HISTORY OF BENGAL TEMPLES

• Bishnupur is one of the Important and popular places of Radh Bengal or

Bengal of India which is known as ‘Temple Town’. This temple town is situated
in the district of Bankura of West Bengal.
• It is historically and culturally significant. These were built by the Malla
Dynasty. The Malla rulers were the followers of Lord Vishnu and they built
many legendary and amazing terracotta temples in the Radh Bengal.
• The themes of the terracotta plaques are mainly based on the stories of
Ramayana, Mahabharata and myths.
• Towards the end of the seventh century Raghunath founded the Malla dynasty.
Jagat Malla, who ascended to the throne in 994 AD, shifted his capital from
Prodyumnapur to Bishnupur.
• This zone is commonly known for its laterite soil or red soil, as this region is
not so famous for hill areas so due to the crisis of stones, the architectures of
these temples are made of red soil rather than stones

DIFFERENT ERAS OF BENGAL

Three major developments in religious architecture were seen in three
different eras of Bengal’s history –
evolution of Nagara style temples which were influenced by the Orissan
Rekha deuls, followed by the
developments of Islamic Architecture through mosques and tombs, and
lastly, the generation of Terracotta
Temples.

 Development of Ancient Temples (till 12th century A.D., later in the Western
areas)
 Development of Islamic Architecture (14th to early 16th century A.D.)
 Rise of the Terracotta Temples (16th – 19th century A.D.)

TERRACOTTA TEMPLES
ANCIENT TEMPLES :
The remains of ancient temples belonging to the Pala Era (750 –1199 A.D.) and
its later dynasties are generally Buddhist, Jain or converted Hindu temples

• Some of the notable examples are – Shiddheswar Temple of Bahulara, Bankura

(800–1100A.D.), Pakhbirra Temple, Purulia (1000–1100 A.D.), Satdeulia Temple
of Memari, Bardhaman (1000–1100 A.D.)

• The super-structure of these temples showcases the Nagara style of Indian

temples; the Latina of which was derived from thephamsana – vallabhi –
bhumija pattern of the aforementioned architectural style.
• Some of the temples, like Shiddheswar Temple of Bahulara had the provision
for “mukhamandapa” or porch in front of main shrine but this practice
diminished eventually.

SIDDHESWAR TEMPLE, BANKURA SIDDHESWAR TEMPLE PLAN

BANDA TEMPLE, PURULIA

BEGUNIA TEMPLE, ASANSOL SATDEULIA TEMPLE, BARDHMAN

TERRACOTTA TEMPLES
ISLAMIC ARCHITECTURE :
After the invasion and victory of Muhammad Bakhtiyar Khilji at Nadia in 1204 A.D, the
Muslim rule begun, to be concentrated over the central and the eastern regions of
Bengal. Hence, existing Islamic buildings such as mosques, mausoleums, forts, gateways,
hammam–khanas, igdahs, which were constructed during this period are found in these
regions.

In reference to the different types of ground plans of mosques and tombs found in Bengal,
it can be divided into two major types:

 The Courtyard type (example, Adina mosque)

 The Enclosed type

• The enclosed type can be further subdivided into the Square Enclosed type and the
Rectangular Enclosed type.
• Eklakhi tomb and Qadam Rasul mosque are examples of such types, respectively.
Bricks and basalt stones are used as the major building materials. One of the
QADAM RASUL MOSQUE, GAUR-MALDA QADAM RASUL MOSQUE PLAN
outstanding features of Islamic Architecture of
• Bengal is the curved roof structure of the mosque and tombs In combination with large
domes and corner minarets, local characteristics of curved cornices taken from bent
bamboo eves of village huts and indigenous terracotta decoration was added.
• Structurally also there was a significant shift from the old Hindu corbelling system to
Islamic vaults, dome and keystone arches.

ADINA MOSQUE, MALDA ADINA MASJID PLAN LOTTAN MOSQUE, GAUR-MALDA LOTTAN MOSQUE PLAN

TERRACOTTA TEMPLES
TERRACOTTA TEMPLES :
A radically new category of temple structure which originated during the 16th century and
lasted till the 19th century, A.D. Used burnt bricks as the chief building material. Terracotta
panels were used to decorate the temple surfaces. The rise of these terracotta temples was
influenced by the vaishnava
Movement particularly focusing on radha-krishna cult.

