INTRODUCTION
The
archaeological remains of Paharpur represent the most spectacular and
magnificent monument in Bangladesh and the second largest single Buddhist
monastery south of the Himalayas. This immense quadrangular monastery consists
of 177 cells in its 4 Wings with a pyramidal central shrine and numerous
subsidiary structures in the vast courtyard and a number of subsidiary
structures outside.
Situation
The
site lies in the village of Paharpur (25°02’
N Lat. and 89°03’E Long.) of Badalgachi upazilla under the district of Naogaon
in the North West Bangladesh. It is 5 km west of Jamalganj railway station, 14
km of Jaypurhat, and 28 km north of Naogaon district headquarters. One can
approach the site from either of those places through axial metalled roads.
Such religious institutions were usually established at a suitable distance
from large towns in order to ensure peaceful surroundings for the monks. At the
same time they were reasonably accessible. The location of Somapura Mahavihara
halfway on the old road between Pundranagar (present Mahasthan), the ancient
capital of Pundravardhana, and the secondary capital at Kotivarsa (modern
Bangarh) seemed ideal to the founder of the monastery.
Origin of the Name
Occupying
about 8 hectares of land, the vast site is located in a flat countryside amidst
an unspoiled peaceful agrarian landscape. Before the archaeological expedition,
the undulating and lofty mound was covered with dense forest whose central
portion was much higher (24m) than the peripheral zones. In the midst of the
vast flood plain, the mound appeared as a landmark in the countryside for
kilometers around. The entire site was full of bricks, brickbats, potsherds and
stone bits. Due to its hilly configuration in contrast to its flood plain,
surroundings the local people called it a Pahar or Hill. Hence, the name of the
village is Paharpur i.e., the locality of hill as the word Pahar denotes hill
and the Pur locality.
Historical Background
Buddhism
seems to have been established in the North Bengal in the 3rd
century B.C. during the Mauryan Empire. Pundranagar, present Mahasthan, was
their provincial capital. The discovery of Sunga terracottas and Kushana coins
from Mahasthan does not necessarily imply that this part was under the control
of these dynasties. The Guptas had established their supremacy over North
Bengal and their provincial seat was again at Pundranagar. A number of their epigraphic
records indicate the relogious tolerance in this region, though Brahmanical and
Jaina faiths appear to have been more prevalent. Pundravardhana was one of the
seats of the Jainas and in all probability there was a Jaina Vihara on or near
the present site of Paharpur. Religious tolerance prevailed even during the 7th
century A.D. when Hiuen T-sang visited this country. However, the
disintegration of the Gupta Empire and the resultant anarchy brought about
political changes and ultimately the great Pala Empire was established in the
middle of the 8th century A.D.
During
the Pala rule in Bengal and Bihar for more than three and a half centuries the
region enjoyed peace and prosperity which led to a great development of art and
culture. Many Buddhist temples, monasteries and stupas were building under
their royal patronage and Bengal became the center of Buddhist religion and
culture. Somapura was one of such institutions.
In
the last quarter of the 9th century A.D. Pale Empire received a
major setback by foreign invaders. Mahipala I was able to establish the second
Pala Empire in the end of the 10th century A.D. and restored many
Buddhist establishments in the country including somapura. The Tara temple and
the votive stupas at Satypir Bhita were probably built by him. After Mahipala
and his son Navapala, the fortune of Pala dynasty again suffered reverse and
Bengal was overrun in turn by the foreign invaders and a local Kaivarta chief
named Divya and the Somapura Vihara was burnt by the Vangala army.
In
the last quarter of the 11th century the Pala dynasty was
reestablished but in the 12th century the sovereignty of Bengal past
over the Senas of south India and the monuments at Paharpur suffered declined
and disintegration never to be revived again.
Discovery
From
the beginning of the 19th century the site attracted many
antiquaries like Buchanan Hamilton, Westmacott, Cunningham, and others. Sir
Alexander Cunningham, the then Director General of Archaeological Survey of
India, intended to carry out an excavation in the mound but was prevented by
the zamindar of Balihar, the owner of the land. So he had to be satisfied with
a limited excavation in a small part of the monastic area and at the top of the
central mound only and unveiled the ruins of a square tower of 6.7m side with a
projection in the middle of each side. Consequently the site was placed on the
list of protected monuments y the Archaeological Survey of India in 1919 under the provisions of Ancient
Monuments Preservation Act, 1904.
