ANANDA VIHARA:PART 4

Terracotta Sealings

About a dozen of circular terracotta sealings, measuring about 5 cm in diameter, with the usual Buddhist creed had been recovered from the site. These were intact and Buddhist creed in the periphery.

Votive Clay Stupas

Among the four terracotta votive clay stupas recovered from the site one was salvaged from the verandah area of the south-east corner of the monastery, two from the adjacent courtyard and one near the eastern exterior wall of the monastery. These were intact and their height ranged from 3.75 to 5 cm.

Ornamental Bricks

A large number of ornamental bricks were found from different areas of the site, specially from the shrine area. They depict various designs such as half-found edge and thinned edge, stepped pyramid, flower motif, lotus petal, dental ,motif, indented and saw, loop, zigzag, geometric-cum floral design, billet and rope design. The lotus petal and stepped pyramid patterns were most common not only in Ananda Vihara and other sites of Mainamati but also in Bahsu Bihar, Paharpur and other Buddhist sites. The ornamental bricks were used with the terracotta plaques for decorating the exterior wall of the shrine. In the central shrine a large number of these bricks were found in situ in the basement of the exterior wall of the eastern and western arms of the shrine. When the shrine collapsed a huge number of ornamental bricks also were detached from the building and were haphazardly strewn on the adjacent areas. A large number of these bricks were discovered from the heaps close to the shrine area during excavations.

Inscribed Ornamental Brick

Among the salvaged antiquities, an inscribed ornamental brick deserved special mention. It contained three/four lines of inscription of proto-Bengali character on one side with lotus petal design in the face. It had been pocked up loose from the fallen debris of layer (3); square E-V/6, at the south-east corner of the central shrine. The brick measured 28×25×5 cm .The inscription is yet to be deciphered.

Stone Beads

A few semi-precious stone beads of agate, cornelian, quartz etc. were recovered from the site. They were disc, cylindrical, elongated and spherical in shape. Most of them were collected from the shrine area. Besides, a few glass beads also were discovered.

Iron Objects

A number of iron objects were collected from the site including a few iron nails, one iron knife, one iron blade, one iron hinge, one iron cutter, one iron hook with two chain links etc. Most of these were rusted, decayed and broken.

Miscellaneous Objects

The miscellaneous objects recovered from the site included terracotta beads, balls, discs, toys, dabbers, grinding stones, stone pestles, pieces of laterite, lime stone, fossil wood, charcoals, burnt rice, chalk pieces, bricks with foot print of man and animal, terracotta weight, copper wire, animal teeth (of a horse of a mule), etc.

Pottery

In course of digging a large quantity of potsherds were recovered from the site. Complete wares were a few. These were medium sized pots, lids and saucers. The shreds were composed of all sorts of texture i. e.. thin, medium and thick. Medium textured shreds were dominant followed by thin and thick textured wares respectively. These shreds varied in colour from redish, pale redish, grey and blackish. These sherds were of cooking pots, pans, vases, bowls, tumblers, jars, pitchers, lids, saucers, oil lamps, stands, sprinklers and various other household objects of everyday use. A good number of sherds bear decorated designs such as square, rope and net impression, incised grid pattern and herring-bone design. Square and herring bone design were common whereas rope impression was rare.

Chronology

A large number of cultural materials including structural remains had been discovered from the site. But no epigraphic record could be salvaged from here in excavation. In the absence of dateable evidence it is difficult to establish any absolute chronology of this site. Moreover, the site has not yet been fully exposed. The cultural material from its lowest level is negligible. However, on the basis of the iconographic parallels, and the themes reflected in the plastic art and their style and manufacturing technique, a relative chronology of the site can be drawn. The site might have been built in the 7th century and was in use upto 13th century A.D.

Discovery Of Pottery Kilns

It is interesting to note that 5 pottery kilns were accidentally discovered in 1977 on the open field just outside the southern wing of the monastery towards its south-east corner. Here a large hockey ground had been prepared for the soldiers by removing earth to a depth of about 0.75 m to 1.25 m about a year back (1976). While removing earth a number of old pottery kilns were exposed. These might have existed in larger area in the unexcavated higher ground in the west. In order to examine their nature one kiln was cleared inside upto the depth of about 1 m and it was found that the kilns was full of complete and semi-complete earthen wares of various shapes and sizes similar to the pottery recovered from excavation at Ananda Vihara. Since the wares were fully fired it is presumed that the potters perhaps kept them in the kiln for the time being of did not get time to take them out. Because of incessant rains it was not possible to expose the kiln fully and recover all the objects found inside. However, about a dozen of large and medium sized pots, a number of small wares, vases, saucers, cups, lids with semi-complete pots and large body fragments of some other earthen wares were collected from the kiln. These pots were found completely filled with earth. But because of their thin body and weak fabric and also long association with earth they were very much decayed and cracks were developed on their bodies. So in curse of recovery and during cleaning almost all of them had been broken into pieces. Only a few could be restored. The discovery of these pottery kilns close to the archaeololgical site like Ananda Vihara is significant for it is the first of its kind in the country. Until this discovery no other pottery kiln has been reported from any site in Bangladesh. So this unique discovery is the only unmistakable evidence for pottery manufacturing centre of ancient ‘samatata’. Other sited like Rupban Kanya Mura, “Bhojrajar Bari, and “Itakhola Mura and ‘Rupban mura’ are not very far form this kiln The possibility of supplying the earthen wares from this factory to these archaeological sited cannot be ruled out.

Discussion

The excavation had revealed the remains of a square monastery measuring 190.5×190.5 m arranged around a central cruciform shrine. The monastery showed two phase of building activity. But only one phase had been unveiled in the temple complex excepting a floor which appeared to be related to its earlier phase. No other remains of the earlier phase had been evident in this shrine area. Science the excavation in this area had been carried out in a limited area further digging is required to expose the architrectural remains related to this floor and more particularly the earlier phase. We have already noted that no floor could be traced in the first phase cells of the monastery. But exposure of a number of floors in the verandah of the first phase clearly indicated that the monastery was undoubtedly in use during this phase. That means there were floors in the cell contemporary to those of the verandah. Most probably during the construction of the second phase wall in the middle of the first phase cell the upper floors (s) had been destroyed. Since digging could not be carried down further deep in the first phase cell due to the existence of second phase wall, we were not sure how many floor were there. It needs further digging in the first phase cell by cutting through some portions of front wall to the second phase cell. Here it is worthnoting that the construction and reconstruction of such ancient building was not an unusual phenomenon. Rather it was very common in all the ancient establishments. For instance, the similar feature was noticed at Salban Vihara (Khan 1693). Rupban Mura (Alsm M.S. et al. n.d.), Itakhola Vihara (Rahman 1998) in Mainamati, Paharpur Mahavihara in Naogon ( Dikshit 1934), Bhasu Bihar (Ahmed 1979) and Bihar (Alam M.S, 1990) in Bogra. The builders either changed the original layout of the monastery (Rupban Mura), or without changing the external layout they shifted the alignment of cell either backward (4th phase in Salban vihara) (Khan 1963) or side way (Paharpur) (Alam M.S.n.d.). The unique chance discovery of pottery kilns behind the monastery had largely added the importance of the site. It is reported that only 5 kilns were discovered and there might have been more, which could not be discovered due to time constrain. Similar types wares found in the kiln as well as in the site indicated that these kilns were the sources of the pottery used in ‘Ananda Vihara’. It is likely that the potters manufactured their wares here and supplied those to other neighboring sited also like ‘Bhoj Vihara’, ‘Itakhola Mura’ and ‘Rupban Mura’. This conjecture is supported by the discovery of similar types of earthen wares from those sites. But it does not exclude the possibility of existence of more pottery kilns in other sites of Mainamati. Rather it is more likely that there might have been more manufacturing centers of earthen wares near other establishments like ‘Salban Vihara’, Kotbari etc. which are yet to be discovered. Until then these kilns will remain as unique discovery in the country.

CONCLUSION

The excavation had been carried out in a very restricted area if the monastery and the shrine. Remains of large portion (more than 80%) of the total area of the vast site yet remain unexcavated. Even the digging had been mostly confined to the upper level. Only 13 monastic cells had been excavated so far. Similarly a small portion of the central shrine had been exposed to its southern half. In order to explore the earlier level of Mainamati and to ascertain the association of this monastery with the Deva dynasty, if any, we must resume the work as soon as possible.

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ANANDA VIHARA:PART 3

Stone Image

A large stone image of Bodhisattva Avalokitesvara was recovered from the western projection of the temple ( Square C-IV/25, layer 3 ). It was broken into few pieces. This was made of local soft laminated black stone geologically known as Dupitila Formation ( Badr, 1976: 12). Similar sculptures of Bodhisattva Avalokitesvara were recovered from inside the deep shaft of the central stupa of Kutia Mura and had been dated to 7th century A.D. ( Khan, 1963:23). The present image may also be assigned to the same period.