• Singhabahini temple at ghatal, west medinipur; narasimha temple at gokarna, murshidabad

and krishna balarama temple of baghnapara, bardhaman are some of the earliest known
terracotta temples of west bengal.
• But at present most of them have lost their original features as they have undergone major
renovation.
• However, the major evolution and variation in temples began under the patronage of the
malla rulers of and from there the styles got dispersed to different parts of west bengal.
• The variation in the temple architecture came about due to their external appearance and
not because of their structure.
• Use of different roof structures in each temple determined the external form of these
JOR BANGLA TEMPLE PLAN
JOR BANGLA TEMPLE, BISHNUPUR
temples

RASMANCHA, BISHNUPUR

RASMANCHA PLAN

SHYAMRAI TEMPLE, BISHNUPUR

SHYAMRAI TEMPLE PLAN

TERRACOTTA TEMPLES
CLASSIFICATION OF TERRACOTTA TEMPLES
Terracotta temples are usually classified by their superstructures. The basic forms of temples
that developed till 17th century A.D. are generally classified as :
 Modified Rekha Deuls – with tower rising vertically up and gets curved at the end.
 Chala Temples – with sloping roofs which is further divided into:
• Do-chala – having two sloping roofs with a central ridge.
• Jor-Bangla – twin ‘Do-chala’ attached to each other.
• Char-chala – having four sloping roofs
• Aat-chala – having a smaller ‘char-chala’ added over a bigger ‘char-chala’.
 Ratna Temples – having a miniature tower above the main shrine. This can be
• ‘Ek-Ratna’ – for one tower,
• ‘Pancha-Ratna’ for five such towers which went up to ‘Pancha-Vimsati’ Ratna for
twenty-five towers.

Apart from the above mentioned types, ‘Rasmancha’, ‘Dolmancha’, ‘Dalan’ or Flat-roofed
temples, temples with multiple ‘ratnas’ or pinnacles above main shrine, Grouped temples,
octagonal temples, etc. were also developed within succeeding years after the SCHEMATIC DIAGRAM OF MODIFIED REKHA DEUL (LEFT), CHALA
establishment of basic temple forms. TEMPLE (MIDDLE) & RATNA TEMPLE (RIGHT).

MODIFIED REKHA DEULS

• Rekha in Oriya means a straight line. It is a tall building with a shape of sugar loaf, looking like a 
Shikhara.
• It covers and protects the sanctum sanctorum (Garbhagriha) The temples of pre-Muslim period
have few remaining evidences from which it can be said that tall curvilinear rekha deul temples
were predominantly built.
• The earliest temple still standing of this group is Siddheshvari temple at Barakar.
• This type of temples went on developing up to the end of twelfth century, increasing in height and
complexity.

REKHA DEUL TEMPLES

TRADITIONAL HUTS
• A simple form of domestic hut is been reproduced in case of hut style temples in Bengal. The struts supporting the
gable ends and bamboo framing done for the walls are often reproduced as a decorative feature in brick temples.
Even the bamboo rafters on which the thatch rests in case of hut mat be reproduced on the inner vault and
supporting poles on the inner vault.
• This design is referred to as ek-bangla or do-chala. Another reason behind the imitation of vernacular hut form for
temple construction was the evolution of local cults that occurred during the same period. Most of the local deities in
Bengal which were worshiped in huts, when transformed incorporating the services of Brahmins, were housed in brick
SIMPLE DOMESTIC HUT FORM TRANSFORMED
temples copying its original form.
INTO TEMPLE FORM

TERRACOTTA TEMPLES
 CHALA STYLE TEMPLES
DO – CHALA TEMPLES (EK-BANGLA)
• The ek-bangla (or do-chala) structure consists of two sloping roofs with
curved edges or cornices meeting at a curved ridge. Internally, there is a
single rectangular chamber covered by a vaulted roof.
• This style imitates single-celled domestic huts in Bengal and was first
adopted in Islamic architecture Although simple in structure, temples of this
style are rare.  
• A more preferred variant seems to have been the jor-bangla temple, with
two adjacent, connected do-chala temples, with a central upper turret.