Excavation
The
regular Archaeological excavation at the site was started in 1923. Initially it
was a joint venture of Archaeological survey of India, Varendra Research
Society and Calcutta University. The task initiated with the financial support
of Kumar Sarat Kumar Roy of Dighapatia Zamindar family and under the direction
of D.R Bhandarkar. In the first season the digging was concentrated to the
south-western zone of the site where only a few cells facing east and north and
their adjoining courtyards were exposed. R.D Banerjee and his team resumed the
work in 1925-26 on the northern zone of the central lofty mound. As a result
the main staicase and the basement with teracotta plaques on the north, and the
northern mandapa with the ambulatory passage in front and general outline of a
cruciform shrine facing north and the schemes of decoration were revealed for
the first time. From the next season to 1934 the work in the other areas of the
site including Sataypir Bhita was conducted every season by K.N. Dikshit,
excepting 1930-32 when G.C. Chandra carried out the excavation in the cells of
the south-east side of the monastery and the adjoining courtyard. Thus the
fabrics of the whole monastery and the temple and stupa complex at Satyapir
Bhita were unearthed.
The
excavation was resumed on a very limited scale during the Pakistan period.
Rafique Mughal excavated a few cells in the eastern wing of the monastery but
the result was never published.
The
architectural remains exposed and the antiquities recovered from the site by
excavation have thrown a flood of new light on the history of the site
development of art and culture of the region. But at the same time it has
raised many questions, which need to be answered and interpreted. Hence after
the emergence of Bangladesh as an independent nation in 1971, the Department of
Archaeology, with the help of UNESCO, resumed the task of excavation in 1981 in
order to find out the region as well as in connection with the preparation of
the forthcoming campaign for safeguarding the monument. The operation was split
into two phases. In the first phase ( 1981 – 85 ). The excavation was confined
to 40 monastic cells, some trenches in the verandah, courtyard and adjoining
outside the monastery as well. The nature of the second phase of work ( 1987 to
1989) was salvage archaeology with a view to removing the debris from the
courtyard as a provision of installation of an effective drainage system in and
around the monastery causing no damage to the buried ruins as suggested in the
Master Plan prepared by UNESCO experts in 1983.1
1 The
excavation in the first phase were carried out by Messers. M.A. Qadir, Habibur
Rahman, Abul Hashem Mia, Abdul Khaleque, Dr. Nizamul Haque and the present
author whereas in the second phase it was conducted by Dr. Nizamul Haque, Abdus
Sabur Miah, Messers Mosharraf Hossain, Shihabuddin Mohammad Akbar, Mahbubl
Haque, Abdul Latif Pramanik and Mahabub-ul- Alam.
Architectural Remains of Pre-Liberation
Excavation
THE
MONASTERY
The
monastery or Sangarama exposed at Paharpur is a quandrangle measuring
externally 281m on each side. This gigantic monument is the second biggest
single monastery that was ever erected in the south of the Himalayas. In plan
the monastery consists of rows of cells facing in each direction opening on a
spacious verandah round, and approached from the inner courtyard by flight of
steps provided in the middle of each of the four wings. In the middle of each
wings except north there exists a special block, consisting of three cells and
a passage around them.
In
the middle of the northern wing exists the imposing gateway complex with
pillared exterior hall, interior hall, strong rooms and staircases set in a
grand front facade projecting outwards. There was a subsidiary gate on the same
side in between the main gateway complex and the north-east corner. In all
there are 177 cells excluding the cells in the central blocks in each wing.
Each cell measures 4.6m X 4.11m in average. The exterior wall is about 5m thick
and survives from 3.5 to 4.5 m in height. The massive wall indicates that the
structure was storeyed commensurate with the lofty shrine, in cell No. 96 three
floors have been discovered. here the level of the last one (upper) is within
30cm from the ground level, that of the second 1m, while the third (lowest) is
about 1.5m from the surface. It appears that this sequence has been generalized
in all the cells of the monastery. In the original monastery the cells were
used as living room by the monk, but in later period at least 92 cells were
converted into private worship or ceremonial chambers by providing each of them
with an ornamental brick pedestal. Some of the other cells were provided with
niches resembling to receptacles on their walls The discovery of everyday use
from many cells indicates that those cells were used as living rooms in later
period monastery.
