple says that the Vajrayana
philosophy was practiced in this temple which once again indicates about the
concept of polytheism. The Mahayana philosophy (which introduced the image
worship of Buddha and Bodhisattvas) was largely influenced by the
Brahmanical religion in Bengal. As a result tantric characteristic of Hindu
religion was adopted by Mahayana Buddhist philosophy in Bengal at the end of
the 7th century or in the beginning of 8th century CE. This new form of tantric
Buddhism introduced Mantra, Mudra and Mandala along with six tantric
Abhicharas (practices) such as Marana, Stambhana, Sammohana, Vidvesana,
Uchchatana and Vajikarana. These cults revived primitive beliefs and practices,
a simpler and less formal approach to the personal god, a liberal and respectful
attitude towards women, and denial of the caste system.
If we accept that the residents of this vihara (Paharpur) believed and practice
Vajrayana philosophy then it can be assumed that they had no reservations
against using Brahmanical sculptures to adorn the temple. Perhaps the idea was
that the center of the temple would contain the images of Pancha Dhyani
Budhhas altogether and they would be surrounded by Brahmanical deities on
the outer portion of the temple in a comparatively lower tier.
If we carefully look into the subject matter it can be seen that almost a majority
of sculptures represents the Krishna cult and two avatara forms of Vishnu i.e.,
Balarama and Rama (both are pure human forms). Only three iconic forms of
Shiva and three sculptures of Ganesha are present. No representation of Uma
Maheshvara and Hara Gauri can be seen among these reliefs. Interestingly
enough Vishnu and Surya and all kinds of Devi forms (except for an individual
form of Yamuna who was probably represented in relation to Krishna’s
narrative) are totally absent in these stone reliefs. Perhaps the image of Shiva
was included as a Tantric god. Instead of the Jataka tales they used the stories
related with Krishna cult which was perhaps popular in the region. Also they
used some events of Ramayana and Mahabharata.
Among the secular stone reliefs one can see male and female figurines as
couple or individuals, stories of day to day life, like the amorous couple feeding
each other, female dancing figures, two persons about to start a fight, two
ascetics engaged in meditation, a person asking for shelter and security to
Cultural and Religious Aspects of Sculptures 27

another person, etc depicts the cultural and social aspects of the period.
Occupation, weapons used for fighting, dress and hair arrangements,
ornaments, body postures, attending figures, divine figures (Kirtimukha,
Kinnara, Vidyadhara), flora and fauna depicted in this relief tells the story of a
certain class of people.
Although it has been stated that the stone reliefs were placed in an irregular
manner, the presence of Dikpala deities in the accurate direction of temple
(Indra, Agni and Kubera - the current identification of Vayu was regarded as
Yama by Dikshit, in that respect Yama was one of the dikpalas) was
deliberately done. As stated by Asher that these Dikapalas were seen in the
outer corners of Mandala. In this case these images were perhaps installed to
guard the different corners of the temple.
The terracotta plaques (8th century CE) on the above row illustrates the image
of Shiva, Ganesha, Ravana, Rama, Garuda, Kinnara, Kinnari, Vidydhara,
Kirtimukha, and Gandharva which represents the Brahmanical faith. The image
of Buddha, Jambhala, Bodhisattva images, Tara, Dharmachakra, Vajra, Stupa,
Chhatravali can be assigned to the Buddhist faith. The subject matter of
terracotta along with other objects (human figures: male and female, animals,
fish, plants and trees) indicates a careful avoidance of popular Hindu cults and
the inclusion of diverse Buddhist elements.
If one takes a look at the political situation of Bengal after the fall of Gupta
Empire s/he would see the rise of different independent rulers in modern days
of North west and South west Bengal. After the decline of Gupta Empire,
during the late Gupta reign Bengal was divided into three regions Banga,
Samatata and Gaur. These regions were ruled by a late Gupta ruler called
Mahasengupta. During that time Shashanka was a chieftain who accumulated
political power taking the advantage of a weak ruler. After Mahasengupta’s
death Shashanka managed to capture the political power and established his
kingdom at Gaur. After Shashanka’s death Gaur was divided in between king
Harshavardhana of Thenshwara and Bhaskarvarmana of Kamroop. After the
death of Shashanka the history of Bengal is not clear to us. From Lama
Taranath’s account it is known that a situation of Matsyanayam prevailed in
Bengal for next hundred years. Then north western part of Bengal saw the rise
28 Maliha Nargis Ahmed and Nurul Kabir

of Gopala in 750 C.E. through a democratic process and the Pala Empire in
Bengal was established.
Simultaneously the South East Bengal, after the rule of three independent kings
Gopa Chandra, Dharmaditya and Samachara Deva during the first half of 6th
century CE, was conquered by Chalukya king Kirtivarmana at the last quarter
of the same century. The political stability was regained soon. Based on Yuan
Chwangs’ record and other epigraphical records, Samatata witnessed the rise of
several royal dynasties during 7th century CE - the Bhadra, the Khadga, and the
Rato. The Deva dynasty came into the power at Samatata during the first half
of 8th century CE. During that period King Dharmapala, the second Pala ruler
was ruling in Magadha and Varnedra region.
The written accounts depict that despite political instability in Bengal the
natural flow of both Buddhism and Brahmanical religion was never disrupted.
King Shashanka was a Hindu Siava ruler. King Harshavardhana was a follower
of Mahyana Buddhism. On the other hand the Bhadra, Khadga and Deva rulers
of Samatata were Buddhists and the Rato were Hindu rulers. Interestingly
enough both religions received royal patronage. Besides the 62 Brahmanical
stone sculptures and one Buddhist sculpture of Padmapani and one stone relief
depicting the birth of Buddha of Paharpur temple, several stone and bronze
sculptures were discovered from this region. For example, mention may be
made of stone and bronze sculptures of Vishnu from Rangpur, Khiar
Mohammadpur, Mahasthangarh, stone sculpture of Gaja Lakshmi now kept in
Mahasthangarh Museum, Kartikeya now kept in Varendra Research Museum,
bronze sculptures of Surya, Sarvani, from Mahasthangarh, Kumarpur, Deulbari
Chauddagram, Comilla, Manirtat of 24 Pargana. These sculptures belonged to
Late Gupta and Pre Pala period.28 Among the Buddhist sculptures, a large
number of bronze specimens from Mainamati (Bodhisattva Lokanatha and
Manjusri, Budhha in dhyana and abhaya mudra, goddess Sitatpatra) and
Jhewari were discovered.29 Several soft stone images like two panels of
Bodhisattva Avoliketshvara and Buddha with other accompanying deities
from Kutila Mura, a standing stone image from Rupban Mura were also