PLAN ELEVATION KESHTA RAYA TEMPLE, BISHNUPUR

CHAR – CHALA TEMPLES

• In this type of temple, four triangular roofs meet at a point, with the ridges of each chala
and also of the cornices curved.
• The char-chala style is rare except in the districts of Birbhum, Murshidabad, and Nadia.
• In Nadia it seems to have been the preferred style of the Nadia rajas.
• Most char-chala temples are relatively small and have a single entrance. Char-chala
temples with triple-arched entrance are exceedingly rare.

 
RAGHAVESVARA TEMPLE, DIKNAGARFOUR CHARCHALA TEMPLES, UCHKARAN

AAT – CHALA TEMPLES

• If the roof of a char-chala temple is truncated and a miniature duplicate char-chala temple is added on it,
then it becomes an at-chala temple.
• Though the char-chala style is rare, the at-chala style is very common, particularly in Hugli and Howrah,
where it seems to have been very popular with artisans and patrons in the 18th and 19th centuries.
• As the architecture of the at-chala temple became common, the decorative arrangements of terracotta
panels on the facade also became standardized, allowing artisans to build hundreds of fairly similar at-chala
temples in this region.
• Although the both architecture and decoration of the temples became similar, it was sufficiently complex to
allow both patrons and artisans to experiment and innovate.

CENTRAL ARCH PANEL SIVA TEMPLE, AMADPUR

TERRACOTTA TEMPLES
 RATNA STYLE TEMPLES
EK – RATNA TEMPLES
• The pinnacled or ratna design is significantly different from the chala or sloping roofed styles.
• Although the base structure is the same (rectangular box with curved cornice) the roof is completely
transformed, becoming flattened and surmounted by one or more pinnacles called churas or ratnas.
• The origins of this style are uncertain as there are both Hindu and Islamic precedents of structures with one or
more turrets.
• Islamic tombs with domes or pavilions at multiple levels are common as on Sher Shah's tomb at Sasaram and
Akbar's elaborate tomb at Sikandra, while the practice of decorating the towers of Hindu temples with miniature
shrines is ancient and common throughout north and south India, for example at Khajuraho.
• The simplest version of the ratna style is the single-towered or ek ratna.

MADAN MOHAN TEMPLE, BISHNUPUR

PANCHA-RATNA TEMPLES
• In the five-towered (pancha-ratna) style the superstructure consists of a large central
tower and four smaller towers at the corners.
• This layout (particularly the construction of the turrets as small temples) almost
certainly references the auspicious panchayatana temple style of northern India (e.g.
Khajuraho and Deogarh) where the main temple is surrounded by four subordinate
temples at four corners of the plinth.
• The Malla kings built some impressive early examples of pancharatna temples such as
the Shyamaraya temple at Bishnupur and the monumental Gokulchand temple at
Gokulnagar.

GOKULCHAND TEMPLE, CORONATION OF KING RAMA (BELOW) AND

GOKULNAGAR (ABOVE) SITA’S PURIFICATION BY FIRE
(AGNIPARIKSHA)

NAVA-RATNA TEMPLES
• Nine-towered (navaratna) temple which is essentially a pancharatna with an extra storey.
• The large number of pinnacles give smaller temples in this style an exaggerated grandeur
that was clearly a source of prestige to patrons.
• Temples with even more complex superstructures were built by increasing the number of
levels and adding more turrets at each level.
• The most elaborate pinnacled style is the twenty-five-spired temples at Kalna.
• Recent research on ratna temples has shown that ratnas were not merely decorative but also
used in daily rituals.
• Dieties were taken upto the central tower, so that the worshippers gathered on the temple
grounds could view them. LALJI TEMPLE, KALNA 25 PINNACLE TOWERS DURGA MAA AS
MAHISHASHURMARDINI
STANDING BETWEEM
RAM AND RAVANA

TERRACOTTA TEMPLES
 OTHER STYLE OF TEMPLES
RAS MANCHA TEMPLES
• Rasa-mancha is the most dignified one among these four temples that held the terracotta
architecture of Bishnupur temples in front of the world.
• It looks like a stage or mancha, while the top of this temple is built in the shape of pyramid,
the latter half of the temple is made in the shape of Chala of Bengal and the entrance of the
temple is an imitation of the architectural styles of Islam.
• The structure with the ramifications of its different components, the arched galleries, the
terrace around pyramidal elevation and the domed finial provide an architectural form quite
unparalleled in the entire domain of temple architecture of Bengal.