Apart
from the central shrine in the courtyard, there are many other ancillary
building remains which were built in different phases of occupation. Most of
them are located in the eastern half of the courtyard The important ones are a
number of votive stupas, a model of central temple, five shrines ( Panchavedi),
kitchen and refectory, masonry drain and wells, there are some other structures
whose features are not precisely known, The miniature model of the central
shrine is located on the south of the central block of the eastern wing. In
this model the plan has been perfected and made more symmetrical. Another
important structure in this area is a flight of stairs 4m in width projecting
for a distance of 9.75m towards the courtyard of the frontage of the central
block of the eastern wing. The last 6 steps are covered with stone block.
The
votive stupas were built either a group or as a single unit. In plan too they
show variations: rectangular, roundish, cruciform and star-like. One group of
such votive stupas is locally called Panchavedi > a group of five of five
pedestals. It is located near the south-east corner of the open courtyard. In
its close vicinity, on the north-west, is a masonry well of medium size.
The
kitchen and the long refectory hall (bhojasala) of the monastery are also
situated in this area. A masonry drain in between the refectory and the kitchen
has been traced to a length of over 46m northward. To its west, there are three
large wells in a row, which might have served both the kitchen and refectory.
There are some important structures enclosed within a regular brick wall that
runs from the verandah against rooms 162 to 174 ( in the north-east part of the
courtyard. There are rectangular weep wholes at regular intervals in the
enclosure wall, so that the eater may flow out from inside the enclosure. The
most important structure in this area is a brick structure in which the lower
part consists of three channels separated by walling and closed on the top by
corbelled brick wall. The largest votive stupa has been exposed in the
adjoining area on the north-east corner of the central temple which appears as
another model of the central temple.
Central Shrine
In the centre of the vast open
courtyard of the monastery stands a lofty shrine, the remains of which still
21m high and covers 27sqm area. It was built on a cruciform plan that rises in
three gradually diminishing terraces. The shape of the terminal structure is
not yet precisely known. A centrally placed hollow square right at the top of
the terraces provides the moot point for the conception of the whole plan of
the spectacular form and feature of this stupendous monument. In order to
relive monotony and to utilize the
colossal structure to serve its basic purpose, provision was made in the second
as well as in the first terrace for a projection, consisting of an antechamber
and a mandapa on each face, leaving out a portion of the whole length of the
square at each of the four corners. The ambulatory passage with the parapet
wall was made to run parallel to the outline of this plan. This arrangement resulted
in a cruciform shape with projecting angles between the arms of the cross. An
enclosure wall strictly conforming to the basement plan, with only a slight
deviation near the main staircase, runs round near the main staircase, runs
round the monument. There is ample evidence that this complete plan, from the
basement to the top, along with different components belonged to a single
period of construction, but the later repairs, additions and alteration did not
fundamentally affect the general alignment and plan.
The basement wall of the temple is
embellished with 63 stone bas reliefs which were inserted at most angles of the
projection and at intervals in specially built recesses in the middle. They
represent mostly cult deities belonging to Hindu pantheons as well as Tantric
order of pre-Pala period. The walls of the temple were built of well-burnt
bricks laid in mud mortar. The plainness of the walls is relieved on the outer
face by projecting cornices of ornamented bricks containing twisted rope, stepped
pyramid, lotus-petal, dog-tooth, dog-tooth, floral, chain, and chess-board
pattern. Below the cornices bands of terracotta plaques, set in recessed
panels, run in a single row all around the basement and in double rows around
the ambulatory passage in the upper terraces. As a well planned drainage system
each juncture of the crosses and angles is provided with an exquisitely
beautiful stone gargoyle representing roaring lion face.