28 A.K.M. Shamsul Alam, The Sculptural Art of Bangladesh (Dacca: Department of

Archaeology, Govt. of the people’s republic of Bangladesh, 1985), pp.73-75, 83-85.
29 Ibid, pp. 76-77.
Cultural and Religious Aspects of Sculptures 29

discovered from Mainamati region.30 A few bronze sculptures of standing

Buddha and a four armed bodhisattva were also discovered from Bhasu vihara,
Mahasthangarh.
Considering the frequent changes of political power, influence of both
Brahmanical and Buddhism and the sculptural findings of late Gupta and pre
Pala period, it can be assumed that the builders at Paharpur intentionally
avoided the popular Hindu cults (Vaishnava, Saura, Devi or Shakta cult, local
goddess like Manasa) while decorating the temple with stone reliefs.
Dating of these sculptures is still a bone of contention for the researchers as the
Paharpur museum at present only houses 10 sculptures out of the 62 sculptures
which were installed on the temple’s surface wall. To determine the probable
date (based on the execution style) of the sculptures one needs to conduct a
physical study of those sculptures. Enamul Haque recently ascribed the
sculptures which are currently on display at Paharpur Museum to 5th/6th and 8th
Century CE based on their iconographic features, materials and execution style.
Asher assigned the sculptures to 8th century CE. This problem of dating needs
to be resolved to understand the social, cultural and religious aspect of the
contemporary society.
Conclusion
The excavation work at Paharpur is still going on. Later excavations revealed
many antiquities including stone and bronze sculptures which belong to a
comparatively later period (10th/11th century CE). The stone sculptures of
Paharpur have always been singled out by scholars because of their interesting
subject matter, material and execution style. If we keep aside the issue of dating
of these sculptures, they definitely represent a transitional phase of sculptural
art between the late Gupta and early Pala stone sculptures. Furthermore it
represents the local religious belief of the region – a synthesis between the
Brahmanical and the Buddhist faith.

30 A.K.M. Shamsul Alam, Mainamati (Dacca: Department of Archaeology & Museums,

Ministry of Education & Religious Affairs Sports And Culture Division Govt. of the
people’s republic of Bangladesh, 1982), p. 67, Plates Xa, Xb.
30 Maliha Nargis Ahmed and Nurul Kabir

Figures

Fig 1: Ground Plan of Paharpur Monastery and Central Temple.

Fig 2: Ground Plan of Paharpur Central Temple indicating the original position of sculptures
(Source K.N Dikshit , MASI no 55)
Cultural and Religious Aspects of Sculptures 31

Figs. 3, 4, 5 & 6: Display galleries and arrangement of objects of Paharpur Museum

Fig. 7: Front Entrance of the Paharpur Museum

32 Maliha Nargis Ahmed and Nurul Kabir

Fig. 8: Stone sculpture of Indra Fig 9: Stone sculpture depicting the scene
displayed at Paharpur Museum from Krisna’s life (Krisna killing
Kesin) at Paharpur museum
Cultural and Religious Aspects of Sculptures 33

Fig 10 Stone sculpture of Vayu Fig 11 Stone sculpture of Chandra

displayed at Paharpur Museum displayed at Paharpur Museum
 34 Maliha Nargis Ahmed and Nurul Kabir

Fig 12 Stone sculpture of Balarama Fig 13 Stone relief depicting the

displayed at Paharpur Museum abduction of Subhadra by Arjun
displayed at Paharpur Museum
Cultural and Religious Aspects of Sculptures 35

Fig 15 Sculpture of Ganesa

displayed at Paharpur Museum

Fig 14 Vasudeva and Devaki with Baby Fig 16 Photograph of the stone relief
Krisna in Kamsa’s priosn displayed at originally installed at the basement of the
temple , displayed in a showcase at Paharpur
Paharpur Museum Museum
 36 Maliha Nargis Ahmed and Nurul Kabir

Fig 17 Potion of a Bronze colossal

Buddha displayed at Paharpur Museum

Fig 18 The image has been lablled as

Naga , Dr. Enamul Haque identified the
sculptures as door jamb with
Chakrapurusa, displayed at Paharpur
Fig 19 Stone image of Kirtimukha Museum
displayed at Paharpur Museum
Cultural and Religious Aspects of Sculptures 37

Fig 21 Part of a stela showing flying

Fig 20 Dancing female Figure Vidyadhara displayed at Paharpur
displayed at Paharpur Museum Museum

Fig 22 Stone Image of

Hevajra displayed at Fig 23 The image of seated Kubera
Paharpur Museum displayed at Paharpur Museum