‘DALAN’ OR FLAT-ROOFED TEMPLES

• Category with lotus shaped domes or spires called flat roofed temples.
• In nineteenth century Bengal architecture came under European influence in
which structures were domed internally but internally spanned by shallow
vault and latterly flat ceilinged.
• Porch resting on two or more pilasters was replaced by clustered pilaster.
• The arches were cusped and facades were designed as those of chala and
ratna designs with plastered terracotta decoration.
• Common example of flat roofed temple is the sixteenth century Durga dalan
built for annual pujas. RUPESVARA TEMPLE, KALNA

OCTAGONAL TEMPLES
• Although octagonal temples are rare, Several richly decorated octagonal temples with rekha
deul superstructure were built in the mid-19th century in the Bardhaman-Birbhum area.
• This is one example (amongst many) of a specific late-medieval Bengali architectural
substyle becoming popular for a brief period in a certain region.
• Less decorated examples with chala and duplicated-chala superstructures also exist, but
ratna superstructures are not usually seen. For rasmanchas, however, octagonal plan with
ratna superstructure is the most common style.
• Another octagonal style specific to a single patron (Rani Bhabani) consists of large open
temples with inverted lotus-dome.
• The best examples of richly decorated octagonal rekha deuls are at Sribati, Ilambazar, and
Supur.
GROUPED TEMPLES
• Temples of identical style and size are often grouped together, arranged in a recognized geometrical
pattern.
• The most common layout is twelve atchala Siva temples arranged in two separate sets of six temples
and placed along a straight line, often along a river bank.
• Some temple complexes have four temples (often of different designs) facing inward onto a
courtyard.
• The panchayatana arrangement of a large temple with four smaller temples at the corners of the
plinth or courtyard, common in northern India (e.g. at Khajuraho) is rare in Bengal.
• And the most elaborate grouping that exists is of a hundred-and-eight Siva temples arranged 108 SIVA TEMPLES, KALNA INNER CIRCLE TEMPLES AND THE
geometrically. WELL POSITIONED IN THE CENTRE
OF THE TEMPLE PREMISES

TERRACOTTA TEMPLES
TEMPLE PLANNING • A general Terracotta Temple plan shows a square shaped
Garbhagriha flanked by rectangular porches around it. A square
shaped Garbhagriha had always been the basic plan for a Nagara
temple.
• However, Rectangular enclosed mosques constructed after 1400
A.D. showed gradual development from a single inner chamber
(example, Chika Mosque) to porches flanking the three sides of
the square chamber (example, Qadam Rasul Mosque).
• Thus, the plans for the Terracotta Temples might have been
derived from the combination of plans associated with the
preceding architectural styles.
• Two separate entrances to the Garbhagriha are provided along two
sides of the square sanctorum – the south opening being the main
entrance and the east entrance is for the services, like bringing
the bhog from the Bhogmandapa.
PROBABLE PROCESS OF EVOLUTION – COMBINATION OF SPACES OF A NAGARA • Provision of spaces for Natmandir (entertainment hall),
TEMPLE (LEFT) AND A MOSQUE (MIDDLE) LED TO THE EVOLUTION OF Bhogmandapa were assigned as per the functional requirements
TERRACOTTA TEMPLE PLANS (RIGHT). and religious beliefs of the Vaishnava community.
TEMPLE SUPERSTUCTURE
• The form of the superstructure for the chala temples was derived from the typical
Bengal huts with thatched sloping roofs. The roof form played the crucial factor for
determining the form of the superstructure.
• The Ratna Temples represented newly evolved architectural forms among the
Terracotta Temples whose significant characteristic is the addition of an upper
pavilion above the main shrine.
• Ratna Temples based on the following factors:
 Religious and Functional Purpose
 Symbol of Domination
 Symbolic Continuity of Sultanate Rule
 God as a member of Family
 Portability of Gods
• These provoked the artisans to devise a new model for temple construction. The
form of the lower sanctum was influenced by the exterior form of the mosques
having curved cornice THE FORM OF THE UPPER SANCTUM (RIGHT) HAS DERIVED FROM THE
• Whereas the form of the upper sanctum was a result of mixed influence from the COMBINATION OF CURVILINEAR TOWER OF MODIFIED REKHA DEUL (LEFT) AND
curvilinear tower of the modified Orissan Rekha deuls and ridged roof structures of RIDGED PYRAMIDAL COVERING OF PIDHA DEUL (MIDDLE) WITH RATHA
the pidha deuls of Bengal. PROJECTIONS ON ITS FACADES.
• The external facades of the upper sanctum show ratha’ projections (triratha,
pancharatha or saptaratha) on all sides – a prominent architectural feature of
Nagara temples.
• But the concept of spaces – private room at upper level and semi-private room at
lower level – was inspired by the distribution of spaces seen in Aat-chala vernacular
houses of Bengal