The monastery was built mainly in
bricks of different sizes and in mud bonding material. Sandstone blocks were
used as lintel, doorjamb, doorsill, pillar, pedestal and for some other
purposes. The bricks are of roughly cut well-burnt variety. The sandstone is of
fine Chunar variety and at place appears to be of reused class. For joining two
pieces of stone together, iron fasteners ere used. Traces of lime in case of
floor are not all together lacking
STRUCTURAL
REMAINS OUTSIDE THE MONASTERY AREA
In
the surroundings of the monastery, there are a number of sporadic structural
ruins. They vary in nature, type and function.
Open Platform
At a distance of 27m from the outer
wall of the southern wing stands an open platform which measures 32×8m and runs
parallel to the monastery. It is about 3.5m high from the adjoining ground
level and is accessible from a raised 5m wide gangway across cell No. 102.
Beneath the gangway and close to the wall of the monastery there is a vaulted
channel running parallel to the wall probably for the free passage of people
outside the back wall of the monastery
from one side to another and for smooth drainage of water too. Its vaulted
construction is of much importance as it proves that vaults were known in the
region before the advent of the Muslims. The entire southern face of the
platform is marked with a series of water-chutes, each 30cm wide and 1.30m
long, occurring at 1.2m intervals. The water-chutes are provided with fine
jointed brickwork. Some of them were subsequently blocked and new ones were
built. The platform was used probably for the purpose of both ablution and
toilet.
Bathing Ghat
There is bath bathing ghat at a
distance of 49m to the south-east of the south-east corner of the monastery. On
the either of it there is a parallel wall paved brick-on-edge and concrete. The
head of the ghat laid with huge stone blocks along with brickworks, 3.69m in
length. It descends in a gradual slope to 12.5m, where occurs a band of lime
stone slabs. The bed of the ghat was covered with sand which indicates the
existence of a stream near by. A tradition in association with the ghat is
still n current among the local people Sandhyabati, the daughter of King
Mahidalan, used to bath at the ghat everyday and she is supposed be the mother
of Satyapir through Immaculate Conception.
Gandheswari Temple
To
the southwest ghat at a distance of
12.20m there lies an isolated structure locally known as the Temple as
the Temple of Gandhesvari. the russet, and bricks with floral pattern used in
the front wall and also the mortar used between the joints of bricks clearly indicates that this building was
erected during the Muslim period. It is a rectangular hall measuring 6.70m E-W
and 3.35m N-S with an octagonal pillar base in the centre. There is a
projection in the middle of the western wall consisting of a small room about
1.5m square. In front of the building there is a circular platform 7.3m in
diameter with a brick-on-edge floor.
Satyapir Bhita
A
cluster of structural remains, locally
called Satyapir Bhita is situated about
300m east of the eastern wing of the monastery. The compound is trapezoidal in
shape being the north, south, east and
west boundaries are 57m, 47m, 76m, and 91m in length, respectively. The vita
contains the remains of a Tara temple
and the vast number of votive stupas around it. The approach to the area
and to the main temple was on the south, now missing.
The
main temple lies in the northern region of the compound. The oblong south
facing building measures 24.38m N-S and 14.6 E-W. It consists of two parts, the
main shrine or sanctum in the north and a pillared hall or mandapa on the
south. An ambulatory passage was built around the latter one. Beyond this there
was a porch from which a flight of stairs led to the paved to the court in front. The temple was reconstructed
several times, the last one being in Muslim period. In course of the
reconstruction some early structures were covered, buttress walls were built
and a new concrete floor was laid almost throughout the courtyard and over the
main temple.
Around
the main temple there are 132 votive stupas. They present a wide variety of
square, rectangular and circular structures of various dimensions and scheme of
decoration. The largest one is a circular stupa of about 7.5 diameter to the
northwest of original temple while the smallest one is only 80cm in diameter.
In the eastern side there are two rows of 14 and 7 stupas respectively, of
identical size (3.4) and shape with a
narrow pathway between them. To the south of the main temple there is another
row containing 9 stupas. It is assumed that pilgrims in course of their visit
to perform their ritual performances built these votive stupas.
