THE TRAVEL THREAD

Ar. Anita Choudhuri

My sojoum to Bishnupurwas delayed andoverduehere was a journey of discovery to the wonders created in terracotta and brick. Bishnupur lies in the floodplain of the Darakeshwar River, about ISO km from Kolkata. It is a sluggish village in the Bankura district of West Bengal, having an abundance of art forms and architecture. As one travels from Kolkata to Bishnupur one sees the endless paddy fields, maath (open playgrounds), chaash (cultivated fields) and pukurs (ponds or the water sources) of 89 bucolic Bengal, untouched by the development of the urban neighbours but lyrical in its stance. Traversing the congested, throbbing and active alleyways of the village along with the aroma of shingara (samosas), luchi bhaaja (fried puris) and chaa (teal with an occasional encounter with stray cow adds to the vibrant chaos, on arrival.

The region is famous forthe Bankura ghora (horses) in terracotta and dhokra, an art form that has been transcending generations in this region. The Bankura horses were used for religious festivals often as a stylization of the horses of the Sun God in an iconic way. Typically characterized by an elongated neck and long ears with embellishments of r%’alty, this piece of art is moulded as separate pieces and can be easily assembled. The dhokra art form uses non-ferrous metals (nickel, brass and zinc) and moulds made of mud and wax. Jeweller,’, idols, sculptures and murals add to the art forms practised here and in the neighbouring Bikna village.

Marvels were created as terracotta temples here too, in the 1600s, courtesy of the artistic kings of the Malla dynasty who encouraged artists and were benevolent enough to permit art to be incorporated from the existing influences (especially Islamic and Rajasthani). Situated on the floodplain, the availability of clay allowed for the simple contextual logic of brick, terracotta and laterite as the building material.

The village still has homes that have the traditional roof form, the chaala, also called the Bangla roof, almost like a splayed dome. Vernacular derivatives are seen either as layers of thatch supported and reinforced with bamboo or simply mud roofs. Temple roof forms amply reflected this traditional style. The chaala roof, foliated arches, domes, jaalis, delicate filigree, terracotta panels with relief work speaks of a confluence of styles resplendent in artistic expressions.

Rasmancha

The prologue to this journey was with the arched laterite gateway, the Patthar Darwaza. It was the entry to the royal grounds. Troops were housed here in the double-storeyed galleries. One is slightly surprised by the domes in laterite, which has survived the trials of time. The parallel walls have small openings about five-inch squares, diagonally built to a Ilow forthe gun barrels to be placed and also prevented the perpetrators from killing the soldiers- an intelligent and interesting combat methodology. Remnants of the moat around the Palace precincts are visible still.

The terracotta temples of Bishnupur are dedicated to Radha and Krishna, though secular in their abodes, (read ‘architecture’). The indulgence of the dynasty allowed exchanges within the communities. One such structure was the Rasmancha, a temple that had a three- layered circumambulatory of arched galleries used to display panels from the surrounding temples, replicating an art gallery of yesteryears. A beautifully crafted brick structure, entirely loadbearing with strong Islamic influences. Bricks of size 5 x 8 x 1 1/4 inches and column bases of 40 inches created rhythmic foliated arches. Foliations were created b/ staggering the bricks. The key brick was recessed at the crown al most stating its importance. The play of light in the gal leries accentuates the rhythmic treatment ofwalls and arches, in a hierarchy from the outside to the inside.

As one moves to the Lalji Temple, one sees laterite used as a block, limeplastered walls and barrel vaults for the circumambulatory. The chaala roof with an embellished shikhara stands proud, creating an optical illusion. The interesting feature being a gentle curvature to the extended plinth, preventing.

Rasmancha

stagnation of water as it protected the plinth edges. Corners ofthis plinths were decorated and the embellishments became more intricate in the years to come. Ventilation in the central sanctum was through air holes following different geometries. The remnants of the dilapidated kitchen block boasts of arch systems that defied logic. For one who has seen Nalanda, a sweeping similarity to the brick masonry is noticed.

The Radhe Shyam Temple built around the mid-1600s had relief work. Low relief work and stucco with ample depictions from the epics along with a lot of geometric representations showed an amalgamation of styles. The plinth curvature, decorative motifs continued to be carried from one temple to the other with improvisations.

The exquisite relief work at the Jor Bangla Temple (‘jor’ meaning joined —this temple had two chaala roofs joined together) influenced many an artist in the years to come. Painter Jami ni Roy responded to these relief works with different expressions in paintings. The foliated arches gave way to simple pointed arches but richer in the rel ief work overthe years.

The culmination of refinement of this style of the Malla dynasty is witnessed at the Shyamrai Temple. One views a pancharatna brick temple, standing on a low plinth, with delicate carvings with a strong Mughal overtone. The replica of the haveli darwaza, that one sees inset, is a fixed terracotta panel influenced by Rajasthani architecture. This delicatejaali work in the terracotta panels reminds one of the exquisite filigree relief work one sees in the Taj Mahal.