TERRACOTTA TEMPLES
 SHAPE & ORNAMENTATION OF FACADE
• Rectangular walls with upper curved cornice, richly ornamented with terracotta
plaques and vertical longitudinal projections with horizontal mouldings at certain
intervals – is the common front facade feature of the Terracotta Temples.
• The vertical projections seen on the facades of the Terracotta Temples are long,
slender engaged pilasters with horizontal mouldings at regular intervals on the vertical
post.
• These are similar to the repetition of internodes on a bamboo pole – used as
supporting members in the huts. It can now be justified that the horizontal and vertical
projections on the eastern and western walls of the Jor Bangla Temple are the replica
of principle tie-beams, rafters and bamboo posts of Bengal huts.
• This feature can thus be regarded as replication of wooden construction technique on
terracotta bricks.
• Application of curved cornice to drain out rain water from the roofs quickly was seen in
vernacular architecture and was later adopted in Islamic buildings and further got
INTERNAL CEILING PATTERN implemented on the cornices of the Terracotta Temples
• In contrast to the external roof pattern, the internal ceiling feature of the temples shows
the use of Domes, pointed barrel vaults and chala vaults – which were a result of influence
from Islamic Architecture
• Whereas corbelled vault was inspired by Pre-Islamic Architecture. Various styles of ceiling
have been used to cover different spaces designated in the plan of a Terracotta Temple. SECTION OF RAGHUNATHJIU
• Generally domes supported by pendentives or squinches are used to cover square shaped TEMPLE (LEFT) AND
space, whereas pointed barrel vault or semi barrel vaults are used to cover rectangular RADHA VINOD TEMPLE
spaces. (RIGHT) SHOWING DOME
• This feature is quite common to the style used in Islamic Architecture especially among the AND CORBEL
styles found in the Rectangular Enclosed mosques. CONSTRUCTION
MATERIAL AND CONSTRUCTION TECHNIQUE
• Typical Islamic techniques of arches, vaults and domes construction were used to
create this type of architecture, and the material adopted was brick which was
locally available.
• Even though stone was mainly used for construction till this period, there are
rarely any stone temples in this province due to scarcity of stone.
• Brick temples of Bengal have wooden doors which are decorated with terracotta
depicting human and animal figure compositions as well as floral and
geometrical designs in panels.
• The brick core of the temples generally consist of well laid horizontal brick
courses. Vaults and domes are also created with bricks laid as stretchers.
• In arches, bricks are cut to form tapering voussoirs. Curved layers of brickwork
are employed to create vaults as well as swelling contours of temple cornices
and roofs.
DETAIL OF THE TERRACOTTA TEMPLES • Fired Bricks were laid in mortar composed of powdered brick and lime. Lime was
obtained by processing snail’s shells. Fine but very hard pankha plaster was used
to coat roofs, vaults and walls of temples. The surface skin of the terracotta
plaques is carefully knitted into the brick core of the building.

FALSE DOOR OF A RUINED

TEMPLE NEAR ILLAMBAZAR
TERRACOTTA TEMPLES
TEMPLE PLINTHS
• An average plinth height of 0.80m.
• The reason behind the high plinth height of these temples may be justified by the
presence of pond or a bandh near to its site.
• It has been observed that the temples located near to a pond shows higher plinth
than those which do not have a pond near to it.
• Hence high plinths were provided to the temples to protect the sanctum from
flooding.