Among
the movable antiquities, unearthed at Satyapirer Bhita, the following are of
immense value. They are figurines of mother goddesses resembling to Tara and
god Jambala, seals and sealings bearing Mahayana creed, balls and beads made of
semi-precious stones, fragmentary terracotta plaques, terracotta finials
belonging to votive stupas, ornamental brick pieces, sherds of multicrome glaze
tiles bearing floral as well as creeper designs in either violet or white
colors. The discovery of the figurines of Tara, particularly Sitatpatra Tara,
and sealing’s bearing Mahayana slokas coupled with the records found in a Nalanda
copper plate evince that the building located at satyapir Bhita was originally
a temple built in honour o Tara by some Vipulesrimitra who, according to the
reading of some Nalanda inscriptional reading of some A Nalanda inscriptional
evidences, lived in the 12th century AD.
Architectural Remains Of The Post-Liberation
Excavations
Apart
from confirming Dikshit’s findings in the cells, the Post-Liberation
excavations have yielded some new and unexpected results which are very
fascinating and important. Firstly, the remains of another phase of the
monastery, probably the monastery of an earlier period, have been unearthed
below Dikshit’s original monastery. It appears that the dimension as well as
the alignment of the earlier monastery was same as that of the later vihara.
The builders used this original monastery for quite some time. But subsequently
the earlier floors were totally removed and the partition walls were destroyed
and new ones were built. Thus at one time the whole arrangement of the cells
was changed. In course of this
reconstruction either at places the builders almost entirely almost
entirely removed the earlier partition
walls and built completely new ones or damaged the earlier ones at their upper
levels and kept the lower parts undisturbed over which built new ones.The
earlier cells measured 4.87m.×3.96m in average. It clearly indicates that the
cells of the earlier structure were larger than those of the upper i.e.,
Dikshit’s first phase monastery. Thus in later period the number of cells was
increased.
Secondly,
in some limited areas the structural remains (brick walls, terracotta ring
wells) and cultural materials (huge number of ceramics) were brought to light
underlying the monastery as well as temple. Due to very restricted exposure of
these remains their nature could not be ascertained. It is worth quoting that
Dikshit discovered 3 periods in the monastic cells and 4 periods in the central
temple. Ther recent excavations have discovered 1 more period in the monastery.
Hence total 4 periods of the monastery (one of original and three of later
period) correspond with those of the central temple. Now, the question arises:
which monastery was built by Dharmapala? Is the recently exposed earlier period
monastery or the monastery discovered by Dikshit? Here it is interesting to
note that, Dikshit believed that originally there was a Jaina monastery at
Paharpur of which no traces have survived. The Somapura Mahavihara founded by
King Dharmapala in the last quarter of the 8th century AD would then
have succeeded this Jaina institution. Almost all subsequent authors have
accepted this hypothesis of Dikshit. Could it therefore now be suggested that
these recently discovered remains underlying the monastery belong to the Jaina
establishment To ascertain it we need further extensive excavation inside and
outside the monastic complex.
Antiquities
The
excavations have yielded a rich collection of antiquities. Of them the most
important ones are copper plate, inscribed stone pillars, coins, stone
sculptures, terracotta plaques, stucco heads, clay seals and sealings,
ornamental bricks, semi-precious stone beads and pottery. Their brief
description is given below.
Terracotta Plaques
The
numerous specimens of antiquity from the site were the terracotta plaques, the
majority of which, about 2000, were in situ on the temple wall and about 800
were registered loose during excavation. Recently 907 original plaques have
been replaced in the walls by the new ones. Majority of the plaques is
contemporaneous with the building. These plaques played the most important role
in the scheme of decoration of the temple walls. But they are set in the walls
without any coherent sequence. Size and shape of the plaques are not uniform.
Some are square (18cm) while most of them are rectangular in shape. Some are
unusually 40×30×6 cm. These plaques primarily represent the folk art of
Bangladesh. Their subject matter includes Buddhist and Barhminical deities,
mythology, divine and semi-divine beings, men, women, and children engaged in
various activities, musicians, dancers, warriors, acrobats, ploughmen, animals,
birds, fishes trees, plants, and flowers and a variety of other objects. It
appears that the artisans were fully responsive to their environment and almost
every conceivable subject of ordinary life has been depicted on the plaques.
The
Brahmanical as well as the Buddhist gods are equally illustrated in the
plaques. They are the principal varieties of Siva and other Brahmanical gods
like Brahma, Vishnu, Ganesha and Surya. Buddhist deities, mostly of the
Mahayana School of Buddhism, including Boshisattava Padamapani, Manjusri and Tara
are found at various spots. Well-known stories from the Panchatantra, the
Ramayana, and the Mahabharata also are well represented. The post liberation
excavation at the site yielded a terracotta head of Gupta idiom.