Bronze Images

Two bronze images and the head of a small bronze image were discoverd in excavation . One of these measuring 5.8 cm × 6.4 cm probably represented Dhyani Buddha, while the other one 3.2 cm high could not identified as it was heavily encrusted.

Miscellaneous Bronze Objects

Among the various bronze objects salvaged from the site a complete bronze saucer or lid, 7.36 cm in diameter, fragments of a few bronze vessels and an ornamental bronze piece are noteworthy.

Terracotta Plaques

As many as 40 terracotta plaques had been registered from the site, most of which were found loose on the site of the shrine area in layer (2) while five were in situ in a frieze in the basement of the western projection of the shrine. These plaques were removed from the wall and kept in the store of the Mainamati museum for their security. A few plaques were also found at the monastery area. The plaques recovered from the site represented man and animal, divine and semi-divine beings, composite figures, natural motifs etc. This rich plastic art faithfully represents the social, cultural and religious life of ancient Samatata.

A short descriptive catalogue of the selected specimens is given below:

1. Terracotta plaque, 31×23×6 cm, broken, slightly damaged; with a representation of bas-relief of a warrior seated in a relaxed pose, holding a sword in his left hand. Something was in the right hand which is broken and missing. He wears a necklace. Accession No.477, Square C-VII/, Layer (2). Depth 1.16 m.

2. Terracotta plaque, 33×20×2 cm, complete, slightly damaged, depicts a pair of confronting rajhansa with a pair of pearl necklaces. The plaque contains a whole in the middle of its back VII/, (1), 45 cm.

3. Terracotta plaque, 9×8×5 cm, damaged and worn, depicts a human figure. Only the lower part of his right hand holding some basket or pot like object survives. 581, E-VII/1, (2),46 cm.

4. Terracotta plaque, 32×22×6 cm, complete but badly damaged, depicts a warrior with sword in right hand , excellently executed. It is one of the finest example of mainamati terracottas. 584, , E-VII/1, (2), 53 cm .

5. Terracotta plaque, 1×10×5 cm, decayed and broken, portraying the hind part of a wild boar, Major portion of the animal is missing.601, E-VII/1, (2),76 cm.

6. Terracotta plaque, 30×17×6 cm, very much decayed and slightly damaged, represents the bas relief of an elephant. Its hollowed body is open from the side probably due to breakage or it is prepared in this design. It shows an interesting feature of its manufacturing technique, it seems that the plaques of large sizes were cast with hollowed body.642, D- VII/19,(4), 1.50 m.

7. Terracotta plaque, 19×11×5 cm , broken and decayed, retains only the hind quarter of a cow or buffalo with long tail and hoofed legs.655,D- VII/22, (2),1.5 m.

8. Terracotta plaque of a wild boar, 21 × 18 × 5 cm, broken into two pieces but restored with, its right upper corner missing and decayed. The animal is more or less intact. 664, E-VII 15, (1) 10m

9. Terracotta plaque probably depicting a warrior measuring 29 × 21 × 5 cm, broken into two halves but restored, decayed and worn out. 689, D-XV/18, (2) 82 cm.

10. Terracotta plaque, 29 × 21 × 5 cm, broken and decayed representing two male figures fighting each other. Their heads are missing. 690, V-1/18, (2) 68 cm

11. Terracotta plaque,23 × 21 × 5 cm, broken and decayed, representing running male figure. 692, D-V/18, (2) l m.

12. Terracotta plaque, 33×21×5 cm, slightly damaged depicting a monkey sliding on a wooden log. Its hands are raised upwards and the head damaged and missing. 739, E-V/6, 3.2.5m,

13. Terracotta plaque, 35×22×6 cm, broken into two halves and damaged, representing two warriors. Left one is holding sword and the right one is seen with sword in his left hand; right hand holds some object. 744, E-V/6,(4), 2.88m.

14. Terracotta plaque, 29×21×6 cm , complete, depicting an archer in action with bow and arrow. 756, D-V/22,(2), 1.37 m.

15. Terracotta plaque, 33×22×6 cm, broken at lower right corner. It probably depicts three stupas resting in an ornamental pedestal with double rows of beads. In front of the central stupa there is probably a flower pot with a diamond shaped plant and flower. 758 E-V/6, (4), 3.15 m.

16. Terracotta plaque, 20×21×5 cm, complete representing a lion with single head and two bodies. The plaque probably was meant to decorate the corner of the shrine. 759, E-V/6,(4), 3.1m.

17. Terracotta plaque,26×20×5 cm, complete, slightly defaced, representing a composite figure comprised of human face (badly damaged ) and animal body with two stylized wings. 760. D-V/22,(2), 1.37m.

18. Terracotta plaque, 15×12×5 cm, broken, only the left hand of a warrior is preserved which holds a shield. 761,E-V/6,(3),2 m.

19. Terracotta plaque, 24×16×5 cm, broken out but restored. It depicts a crudely lion with a single head and double bodies. 782.D-V/22,(2),

20. Terracotta plaque, 23×15×5 cm , broken and decayed, depicts a stylized horse. 784 (2), D-V/22,(2), 1.6 m.

21. Terracotta plaque, 30×21×6 cm, broken and decayed, represents a horse-rider. Arms of the rider are raised upto his shoulder level. Tail of the horse is missing. 795.E-V/4,(2), 1m.

22. Terracotta plaque, 33×21×6 cm, beautifully depicting an elephant and two rats representing a popular folk tale of Bengal. The elephant is ensnared with rope around its legs and the tiny rat friends ate cutting the rope to get the elephant free from bondage. Trunk and tail of the elephant are partly broken. 796, E-V/4, (2),1 m 1).

23. Terracotta plaque, 34×20×7 cm, broken and decayed, representing a male dancer. His head, right knee and fingers of both the legs are broken and missing. 817.E-V/6, (4), 3.5 m.

24. Large terracotta plaque, 40×21×6 cm, complete and beautifully executed. It represents two fighting monkeys.871.E-V/4,(4),76 cm 2).

25. Terracotta plaque, 30×21×5 cm, broken and decayed depicting makara. 896, C-IV/24,(2A),2.2 m.3).

26. Terracotta plaque, 26×22×9 cm, complete but worn out. It represents a male dancer. Back side of the plaque is carved. 913,C-IV/24,(2A), 2.05m 4).

27. Terracotta plaque, 31×21×7 cm, complete, excellently executed. It depicts a blue lotus with expanded petals.914,C-IV/24,(2A),2.05m .

Terracotta plaques ‘in situ’

28-29. Two terracotta plaques, 24×21×4 cm, and 25×21×4 cm, respectively. Both are complete and excellently executed; each depicting a horse-rider. Since these two plaques were set in the basement confronting each other it appeared that they were fighting one another. 950, C-IV/24, 951, C-IV/24,6).

30. Terracotta plaque, 26×18×5 cm, complete and in good state of preservation. It excellently represents a maned lion face with protruding tongue, bulging eyes. Developed eye brow. Paws of the animal ate placed in front. 952. G-IV/24, 7).

31-32.1 Two complete terracotta plaques, 24×19×5 cm and 24×20×5 cm, in good condition. One depicts excellent archer having bow. The archer wears dhoti, necklace and bangles. 953,G-IV/24. The other one is holding shield in his left hand. Like horse riders these two plaques also were set on basement in such a fashion that they appear to fight one another ( two figures on left of this panel).

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ANANDA VIHARA:PART 2

The builders kept the length of second phase cell as it was in the first phase .i.e.,3.28 m, but slightly changed the breadth from 2.74 to 2.59 m. Here it is noticeable that the breadth of this phase cell could be determined in very small portions of the northern wing and south-east corner of the monastery where the regular face of back wall of this phase was evident. Regular inner face of the major portion of the back wall could not be traced due to damage caused by the brick-hunters. Thickness of the partition wall of the cell of this phase remained unchanged i.e.,1.85 m. In the second phase cells we observed four brick paved floors succeeding layers (1),(2),(3) and (4), respectively. But at the levels of these floors, the walls of the cells were found entirely missing. Since the walls had been removed and the cell areas had been lift as isolated heaps of earth looking like stupas no doorway of the cell could be found. Each of the floors was about 40 cm thick. The brick paved floor exposed below layer (4) was well preserved. This was the first floor of the second phase building and was built over the deep filling of carried earth. The verandah measuring 1.9 m wide with its 1.5 m thick retaining wall had been exposed in the middle of southern wing and in the south-east corner of the monastery. It is already mentioned that only four brick paved floors associated with layers (1),(2),(3) and (4) were encountered in the middle of the southern wing but seven floors (related to layers 1 to 7) were found in the south-east corner. In the former case the earliest floor was built over the deep filling of sandy soil as noticed in the cell areas. The floors in the latter area were made of brick-bust. But two brick-dust floors associated with layers (3) and (6) were supported by brick soling also. In front of the middle of the southern wing a projection was accommodated. It consisted of two small room and a staircase. The staircase was 1.93 wide. The arms were 1.37 m side. Each of the two small rooms internally 1.8m E-W and 2.5 m N-S. Function of these two rooms is still uncertain. It is yet to be examined whether this projected staircase along with these rooms were also used in the first phase of the monastery.

Central

The excavation in the middle of the courtyard revealed the layout of a cruciforn shrine similar to the central shrine of the first period of Salban Vihara (Khan 1963, Alam A.K.M.S.1982:38) but larger in size. The outer face of the entire southern arm of the temple, a certain portion of its eastern arm and considerable portion of the western arm were unearthed. The southern arm was 56.00 m long and perhaps each arm of this temple was of the some length. Two projections, one in the middle of the southern arm and the other in the middle of the western arm. Were uncovered. Five terracotta plaques were found in situ on the outer face of the basement wall of the western projection The plaques depict a maned lion face, two warriors and two horse-riders2.Three courses of ornamental bricks survived. The exposed projected part of the western arm externally measured 7.92 x 3.35 m. A large broken image of Bohdisattva Avlokitesvara made of Dupitila Formation (Bakr:1976), locally known as soft stone, was recovered from the area of the western projection. The upper part of the wall had been removed by the brick-hunters and its foundation was traced at the depth of 1.22 m from its surviving top. As many as five brick-dust floors were encountered in the southern area of the temple. The floors were associated with layers (1), (2),(3),(4) and (5) respectively. The lowest floor (related to layer 5) was traced 30 cm below the foundation of the temple wall. It indicated that this floor was not associated with the exposed remains of the temple, rather it was associated with the earlier structure. Further investigation needs to ascertain it. It is most likely that like the monastery area this temple too might have two phase of building activity. If so, it can be inferred that the exposed portion of the temple belongs to the second phase and the lowest floor was associated with the first phases of the temple whose structural remains yet to be exposed. A 2.74 m wide brick paved floor had been unearthed around the temple to its southern, eastern and western sides about 3 m below the frieze of terracotta plaques mentioned above. The floor probably formed part of the circumambulatory passage of the temple. Since the excavation was restricted to a limited area the entire layout of the temple and its other feature could not be exposed.

Courtyard

Few trenches were sunk in the courtyard area between the southern wing and the central shrine on order to trace the probable existence of ant pathway in this area. Since the excavation was restricted to upper level it did not reveal any positive result. Except a few irregular fallen brick debrise no regular structural remains could be found

Stratigraphy

Stratigraphic record in extensive site like Ananda Vihara was not uniform throughout the area. The monastic cells and the central shrine showed some differences in the formation of cultural debrise particularly in the upper level. Since the site had been disturbed several times its stratigraphic sequence at the upper level has also been disturbed badly. Apart from these, unless the natural soil of the site is traced at several points it is difficult to establish the stratigraphic sequence of all the exposed part of the site satisfactorily and make a correlation amongst them. However, deep digging in a restricted area at the central shrine revealed six strata and five occupation levels. Of these the lowest level (5th level) seemed to be related to the first phase of building activity while the upper four levels to the second phase. Digging in the monastic arms had revealed clearly the strata of two building Phase. In the first phase. Occupation levels (floors) had been unveiled in the verandah only. No floor was found in the cell due to very restricted area of excavation as already stated. In the second phase, occupation level had been cleared in the verandah as well as in the cell. The antiquities recovered were mostly from the upper layers particularly from the shrine area. Description of the strata exposed in the deep trench of the shrine area is given below.

Layer (1) was characterized by 30 cm thick loose grey soil associated with brick-bats. A 5 cm thick brick-dust floor was unearthed below this layer. Layer (2) was represented by 20 cm thick loose grey soil mixed with large quantities of fallen bricks. It was succeeded by a 5 cm thick brick-dust floor. Most of the antiquities including terracotta plaques and ornamental bricks were recovered from this layer. Layer (3) consisted of 45 cm thick brown soil mixed with a large number of fallen bricks. A well preserved brick-dust floor ( 15 cm thick) was exposed below this layer. This layer yielded a number of objects like stone image, terracotta plaques and ornamental bricks. Layer (4) consisted of 40 cm thick sandy soil with rare brick-bats. A thin (3 cm thick) floor built with brick-dust was unveiled below this layer. Layer (5) also was characterized by sandy soil and measured 64 cm thick. Below this layer a thin (3 cm thick) brick-dust floor was noticed. Layer (6) consisted of sandy soil. It was exposed down to 45 cm from its top. At this level digging was suspended.

It was observed that layers (4), (5) and (6) were composed of sandy soil, carried from outside each time to raise the floor levels.

Antiquities

More than five hundred antiquities of various types were salvaged in the operation including one large stone ( local soft stone) image of Bodhisattva Avalokitesvara, one inscribed ornamental brick, two bronze image, about two dozen of terracotta sealings, about half a dozen of clay and baked clay votive stupas, forty terracotta plaques, a fairly large number of ornamental bricks, fragments of bronze images, pedestals and bronze vessels, a beautiful bronze saucer, a few semi-precious stone beads, a number of terracotta beads, balls, disca and toys, a large number of iron nails, some complete and semi-complete earthen pots, oil lamps, stands, sprinkler’s tops and numerous potsherds.

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ANANDA VIHARA:PART 1

A large number of Buddhist monasteries, temples, stupas and most probably other establishments too were erected on the crests, slopes and foots of the hills between 6th and 13th century of the Christian era. Some of these, for instance, are Salban Vihara, Kutila Mura, Charpatra Mura, Mainamati’s Palace mound (Khan 1963, Rashid 1968), Rupban Mura (Alam M.S1992), Itakhola Mura (Rahman1997), Bhoj Vihara (Musa n.d) and Ananda Rajar Bari (Ahmed 1979) mounds have been excavated in the fast five decades.

The Site

The site of Ananda Vihara, locally known as Ananda Rajar Bari, is the largest monastery in Lalmia-Mainamati hill range. Situated at the foot of Mainamati hills along its eastern edge within the cantonment area the site is more than 2 km north of Salban Vihara and 1 km south of Kutila Mura. A large water tank, locally known as Ananda Rajar Dighi, lies by the east-north-east of the vihara. This gigantic monument is probably named after the name of Sree Ananda Deva, the third and the greatest ruler of the early Deva dynasty as revealed by the Salban Vihara copper-plates (Dani 1966) hithero unknown from any other source.

Excavation: 1975-1978

The excavation carried out between 1975 and 1978 unfolded partial remains of a large Buddhist monastery (the large in Mainamati and second largest in Bangladesh). Besides these structural remains, fairly large number of antiquities of various types had been recovered from the site. Of these a few Neolithic axes, one post Gupta imitation gold coin, one small gold ear ring, one inscribed silver coin of the Pattikera type, one terracotta tablet, a number of treeacotta plaques, a few bronze images of Buddhist gods and goddesses, about two dozen of terracotta sealings, a few clay and baked clay votive stupas , a beautiful bronze saucer, a few semi-precious stone beads, some ornamental bricks and earthen objects were also salvaged during the operation. Built of burnt bricks on a square plan the monastery measured 190.5. m long each side. The monastic cells along with the verandah were arranged in rows in its four wings around an open courtyard. The projected massive gateway of the monastery was accommodated in the middle of the northern wing.it was 30.48m E-W by 13.72 m N-S and the entrance passage in the middle of the gateway was 2.29 m K-W by 8.38 m N-S. on either side of the entrance passage layout of six cells had been partially cleared. Excavation in these cells revealed cultural accumulation of two phases of building activities.

Excavation:1979-1982

During this period excavation at Ananda Vihara had been conducted along the exterior wall of the southern and eastern wings, verandah wall of southern and western wings, in the middle of the monastic cells of the southern wing, in the south-east corner of the , monastery, in the southern half of central shrine and in a portion of the courtyard (between the central shrine and the middle of the southern wing).

Summary Of The Result

As a result of excavation the entire exterior wall of the southern wing, certain portions of the exterior wall of the northern wing , small part of the exterior wall of the eastern wing at its southern and northern corners, large part of the verandah and its retaining wall of the southern and western wing, layout of a cell in the southern corner of the eastern wing, five monastic cells in the middle of the southern sing, one cell in its eastern corner, a projection along the middle of the verandah of this wing, a portion of the cruciform central shrine and a part of the courtyard (between the central shrine and the middle of the southern wing) had been exposed. All the monastic cells showed the evidence of two phases of building activities. One cell exposed in the middle of the southern wing was found to be larger than the other adjacent cells. Besides these structural remains, more than five hundred antiquities had been registered. Among them a large but broken image of Bodhisattva Avalokitesvara fabricated from Dupi Tila Formation, locally known as soft stone; two small bronze images, two bronze saucers, fragments of a bronze vessel, forty terracotta plaques and plaque fragments, some terracotta sealings, a few semiprecious stone beads, a fairly large number of ornamental bricks and some earthen objects are notewothy.