Stone Sculptures
A
large number of stone sculptures have been discovered from the site. Of them
loose sculptures are very few whereas sixty-three have been found in situ in
the basement of the temple. The Only one of the latter is a Buddhist image; a
Bodhisattva and the rest represent Brahmanical faith. It appears rather strange
that such a large number of Brahmanical deities were installed in a Buddhist
establishment. The occurrence of Brahmanical sculptures in this temple
indicates that probably they were collected from earlier monuments at the site
or in the neighborhood and fixed up in the main temple.
These
sculptures belong to different periods and on stylistic grounds they have been
divided into three groups. The first group distinctly represents the traditions
of the later Gupta sculptures. The number of such sculptures is few; as the
majority of them represent an indigenous trend. This group shows a distinct
original tendency and may be regard as the product of the initial stage of a
new school of art, which subsequently flowered into an exuberant Pala School.
These sculptures show variability in their subject matter too. Many of them
depict Krishna legends and others of Siva. Apart from these, there is
representation of Dikpalas- Agni, Indra, Yama, Kuvera, Ganesha, Brihaspati,
Manu, Chandra and of Devapalas, of dancers etc. Scenes from Mahabharata and
Ramayana and various other incidents from daily life of the rural folk are also
represented in some sculptures. Amongst the loose sculptures the worth
mentioning are Hevajra-Sakti, Uma-Mahesvara, Manasa, and Vidhyadhara.
Metal Images
Among
the very few metal sculptures the most important one is a life size Buddha in
bronze of 9th-10th century AD discovered from the cell
No. 37 of the eastern wing of the monastery in 1982. Unfortunately, the lower
part measures roughly 1.27m. Others were collected during pre-liberation
excavation. They include Hara-Gairi, Buddha ( in the attitude of protection),
standing nude Tirthankara, seated Kuvera, Ganesha etc.
Stucco Figurines
Some
small sculptures made of stucco were collected from the corridor located in the
southwestern part of the monastery. These include four heads of Buddha. Their
facial expression, half closed eyes, long ear lobes, urna, usnisa and sacred
ridge on the neck the represent Pala traits.
Copper Plate
Among
other finds the most important and significant ones are the copper plate grant
dated 159 Gupta Era (4778 AD) and stone inscription. The copper plate was found
in the verandah of the north-east corner of the monastery. The plate records
the purchase and grant by a Brahmin couple of a piece of land for the
maintenance of the worship of Arhats and a resting place at the vihara, which
was situated at Vatagohali in the 5th century AD, must have been an
establishment of local celebrity. It is worthquoting here that the same name
Vatagohali is found on a mutulated copper-plate found at Baigram dated 128 G.E
(448 AD) i.e. 31 years earlier than the Paharpur plate. The mention of the name
Vatagohali in a record from Baigram, which is about 30 km north of Paharpur
indicates that the two places, Baigram and Vatagohali, must not be far distant
from each other.
In
the 7th century AD, when anarchy reigned supreme it appears that the
Jainism gradually disappeared in Bengal. The Guhanandi Vihara at Vatagohali
must have shared the fate of other Jaina establishments in this region. Dikshit
belived that there was originally a Jaina vihara at Paharpur of which no traces
had survived. This jaina nstitution would then have been succeeded by the
Somapura Mahavihara founded by King Dharmapala in the end of 8th
century when peace was established. He also expressed that the monks in the new
Buddhist Vihara might have obtained the royal permission to appropriate the
land belonging to the Jaina Vihara and kept the original charter in their
possession. According to him “this supposition can alone, explain the find of
the plate among the ruins of the Buddhist Vihara”.
Stone Inscriptions
Only
four stone pillars containing inscriptions were found. These pillars record the
names of some Ajayagarbha, Srigarbha, Dasavalagarbha and a Arkanandin who have
donated the pillars referring to either Buddha or three jewels. Amongst them
two belong to 10th century A.D and the other two to 11th
and 12th century AD, monks belonging to some Garbha and Nandi
lineages lived in this monastery. It is worthquating that a stone pillar
inscribed the name ‘Nandi’ has recently been discovered from Jagaddal Vihara
located in Dhamurhat Upazila of Naogaon District which is 12km north of
Paharpur.