Monastery Of The First Phase

The internal dimension of the cells of the monastery’s first phase was 3.28 m × 2.74 m. The back wall of the cells was 4.88 m wide but the width of the front wall could not be ascertained as the second phase verandah and it’s retaining wall were built over this wall. But the foundation was traced in the south-east corner of the monastery at a depth of 5.70 m from the surviving top. Cells were divided by 1.85 m wide partition walls. Facing the front walls there was a verandah, a small portion of which along with its retaining wall was exposed in the south-east corner of the monastery. As many as five brick-dust floors were exposed in this verandah. There was related to layers (1), (2), (4), (5), and (10), respectively. A portion of the verandah and the retaining wall measuring 1.5 m wide was exposed in the middle of the southern wing also. Hear digging was restricted in the upper level. No floor could be traced in the cell area as the second phase front wall was built over the major portion of the heavily distributed first phase cell. In front of the larger hall (exposed in the middle of the southern wing) the verandah and the retaining wall could not be traced as there is a projection of the second phase. It is yet to be ascertained whether this projection existed in the first phase too.

Monastery Of The Second Phase

During the second phase of the building activity the builders did not change the external alignment of the original monastery but internally change the layout of the monastic cells and verandah. In the later phase of width of the original (first phase) exterior wall to 2.88 m. from 4.88 m .According all other related structures viz. front wall, verandah and its retaining wall were also shifted backward. It is evident that the builders removed the bricks from the exterior wall (2 m backward from the inner face) at places up to its foundation. A deep cavity was thus created ) and was filled in by sandy soil carried from outside. This infilling was about 2.5 m thick. The second phase builders built 1.89 m wide front wall over the middle of the first phase cells. Thus a portion of the first phase cell was left in its (second phase front wall) either side. Over the major portion of front wall and a small portion of the cell of the first phase, verandah of the second phase monastery was built.

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MUGHAL DHAKA AND THE LALBAGH FORT:PART - IV

Of the much publicized secret passages of the Lalbagh Fort no definite evidence is available. Exploration by the Department of Archaeology inside the huge bastion adjacent to the south-eastern Gate revealed, apart from different building periods, a descending passage with a stairway subsequently sealed off by a hastily improvised wall, that led into the thickness of the rampart. The passage, however, could not be cleared as the huge stone lintel supporting the superstructure of the bastion wall was found dangerously cracked in the middle. The other subterranean possible secret passage may found in a bastion of the southern defense wall. A regular staircase descends below to the level of the surrounding ground from where it bifurcates and spirals down deep below to unknown destination, dark and damp. Apprehending the existence of poisonous gas inside the dark passage, the quest was abandoned and subsequently closed.

As briefly noticed earlier, only 20 years after Bawab Shaista Khan’s departure from Dhaka and the transfer of capital from Dhaka to Murshidabad the importance of the city steadily shrank to insignificance. From the diary of William Hedges, the Director of the East India Company who visited Dhaka in 1689, we learn that the Lalbagh Palace-fort was used as a barrack of the Company’s soldiers and a prison.

In 1757 it witnessed the climax of a grim political drama enacted earlier on the battlefield of plassey. The milling crowd on either banks of the old Ganges watched, in stifled silence, the drowning of Amina Begum and Gasheti Bagum, the mother and aunt of the hapless defeated Nawab Sirajuddaullah, with their royal barge that carried them from the Zinjira palace acriss the river under the vengeful order of the pitiless Miron, son of Mirjafar Ali, the arch traitor of Bengal. The desperate cry of the royal ladies reverberated eerily on the river banks for help in vain, who ironically only a year back, dictated the destinies of Bengal, Bihar and Orissa from behind the harem. Lalbagh Fort stood immobile as a helpless sentinel of the city to witness this tragic episode.

In 1765 the east India company secured the ‘dewani’ of Bengal, Bihar and orissa and forced the ‘Naib-Nazim’ of Dhaka, Nawab Jesaret Khan to leave the fort. Although Nawab Shaista Khan bequeathed Lalbagh Fort to his descendants by a ‘wakf’ deed, the pauperised successors hardly could defray necessary expenses for the maintenance of the Fort. As a result it rapidly fell into desolation and ruin. Bishop Heber in 1824 found it in ruins and enveloped in jungle.

In the uneventful declining days, however, the Fort once again, galvanized into tragic events in 1857. The great uprising in India against the British Raj, commonly known as the ‘Sepoy Mutiny’ also had its stormy convulsions in Bengal. From a detailed account of the memorable events recorded in the Diary of Mr. Brennand, the then principal of Dhaka College, we get a graphic picture of the happenings at Dhaka. According to his account a detachment of ‘native’ Indian soldiers of the 73rd Infantry was stationed inside Lalbagh Fort. On the 22nd of November, it was decided by the British to disarm the Treasury Guards and the Sepoys at Lalbagh at 5 p.m. being apprehensive of trouble. Treasury Guards were disarmed peacefully but as soon as the British marine force reached Lalbagh they found the sepoys drawn up and prepared for resistince. When the sailors tried to force a passage through the broken portion of the wall near the south-eastern gateway a sharp but short encounter followed. The Sepoys, placing guns in front of the tomb of Bibi Pari, opened fire on the invading sailors with grape. However, eventually the sepoys were driven back to their barracks where they were bayonetted and spiked. There was a fierce fight at the end of the rampart in which the sepoys suffered heavily, leaving 40 of their brethren killed and many wounded and the rest escaped in the jungle. A large number of fugitive sepoys were captured and hung summarily from a banyan tree which stood near the present Bahadur Shah park. Other corpses of the mutineers, hung up from trees for several days at the present ‘Antaghar Maidan’, were deliberately kept up as a grim warning to other. Many superstitious and horror stories are narrated by the people of the surrounding localities who looked upon the scene of this tragic incident as haunted.

Subsequent history of the Fort is still painful. In 1844, the local English administrators ontained a permanent lease of the Fort at an annual rent of only Rs.60 fro, the poor successors of Shaista Khan and converted it into the police Headquarters of Dhaka. They used various buildings within the Fort for different purposes and constructed shabby temporary barracks indiscriminately within the premise, while the open space served as a parade ground. Many additions, alterations and large scale changes were made in it to suit their purpose. However, it was eventually protected by the Government in 1910 and only since 1962 onwards, under a planned scheme, all accretion feature of the fort restored. In 1979-80, a typical Mughal Garden was laid out inside the fort from the development fund with systematically planned blocks of grassy lawns and flower beds, pathways, canals, fountains and clusters of beautifully arranged ornamental plants. It offers for the first time, within the crowded lid city a desperately needed breathing space of recreation for dwellers with the preserved monuments, set in an attractive environment originally dreamt by the Mughal prince , who began its constriction three centuries ago. The splendour of this magnificent Palace-Fortress has disappeared with the ruthless passage of time but its picturesque remains, visible from long distance, stand out in immutable majesty and still attract crowds of visitors.

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MUGHAL DHAKA AND THE LALBAGH FORT:PART - III

Towards the eastern sector of the fort, halfway between the two gateways, is a 235 feet square ancient tank originally provided with masonry retaining walls on all four sides and stairways at the corners. On its western bank, distant about 130 feet, stands a graceful double-storeyed building with a projected domical annex to its west. This is reputed to be the Residence, audience Hall and the ‘Hammam’ of Nawab Shaista Khan. The ground floor of this elegant building consists of a central hall, measuring 26ˊ-7ˊˊ × 18ˊ-3ˊ, flanked on either side by a square apartment. The spacious hall with 3arched entrances on east was provided with an ornamental rectangular tank in the middle with fountains in it. Across the fountain on western thick wall an arched entrance, opening under a half-dome, gives access to the main ‘Hammam’ chamber on west, originally provided with a raised platform in the centre tastefully decorated with glazed tiles of variegated colors. Adjacent to it on north there is a copper pipes for the regulations of water supply. Surrounding the central ‘Hammam’ chamber there are other apartments on north, west and east for various purposes, such as, changing, toilet and waterheating closets. A complicated scheme of earthenware pipes, embedded into the thickness of walls of these chambers, were contrived to supply hot and cold water to the ‘Hammam’. The floors of all these apartments were similarly covered drains which carried the combined spoil-water into an claborate vaulted-drain on west of the whole complex. All the chambers of the ‘Hammam’ are roofed over with squat domes with an aperture at the centre, which might originally have been fitted with glass for the entry of light. The upper floor of the building, reduced by 20 feet due ro absence of corresponding covered space above the two square chambers on either ends. The attractive architectural feature of the central hall is its east and west walls which are pierced by 3 multi-cusped arched wide openings each. These arched opening which originally might have been provided with elegant stone jalis, are supported on four ornamental stone columns on each wall. The hall is spanned by a graceful curvilinear roof, simulating a typical thatched “dochala” hut of rural Bengal. It is a blending of indigenous elements with the Imperial Mughal building style which reversely travelled as far afield as Delhi and Lahore during the same period. At present the building has been faithfully restored to its original present condition as far as possible, and converted into a Fort Museum of the same period. Bibi Pari’s Tomb: Bibi Pari (real name Iran-Dukht), as tradition attributes, was betrothed to Prince Mohammad Azam. She died young in 1684 and her father took great pain to import building materials from North India such as black basalt from Rajmahal and white marble from Jaipur in order order to erect a magnificent tomb over her mortal remains. The mausoleum occupies the centre of the fort. Judged by its architectural merit it certainly ranks as an unique monument in Bangladesh in more then one respect. It is the only ,monument in this region where white marble, black basalt and glazed titles have been used to embellish its interior and its curious roof, spanned with overlapping courses of huge stone blocks. It stands in the middle of a raised square platform, flagged with black bassalt, and measures externally 60 feet each side. It has 4 octagonal corner turrets and the facade slightly projected in a rectangular fronton and bordered by slender fluted minarets. Of the 3 openings on each side, the central one is an arched entrance under half-dome while the flanking ones are simple flat-arched entrance under half-dome, closed by marble jalis. The entire outer wall and the corner towers are relieved with plaster panel designs. The roof of the tomb chamber is covered by a false bulbuous copper dome resting on a squat octagonal drum. The copper dome, which originally was regularly polished for brilliance, is crowned with beautiful lotus finials, once gilt. Internally the tomb is symmetrically divided into 9 compartments consisting of a 19-2 square central tomb chamber, 4 corner rooms measuring 10-3 each side and 4 rectangular covered passages, each measuring 24-8 by 10-8. Among the four entrance doorways of the tomb-chamber, three are closed with arched white marble jails and the fourth on the south, provided with sandalwood door leaves, carved with beautiful chinese cross motif. The walls of the tomb-chamber is encased in white marble with panels in black border and the same scheme of ornamentation is repeated on the floor with floor with floral pattern. The white marble cenotaph, set in the centre, is formed of three steps, each relieved with simple but chaste floral designs, cut in low relief. But the most curious device to span the roofs of all the nine chambers of the mausoleum is the pre-Islamic cerbelling system. Huge black basalt slabs overlap one another from sides to meet at the apex and thereby from a pyramidal roof. This is a crude way of spanning a gap, practiced in pre-muslims days when true arch was unknown. It is more an ornamental device than functional. Why this crude device was adopted here at the peak of Mughal architectural achievement is a matter of keen contention. The passage rooms are also covered with the some type of corbelled stone roof. The walls upto the dado level are faced with white marble panels within black borders. The walls of the 4 corner rooms were originally embellished yith glazed tiles of dark-blue, orange, green and purple on a yellow ground even at the time of General Alexander Cunningham’s visit. Now these have completely disappeared and replaced by lime plaster. Shamshad Begum, some relation of Bibi Pari, is said to be buried in the south-east corner room, while the open platform on south is occupied by the grave of Sar Buland Khan, grandson of Khuda Bande Khan alias Mirza Bangali, son of Shaista Khan. The mausoleum has been planned on the pattern of the Tajmahal and the grand tomb of emperor Humayun. Mosque: About 170`west of the tomb, there is a small graceful mosque which, according to tradition, was built by Prince Azam in 1678. Architectural style of the construction confirms this tradition. This oblong three-dome mosque, measuring 65`×33` stands at the back of an elevated platform. It has 4 octagonal corner minarets, covered with plastered kiosks and the eastern wall pierced with 3 arched openings of which the rectangular fronton and flanked by slender minarets. All the 3 openings are set below multi-cusped arches with the soffit of its half-dome relieved in plastered net-work. The entire outer surface of the walls are profusely decorated with plaste panels and the cornice decorated with battlemented crestings. Of the 3 inverted cup-shaped elegant domes the central one is larger and springs from octagonal durm. The flanking dimes are slightly bulbuous and beautifully fluted with basal leaf design. A high ground along the inner defence wall on south runs from the south-western corner tower virtually throughout its lengh and terminates about 100 feet short of the huge bastion near the south-eastern gateway. A trial excavation trench across the 50feet wide ramp revealed a superincumbent debris of a single period, deliberately laid over the ruins of regular building remains, the nature of which yet remains uncertain. At the middle of this long ramp and opposite to the tomb of Bibi pari an interesting small rectangular building stands in a dilapidated condition. Facing north it has an ornamental half-dome with plastered trillies deigns on the soffits now puckered with numerous bullet marks and two forced openings, just big enough to admit a crouchant explorer. It was obviously a masonry tank supported on a number of blind cells and provided originally on the north face with a slanting ornamental stone-slab over which the water of the tank, released through an earthen pipe embed into the wall above, cascaded down in ripples.

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MUGHAL DHAKA AND THE LALBAGH FORT:PART - II

During the hundred years of Mughal rule in the province, several illustrious Governors like Mir Jumla, Shaista Khan and Ibrahim Khan successively occupied the ‘suvadarship’ of Bengal who embellishe and expanded the city with numerous palaces, mosques, ‘katras’fortresses, roads and highways. Many of these noble monuments are associated with Shaista Khan. Soon after the transfer of capital to Murshidadad desolation and ruins overtook the proud city named after Jahangir. The pitiless forces of nature and vandal hands of man hastened the process. During the period of its unprecedented prosperity it also monopolized the overland and sea-borne trade of the East. Dhaka become the chief emporium of the indigenous products of Bengal, where foreigners in large number flocked to exchange their commercial wares. Manrique writing in 1640 noticed, “So extensive is the trade that over one hundred vessels are yearly loaded up in the ports of Bengala with only rice, sugar, fars,oils, wax and other similar articles. Most of the cloth of made of cotton and manufactured with a delicacy and propriety not met with elsewhere. The finest and richest muslins are produced in this country, from fifty to sixty yards long and seven to eight hand-breadths wide, with borders of gold and silver or colored silk. So fine, indeed, are these muslins that merchants place in hollow bambus, about two spans long, and thus secured, carry them throughout Corazane (Khorasan), Persia, Turkey and many other Countries”. Of the ambitious architectural vestiges little have survived today. Bishop Heber visiting the city in 1824 pensively observed “Two-thirds of the vast area of Dhaka are filled with ruins, some quite desolate and overgrown with jungle, others yet occupied by Mussalman chieftains, the descendants of the followers of Shah Jahangir and all the ‘Lions of war, prudent and Valiant Lords, pillars of the Council, Swords of Battle’ and whatever other named of Khan,Amir, or umra the Court of Delhi dispensed in the time of its greatness. Of the 300000 inhabitants who roost like bats in these old building, of rear their huts amid their desolate gardens three-fourths are still Mussalman. Dhaka predominently was a city of the Mughals. In hundred years of their vigorous rule successive Governors and princely viceroys who ruled successive Governors and princely viceroys who ruled the province, adorned it with many noble monuments in the shape of magnificent palaces, mosques,tombs, fortifications and ‘katras’, often surrounded with beautifully laid out gardens and pavilions. Among these, few have survived the ravages of time, aggressive tropical climate of the land and vandal hands of man, the imposing Bara and Chhota Katras, Lalbagh Fort, tomb of Bibi pari, Sat Gumbad Masjid, the mosques of Haji Khwaja Shahbaz (1679), Khan Muhammad Mridha and Kartalab Khan (1704), the Husaini Dalan and a series of river forts at Idrakpur in Munshiganj, Hajiganj and Sonakanda at Narayanganj, erected as bulwork against the recurring raids of the Mugh and Poutuguese pirates in Dhaka, are some of the important monumental legacies of the Mughals. The imposing Katra buildings, erected in the middle of the 17th century on the traditional Cental Asian plan of caravansarais with a grand river front and a monumental gateway, were originally planned as residential palaces of the governors. But the finest specimen of the period the Aurangabad Fort, commonly known as Lalbagh Fort which, indeed represents the unfulfilled dream of a Mughal prince. It occupies the south western part of the old city, overlooking the Buriganga on whose notthern bank it stands as a silent sentinel of the old city. Rectangular in plan, it encloses an area of 1082` by 800`feet and in addition to its two graceful lofty Gateways on south-east and north-east corners and a subsidiary small 3damed mosque, the mausoleum of Bibi pari the reputed daughter of Nawab Shaista Khan and the Hammam and Audience Hall of the Governor. The main purpose of this fort, it seems, was to provide a defensive enclosure of the palacial edifices of the interior and as such was a type of palace-fortress rather than a siege fort. The construction work of the fortress was begun in 1678 by Prince Muhammad Azam, the third son of emperor Aurangzeb, during his viceroyalty of Bengal (July 1678-October1679), but could not be completed on the grand scale of the original design as he was suddenly recalled by his father to join the war against the Marhattas in the Dhaka. So his dream of adorning the city with a magnificent palace-fortress, remained unrealized. His successor, the high-born ‘Amir-ul-umara’ Nawab Shaista Khan, the nephew of the illustrious empress Nur Jahan and brother of the ‘Lady of the Taj’ (Mumtaz Mahal), was undoubtedly the greatest of Eastern viceroys who rules the province with an iron for about a quarter of a century (1664-1678 and 1679-1688).Although he continued the construction work of the Fort for some time, it is said, he eventually abandoned the work due to sudden death of his favourite daughter Iran-Dukht, better known as Bibi pari (Lady Fairy) who was betrothed to Prince Azam, considering this unhappy incident as an inauspicious omen. The surviving monuments inside the Fort partly confirm this tradition that the construction work was abruptly abandon and left unfinished. However from the account of Sir William Hedges it is clear that Nawab Shaista khan was residing in the palace-fortress during the time of his visit of Dhaka. At present the defense wall on south and part of west, measuring over 2000 feet long, survives to a height of about 20 feet from the surrounding ground. On the southern side five octagonal bastions project beyond the alignment of the outer wall. The semi-octagonal bastion next to the south-eastern Gateway is of exceptional size with a 13 feet wide gun-platform. It seems that the supply of water inside the fort was ensured by embedding twin earthen pipes inside the entire length of the wall below outside all the bastions and the defence wall are relieved with ornamental blind merlons at the rampart level. Close to the south-western octagonal corner tower of the Fort outside, the remains of an incomplete city-gate is still visible. But, by far, the most elegant architectural remains of the Lalbagh Fort are its two lofty monumental gateways on the north-east and south-east facing each other at a distance of 800 feet from one another. Though somewhat similar in appearance, the southern gate in more elaborate and imposing. It rises in three storeys in stages and flanked on either side with a vestibule and stair-room, built from inside. Top storeys are incomplete , but the fronton below open into a graceful archway, framed in stone work. On either side of the expensive arched opening ,a plastered semi-octagonal alcove below and an oriel window in two stages above, crowned by a cupola each, relieve the facade further. The top of the gateway was originally crowned by 4 pillared kiosks majestically breaking the skyline, two of which yet survive. The central passage is spanned over with domed ceiling variegated with fretted design.