Seals and Sealings
A
large number of small clay seals and sealing were found in the open courtyard
of the monastery. Some of them contain either verses from Tripitaka. The only scriptures
of the Buddhist or a legend Srisomappure Sridharmapaladeva
Mahaviharariabhikshusanghays. These objects provide us ample information of
identity of the monastery.
Coins
Only
five circular pieces of copper were found in a cell located on the east of the
main gateway complex of the monastery. In many respects they appear to be
ancient coins. On the obverse, each of them bears a model of a seated bull along with the legend
Sri Vigraha whereas the reverse shows three fishes. So in all probability it
indicates it that these coins were issued by Vigrahapala I (850-55AD), one of
the successors of Dharmapala. Of the rest one belongs to Khalifa
Haruno-or-Rashid, while the others belong to Mughal rulers excepting one which
was issued by Sher Shah.
Minor Objects
This
group includes earthen inkpots, stone pestles and mullers, stone and earthen
dabbers, dices, beads, weights, votive stupas of baked and unbaked clay, stone
architectural members, terracotta beads, toys, small figurines, spindrel whorls
etc. Besides these, a large number of ornamental bricks representing stepped
pyramid, lotus petal, chess-board, wavy and straight lines etc. were found
loose while many, are still set on the temple wall.
Pottery
A
large number of earthen wares were collected from the excavation. They are
divisible into a few categories in terms of their fabric, texture and
ornamentation. They show a large variety in terms of shape, size and function
too, which include storage jars of different sizes, saucers, goblets, dishes,
pots, tumblers, sprinkler-heads, spouted water-pots, bowls etc.
Paharpur Museum
A
museum established at Paharpur in 1956-57 was too small to display all types of
cultural objects recovered from the site and the vicinity. So as per proposal
of the Master Plan a new museum building (Pl.18) consisting of 4 galleries was
constructed near Satyapir Bhita in 1993 with the financial help of NORAD.
Objects from Paharpur monastery and Tara Temple and other sites likes
Mahasthan, Mainamati, Gaur are being displayed in this museum.
The
central gallery of the north-facing museum building presents a short
introductory note of Paharpur monastery both in Bengali and in English to its
visitors. Apart from this a bronze image of circa 9th-10th
century AD collected from Paharpur monastery along with images of Visnu,
Khadirbani Tara and a stone inscription have also been displayed in the same
gallery.
The
first, the second and the third gallery is situated on the east, south and west
of the central gallery respectively. Of them the first and second galleries
display the objects collected from Pharpur monastery. In the showcases of the
first gallery various images, sculptural fragments, house-hold objects,
semi-precious stone beads etc. are being displayed. In one showcase the
photograph of one of the stone images of Krisna killing Asura, Balaram, Indra, Yama,
male figure and stone inscription have been installed clockwise on pedestals.
In
the corridor between the first and second galleries stone sculptures
representing amorous couple, Ganesha and male figure have displayed. In the
showcase of the second gallery ornamental bricks, earthenwares, terracotta
plaques, toys, lamps, net-sinkers, votive stupas, balls, seals, inkpots,
weights etc. have kept. Siva linga, Suvadra kidnapped by Arjun, woman with
child and Kirtimukha (all made of stone) along with big earthen storage jars
and stone panels have installed on the pedestals. Dwarf Vishnu, Vishnu and
Garura have been displayed in the space lying between the second gallery and
the third gallery. In the third gallery, objects from Paharpur as well as from
other sites have been displayed. Its showcases display terracotta images in
round from Mangalkot (near Mahasthan), bronze jar, fossilized wood and stone
images of Narasingha, nine planets, Mahismardini, Loknath, Brahma, Vishnu, Siva-Parvati,
Uma-Maheswar etc. One showcase contains replicas of bronze miniatures
representing Loknath, Tara, Padmapani, Yogesvari, Buddha etc. On the pedestals,
there is Sarakhari Lokeswar. Surya, Uma-Mahesvar, Parvati and a wooden door
frame.