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MUGHAL DHAKA AND THE LALBAGH FORT:PART - I

Occupying nearly the centre of an immense flat land, drained by some of the mightiest rivers of the world, chiefty the Ganges and the Brahmaputra with their numerous tributaries, nature has bestowed on the city her bounties in a generous mood, scarcely met with elsewhere. The fertile surrounding low-lying areas of the city is a vast sea of lush green crop-fields, stretching for miles around as far as the eyes can see. It is not surprising, therefore, that the ancient chroniclers while lavishing praises for its natural charm have called it,” a land of emerald and silver “,”a gardin fit for kings,” while the mughal official documents styled it as, “Jannat-ul-bilad”or the paradise of Countries. Time and again, however, the site of the capital city in various phases of its history, has changed with the change of perpetuate their its history, has changed with the change of masters. “At the whim of kings and conquerors, eager to perpetuate their fame, new cities have arisen with startling rapidity, often but to be deserted in their turn well nigh before the last stones have crowned the minarets and pinnacles of their mosques and palaces. Yet, cariable as its site has been the great rivers where Megna, Ganges, Brahmaputra and Ishmutti meet at the head of the delta, a hundred miles from the sea”. From the obscure position of a military outpost on the easternmost and most turbulant province of the far-flung Mughal empire how Dacca (correctly Dhaka) rapidly rose to eminence as the .”queen of cities” in the East in early 17th century, is a fascinating story. To an ordinary tourist, not jaded for adventure and spirit of exploration, till that century, it was beyond the beaten track, dimly known to the western world for its famed Musin, unhealthy swamps and forests, myriads of surging water-courses, magnificent elephants and magic, a veritable back-water of civilization. The origin of the curious name of the city is as controversial as its early history is shrouded in fanciful tradition and myth. One thing, however, is certain that its history goes back to the early centuries of the Christian era. It flourished during the Hindu rule and also under the Independent Sultans of Bengal. But Dacca, doubtless a pre-mughal name, came into prominence for the first time under the Mughal, who established here their provincial capital in 1608 A.D. it was a time when the whole province was in flames. The newly ousted turbulant Afghan Chiefs, defeated again and again by the ruling, Mughals, tenaciously hovered across the province and carried on desperate raids on the settlid populace on a bed to regain their lost territory. The province lay exhausted and torn by the prolonged struggle between the Afghans and the Mughals. Afghan chiefs, repeatedly driven back in Eastern Bengal still held important and strategic outposts around Dacca and found a safe retreat in the jungles of Bhawal. Even the ancient kingdom of Sonargaon across the Sitalakhya, distant about 15 miles east of Dacca, was virtually under their control. To the state of political confusion and anarchy, many rebellious local chiefs, known popular as “Bara-Bhuiyans” eagerly joined hand with the recalcitrant Afghan adventurers in a bid for territorial gain. But there was yet another cause of anxiety for the Mughal administration. The maughs, a wild and ruthless people, originally migrating from the neighbouring state of Arakan infested the lower water of the delta. Taking advantage of the general lawlessness and confusion in the country they frequently sallied forth from their homes in Chittagong, than a veritable pirate’s nest, and swarmed up the rivers like locusts to plunder and burn villages and town they past by ,leaving only desolation and ruin in their blazing trail. Like the scourge of God, these heartless hordes of buccaneers by their frequent marauding raids, threatened to lay waste the fertile plains of lower Bengal and drive its peaceful inhabitants in terror from their lands. They often came up to Dhaka in their light gallies for plunder. The unhappy land also at that time became a happy hunting ground of another menace, the portuguese free-booters. Adventurous seamen and skilful navigators, many of them had settled in Chittagong and Arakan and a small company of these reckless sea-rovers sailing up the Meghna, entrenched themselves at Sripur, about 20miles south of Sonargaon. Francois Bernier the famous French traveller of the 17th century graphically describes them as “very detestable and altogether unworthy of Christians, in so much that they impunely butchered and poisoned one another ,and assassinated their own priests, who sometime was not better then themselves”........”Their ordinary trade was robbery and piracy “. They often surprised and carried away whole towns, markets and other prosperous habitations situated on the river bank, making women slaves and burning all that they could not carry away. These human pests also joined hands with the Mugh pirates of Chittagong and carried on their depredations unchecked in lower Bengal. In such a critical period of Bengal history emperor Jahangir appointed Islam Khan Chisti, the grandson of famous saint Shaikh Salim Chisti, as the Governor of Bengal with instruction to crush all refractory elements in the province and restore peace. The iron-willed new Governor grew up with the emperor since his childhood and was honoured with the title ‘son’. Personally brave and temperate in habits, imperious on manners, his great resolution and resourcefulness in moments of crisis were remarkable. In his 5 years of eventful office, he succeeded in accomplishing his task and therefore befittingly earned the pseudo-name of “ The pacifier of Bengal”. His first task was to transfer the capital of the province from Rajmahal to Dhaka in1608 in the very heart of the rebel’s den and to rename it as Jahangirnagar after his patron’s name. He brought the entire province under effective control of the Mughal administration, but his energy towards more peaceful pursuits like the adornment of his capital. Although we hear from contemporary accounts of his building several forts, mansions and mosques in and around Dhaka nothing has survived the ravages of time. From 1608 to 1717 Dhaka remained the capital of the province except for a short break of about 20 years, from 1639 to 1659, when Prince Shuja, The Governor of Bengal, shifted his capital to Rajmahal. Dhaka, under the Mughal Governors, for about hundred years, attained its greater extent of prosperity and expansion. It lasted till 1706, the date on which Prince Azimush-shan left Dhaka and officially the capital was removed to Murshidabad in 17171 A.D.

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BAGERHAT MONUMENTS PART-2

Mosque and Mausoleum of Zinda Pir

About 100 m southeast of the nine domed mosque there stands a small single domed mosque in a very ruinous state surrounded by many masonry graves. Tradition ascribes that the mosque was built by one nebulous Zinda Pir. The mosq is a 4.7m squre building with three arched entrances on its facade and north sides. The badly damaged single mihrab on the west wall is decorated with terracotta floral scrolls and the traditional chain-and-bell motif. The octagonal corner turrets are releived with bands at intervals. There is a tomb to the southeast of the mosque which measures 7.5 square. Though there were four sides but at present only northern doorway survives. The wall on other sides exist to a very little height. Octagonal turrets survive up to certain height.

Reza Khoda Mosque

The highly dilapidated ruins known as Reza Khoda Mosque is located about 100m northwest of Zinda Pir Mosque across an axial road. Only the four walls and three mihrabs survive up to certain height. From the existing ruins, it appears that it was a six-domed mosque and the domes were supported on stone columns, which still lie around. There were three tall entrances on the east and two each on north and south sides. The mosque internally measures 10.6m N-S and 8.1m E-W. the mihrabs are flanked by decorated brick pilasters. Arches in front of the mihrabs are multicusped. Terracotta perforated jalis were inserted into the walls at regular intervals for ventilation and light. Some of them still survive. Octagonal corner turrets appear to have been decorated with terracotta bands.

Ten-Domed Mosque

This mosque is located in the village Krishnanagar of Karapara Union on the old axial road leading to the Bagerhat town. The rectangular prayer chamber measures 23.7 × 11.7m with 2m thick walls. It is roofed over by 10 spherical low domes. The facade is provided with five arched entrances while there are two doorways each on the north and south sides. Though the local devotees have modernized the mosque but the monument still retains its some original factures like arches, pendentive and mihrabs.

Sbek Danga Monument

The monument locally known as Sabekdanga Mosque, is located about 5km due north of the Tomb of Khan Jahan. It is situated in the village of Sabekdanga of the Karapur Union across the Shait Gumbad Road. It is a small curvilinear structure which measures internally 5.6m N-S and 3.5m E-W with 1.3m thick walls. The rectangular building was covered by four segmented roof. The building was converted to a mosque by some alterations in different parts. The original entrance in the middle of the southern wall. Similarly they widened the nich on the west for using it as mihrab. The interior of the monument is profusely embellished with various terracotta floral and plant motifs in which pomegranate fruits hanging from spreading branches are worth quoting. Function of this building is a matter of controversy. An investigation out by the present author in 1993 proved that it was neither tomb nor mosque. Probably it was built as a special prayer chamber which is commonly now as Ibadatkhana ir Huzra Khana. Recently the monument has been restored by the Department of Archaeology.

Mounds

Khan Jahan’s Residence

A low mound locally known as Khan Jahan’s Vasatbati (Khan Jahan’s Residence) is situated about 600 north of Shait Gumbad Bus Station and 200m north of Shait Gumbad Mosque. The site is lacated in Bajeapti-Sundlarghona area under the union of Shaitgumbad on the southern bank of Magra Khal (canal). There are three mounds and two small tanks known as Bis Pukur and Andhi Pukur respectively. A small scale excavation carried out by the Department of Archaeology in 2002 in the large mound revealed some nondescript walls, floors, stone columns, postherds and porcelins. The exposed remains indicate that probably there was a mosque and residence also which had been repaired several times. Further investigation is required to confirm it and to expose the remains fully. About 50 m south of this excavated site a low mound lies which is locally known as Sona Masjid. The mound has now been almost leveled to the ground. But the huge potsherds and top of the damaged walls visible clearly indicates that this entire area was thickly inhabited. Extensive excavation will certainly yield important information which will help to reconstruct the history of Ulugh Khan Jahan.

Kotwali Chawtara

About 200m northwest of Khan Jahan’s residence site there lies a large mound, locally know as Kotwali Chawtara containing the remains of ancient structure. Tradition ascribes that once this was site of the city Kotwal.

Jahajghata

Nearly 200m north of Khan Jahan’s residence along an ancient road overlooking the meandering of moriband Bhairab there lies a site locally known as Jahajghata or Port of Khan Jahan or Pathar Ghata. An ornamental stone column is firmly embedded in the ground which supports the people’s common belief. An image of an eight handed Mahismardini Durga (c. 11th/12th century AD) is engraved in this stone column. Probably this was subsequently brought here.

Chilakbana Mausoleum

The site known as Chillakhana Mazar is located about 200m north, northeast of Rezakhoda Mosque in Ranavijoypur mouza. Within an enclosure there are the remains of a large tomb. Local people believe it is the grave of Chilla Khan who was the security of Khan Jahan’s treasury. However, this claim is yet to be proved. The local devotees have modernized this tomb to a large extent.

Bara Azina Mound

The site is located about 300m northeast of Khan Jahan Ali College in the village Sonatala. The site is covered with large trees, herbs and shrubs. Occasional brickbats and good number of stone columns are noticed in the site. The columns are very similar to those of Shait Gumbad Mosque. Most probably the site covers the remains of a mosque. We need archaeological excavation to uncover the remains.

Bagerhat Museum

A museum-cum-office has been constructed in 1994 to display the cultural materials of the period recovered from Bagerhat and adjacent areas. This museum is built in an area of 520 sqm in the adjacent north of Khulna-Bagerhat Highway in the premises of Shait Gumbad Mosque Complex. The museum building comprises six galleries of various sizes and shapes. The museum displays the cultural materials collected from various sources either as surface finds or excavated materials. They include different types of house hold objects like drinking an cooking pots of stone, glazed tiles, semi-precious stone beads conch bangles etc. Besides, some excavated objects predominantly ornamental bricks of different mosque sites of Barobazar>Muhammadnagar have also been displayed. Ilustration of some Mughal forts, tombs of saints, maps of Bangladesh and Bagerhat are also displayed in the museum.

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BAGERHAT MONUMENTS PART-1

Tomb of Khan Jahan

The second important monument of Khalifatabad is the single domed mausoleum of Khan Jahan located on the northern embankment of a large tank locally known as Thakur dighi. It is about 2km east-southeast of Shait Gumbad Mosque. The tomb is a square building measuring 13.70m each side. At the base of the brick wall 5 courses of black stones have been used. There is an arched entrance in the middle of each side; the northern one is now closed. The corner towers are faceted at regular intervals with seven brick mouldings and crowned with ribbed cupolas. The walls are 2.5m thick. Each wall is relieved with two multi cusped arched niches. The tomb accommodates a stone built sarcophagus in the middle of the floor and actual grave underneath and date (27 Zilhaz, 863 AH>24-25 October 1459 AD) of the demise of the saint Khan-ul-Azam Ulugh Khan-i-Jahan by title. The walls of the crypt, which is now closed, are also full with inscriptions. An attempt to decipher those inscriptions may help to get the Khan Jahan’s identity and to reconstruct the history of the region. On the close west of this tomb there is another stone sarcophagus known as Peer Ali Taheerer Majar who was close associate of Khan Jahan. Further west there is an identical but smaller single domed mosque. An inner and outer compound encloses the tomb. The inner boundary wall accommodates three gateways, one in each side except north. The main gateway in the west is now closed. The outer enclosure has six entrances in it.

Nine-Domed Mosque

The mosque is located on the western embankment of the Thakur Dighi and to the southwest of the mausoleum of Khan Jahan. The square mosque is roofed over with nine hemispherical domes rest on four freestanding stone columns. It has three pointed arched openings on the north, south and east sides bordered within tall rectangular frames. Above the arches there are horizontal rows of mouldings. The western wall is relieved with three semicurcular mihrabs of which the central one is larger which is projected to the west. The multicusped mihrabs are decorated with terracotta floral, scroll and foliage patterns within rectangular panels. Centre of each mihrab is decorated with chin and bell motif. Apexes of the arches have diaper designs and large rosettes at the spandrels. Rest three walls are relieved with only two niches in each. The corner trurrets are round and faceted by eight bands of mouldings. The exterior walls are relived with vertical panels. The curved cornice is very prominent.

Singar Mosque

The mosque is situated abut 200m southeast of Shait Gumbad Mosque across Khuln-Bagerhat highway. This single domed mosque externally measures 12.42m square. It has three arched entrances on the east and one on each of the south and north sides within rectangular frames. There are four round corner relieved with five bands of mouldings. Wall is 2.15m thick. The western wall is provided with only one central multicusped mihrab and two small niches on its either side. The mihrab portion is projected westward and internally it is profusely decorated with terracotta rosettes and foliates motifs bordered by a rectangular frame. Row of blind merlons is noticed at the top of the frame. Interior of the mihrab contains the bell and chain motif.

Bibi Begni’s Mosque

Located to the west of Shait Gumbad Mosque across the Ghora dighi is the Bibi Behni’s Mosque, measuring 14.6m square. This domed mosque shows resemblance with Singar Mosque in general appearance except that it is larger and massively built. The building has three entrances on the east and one each on south and north sides. The central doorway is larger. The corner turrets are relieved with bands of mouldings at regular intervals. The western wall is projected westward in its middle which is flanked by two engaged small unusual round towers ornate with horizontal bands and terracotta’s. The multicusped mihrabs are embellished with terracotta floral motifs and bordered with rectangular mouldings. In the centre of each mihrab chin-and-bell motif is prominent. The spandrels of each mihrab are decorated with rossettes on either side. Interwined geometric motifs and blind merlons run in parallel rows over the spandrels. The building has eight engaged round pilasters-two in each wall. The curved cornice runs through the corner turrets.

Chuna Khola Mosque

Located in an isolated place of a vast agricultural field the Chunakhola Mosque is about 1 km northwest of Bibi Begni’s Mosque. This single domed squre mosque is similar to Singar Mosque and Bibi Begni’s Mosque. The monument has three pointed arched entrances on the east and one each on the north and south sides which are bordered by rectangular frames. It has three mihrabs along the west wall corresponding to the three doorways on the east. The central one is larger. The mihrabs are boedered by rectangular frames with terracotta decorations. A horizontal row of blind merlons exists at the top. In the middle of the row above the central frame of the mihrab, there is a Kalasa motif. The interiors of the mihrabs are profusely decorated with terracotta motifs. Similar features like rectangular frame, row of blind merlins, kalasa motifs are observed in the doorways of the east wall. In addition there are four pannels with terracotta decoration. The corner turrets are decorated with circular bands at regular intervals. The curved cornice comprised several horizontal bands of ornamentations.

Ranavijaypur Mosque

The largest monument among the single-domed mosques in Bagerhat is situated 1 km east of Shait Gumbad Mosque. The monument accommodates the largest dome of the country. There are three doorways each on the north, south and east sides. The central ones are larger compared to the side ones. All the entrances are placed in separate recesses tops of which have horizontal rows of terracotta designs. The west wall accommodates three mihrabs of which the central one is larger. All the mihrabs are flanked by small decorated pillars. The arches in front of the mihrabs are multifold and the apses are profusely decorated with floral, plant and bell and chain motifs.

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INTRODUCTION TO BAGERHAT

The ruins in and around the present Bagerhat town represent the medieval township of Khalifatabad built by a saint general Khan-al-Azam Khan Jahan or Ulugh Khan Jahan in the inhospitable habitat close to the Sundarbans, the largest mangrove forest of the world. Today it is the headquarters of the district of the same name located in the southwest part of the country. A township was established here in the 15th century AD along the bank of the old Bhairab in an area of roughly 20 sq.km ( about 6.5km N-S and 3.5km E-W). A good number of surviving mosques, mousolea, roads, reservoirs, as well as cultural mounds testify to this medieval town. Due to the outstanding universal significance and historical and archaeological importance, both the sites have been inscribed on the World Heritage List in 1985.

Nomenclature

There are ambiguities about the origin of the present name of the place. Some scholars opine that the name carries the meaning the “Habitat of Tiger”(Bagh meaning tiger/garden and hat meaning market place) whereas other express that there was the site of Khan Jahan’s garden where the present town of Bagerhat is located. Subsequently near that garden, a hat (market place) was developed and thereby, the present name was derived. Equally uncertain is the origin of its earlier name Khalifatabad. There is a tradition that Khan Jahan named his newly established township Khalifatabad after the reigning Abbasaid Khalifa of Bagdad or his representative in Bengal Sultan Nasiruddin Mahamud Shah (1442-1459 AD). It was also called haveli Kashba. Some scholars suggested that the place had been designated as Sahr-i-Nao (a newly established town) during the Ilyas Shahi regime before it was named Khalifatabad. In fact, the name Khalifatabad appeared for the first time as a mint town in 1516 A.D. in sultan Nusrat Shah’s coinage.

Historical Background

The early history of Bagerhat is as obscure as the origin of its name. The area was an inhospitable tract in the remote past. Its location on the offshore of the Bay of Bengal, densely overgrown mangrove forest and the associated hazards, have always worked as negative factors for the development of human habitation. In spite of the forbidding nature of the area we have some evidence to prove that people tried to settle here as early as 10th century AD. The black stone image of a Buddha recovered from Thakur Dighi, very close to Khan Jahan’s Tomb, commonly known as Sivbati image, now housed in Kamalapur Dharma Rajika Monastery in Dhaka, and a stone column depicting an eight handed Mahismardini Durga dated to about 12-13th century AD still embedded upright at a site in the abandoned bank of old Bharirab, known as Jahajghata, are examples of this early habitation. But these evidences are too scanty to reconstruct the history of the localty of that period. One can only surmise that before the foundation of a Muslim colony there was a settlement of Buddhists and Hindus during the period of 10- 13th century AD. Khan Jahan established here in the 15th century AD whose identity alson is still obscure. Some scholars express that a Wazir of Sultan Mahmud Taghlaq named Malik Sarwar holding the title of Khawaja Jahan established a semi-independent kingdom at Jainpur in 1309. In his old age he left the trone and proceeded towards east to preach Islam. Finally, he came to Bagerhat and established a township here. But this statement does not fit well as the opinion that Azam Khan, son of Shaikh Alaul Huq was a friend of Sultan Ghyasuddin Azam Shah of Sonargaon who made him wazir and honored him with the title of Khan Jahan. During the political instability in Gaur Azam Khan fled to Bagerhat founded a township there, and began to propagate Islam. It is to be noted that ‘Khan Jahan or Ulugh Khan-al-Azam Khan-i-Zahan’ are the titiles only. So we do not know the actual name of this great man who held these titles. And these titles have been found in inscriptions engraved on his sarcophagus. Some scholars are inclined to identify one Khawaja jahan inscribed on an old mosque in the Chawkbazar area of Dhaka known as Churihatta Mosque with Khan Jahan of Bagerhat. Since the tomb inscriptions so far have been deciphered bears no original name, not even the name of his Sultan or someone else. In this regard we may point out the recommendation made in the Master Plan to reopen the crypt of the Khan Jahan’s tomb and decipher the inscriptions on the wall which may help to identify the name of the person founded the township as well as to reconstruct its authentic history. Whoever may be Khan-i-Jahan or Ulugh Khan-al-Azam there are ample evidences that he adorned the city with mosques, roads, bridges, palaces and reservoirs in a short span of time. He introduced an architectural style, which was uncommon blending of the indigenous, and the imperial styles of Delhi, particularly of the Tughaq, which has been termed as Khan Jahani style. Based on this style some scholars express that Ulugh Khan Jahan was possibly of Turkish origin. Most of the establishments of his township have disappeared with the passage of time. Only a few survive most of which are religious buildings like mosque and mausoleum. Not a single secular structure excepting road is visible now. Water tanks may be related to both type of establishments. So whatever evidences of Bagerhat>Kalifatabad still traceble can be distinctly divisible into two groups: surving monument and structural ruins buried in the earth. The former group comprises Shaitgumbad Mosque, Singar Mosque, Bibi Begni’s Mosque, Chuna Khola Mosque, Naygumbad Mosque, Ranavijaypur Mosque, rezakhoda Mosque, Zindapir Mosque, Sabekdanga Monument and Khan Jahan’s Tomb. In the latter group there are many structural ruins scattered in and around Bagerhat town. A few of them are in the form of low mounds while some others are almost leveled down to the surrounding land surface. Some of them are Khan Jahaner Vasarbati, Bara Azina Masjid, Jahajghata, Kotwali Chawtara etc.

Monuments

Shait Gumbad Mosque

Shait Gumbad Mosque, Bagerhat

The most spectacular and magnificent monument of Khalifatabad, stands on the eastern bank of a large water tank, locally known as Ghora dighi. It is about 7 km west of Bagerhat town. Khulna-Bagerhat high way passes to the south of the mosque commonly known by its highly misleading name of Shaitgumbad Mosque or Mosque of Sixty Domes. Actually this is roofed over with 77 squat domes including 7 chauchala or four segmented hut shaped domes in the central row. It is the largest mosque of medieval Bangladesh with its external dimension 49 m long × 33m wide. The large prayer chamber is provided with 11 arched doorways on the east and 7 each on the north and south. The interior of the mosque is divided into 7 longitudinal aisles and 11 deep bays by 60 stones columns excepting one. There ate ten concave mihrabs on the western wall of which the central one is of stone while the flanking 9 mihrabs are decorated with terracotta motifs. There is a small arched doorway in the western wall close to the central mihrab. The corner turrets are raise above the slightly curved parapet capped by rounded cupolas. The eastern turrets are tall and have entrances from the interior of the mosque through staircases while the western turrets are dwarfish without staircases. The facade is relieved with usual curved cornice. Besides, over the central arched doorway existed a small triangular pediment. After repair this pediment is not seen. Around the mosque, there is an open courtyard and is enclosed by brick wall. The middle part of each wall was providing with gateway of which the eastern one seems to be massive and elegant.

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PAHARPUR - CONCLUSION

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, Ganesa, 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, Ganesa and male figure have been 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 been 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 been 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.

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PAHARPUR-ARCHITECTURAL REMAINS OF THE POST-LIBERATION EXCAVATIONS

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, Ganesa 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.

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