THRESHOLD TEMPLES NEAR WATER BODY RAGHUNATHJI TEMPLE JOR BANGLA TEMPLE
HAVE HIGHER PLINTH

• In most of the above cases where there is high plinth, the thresholds are positioned in
front the Garbhagriha (sanctum sanctorum) to provide direct and easy access to the
inner chamber.
• Temple two separate thresholds are present on either side of the main facade – one
near the Bhogmandapa (hall of offering) and another in the opposite direction near the
entrance.
• Separate entranceways were provided to the sanctum – one being the main entrance
and the other was used as ‘service conduit’.
• The stairways are thus placed at such a position so that the priest had to cover
minimum distance to enter the Garbhagriha from the main entrance of the temple
SCHEMATIC TOP-VIEW OF MADAN MOHAN TEMPLE MADAN MOHAN TEMPLE complex, as well as from the Bhogmandapa. Hence the functional needs of the user
COMPLEX SHOWING HOW THRESHOLDS ARE directed the position and direction of threshold.
POSITIONED AND DIRECTED
ACCORDING TO THE FUNCTIONAL NEEDS OF THE
COLUMN
USER
• Architects and builders of the contemporary period were not familiar with the loading
distribution of domes, vaults and arches which were introduced with the Islamic rule in
Bengal in 12th century A.D.
• In order to support huge spans of dome, they used thick columns to carry the weight of the
novel structural feature. However, since Pre-Islamic building parts were used in the
construction of mosques and tombs, they adopted the design pattern of those building
TERRACOTTA COLUMN COLUMN OF PRE-ISLAM
elements to keep in sync with such ornamentation.
• Later, such form of the columns became a trend in the construction procedure and was used
as an architectural feature irrespective of the fact that whether the building being
constructed was a temple or a mosque.
• The short, stout brick columns of the Terracotta Temples consists of a square brick capital,
followed by an octagonal or dodecagonal shaft, intervened by two octagonal projection and
supported by a square base at the bottom.
• Gradual increase and decrease in width is seen throughout its length to create the column
profile. Such design pattern is similar to the stone columns found in the Islamic Buildings.
• However, the shape and dimensions of each segment of the stone column is dissimilar to
that of the brick Terracotta columns – due to the use of nonuniform brick sizes and variation GENERAL DIAGRAM OF THE PROCESS OF EVOLUTION OF COLUMNS –
in the sizes of the Terracotta panels used for ornamentation BRICK FROM PRE-ISLAMIC COLUMNS TO ISLAMIC
COLUMNS OF THE COLUMNS AND THEN TO TERRACOTTA
TERRACOTTA TEMPLES COLUMNS.

TERRACOTTA TEMPLES

ARCHITECTURAL FEATURES OF MOSQUE ENTRANCE (LEFT) ALONG ENTRANCE TO THE • The entrance to the Garbhagriha is marked by the presence of single multi-cusped arch
WITH THE CONCEPT OF NARROW ENTRANCE FOR ANCIENT GARBHAGRIHA
TEMPLES (RIGHT) LED TO THE EVOLUTION OF TERRACOTTA
TEMPLE ENTRANCE (MIDDLE).
CORNERS
• The corner elements in the Terracotta Temples show linear horizontal
projections or mouldings at certain intervals.
• Though the gaps between the moulding varies, but the distribution of
mouldings is similar in each of the surveyed temples.
• This trend is found in every square or rectangular mosque the external corner
of the inner chamber shows linear horizontal mouldings similar to that seen in
the Terracotta Temples
• However, the design pattern seen in the mouldings of pabhaga and even the
distribution of Barandi and Janghas on the Nagara Temple structures are
similar to the mouldings used in ornamenting the engaged corners of the
Mosques and Tombs.
• Thus the Islamic Corner turrets itself got influenced from the Pre-Islamic
Temples which later had an impact on the corner elements of the Terracotta
Temples
LOTUS MEDALLION INFLUENCED FROM MIHRABS (RIGHT) CAN
BE SEEN ON THE GARBHAGRIHA ENTRANCE FRAMES (LEFT &
MIDDLE).
LOTUS MOTIF IN TERRACOTTA
ENTRANCES
• The triple archway entrance to the porch having Ogee arch or multi-cusped arches
supported by the thick, short, stout columns on either side are similar to the main
entrance of the mosques.
• Large clear span between the columns were provided in the mosques to allow easy mass
movement towards the congregation chamber.
• In contrast to this, the Terracotta Temples have narrow arched entrance – may be to
prohibit mass movement and to allow access only to the priest and royal family members.
• Space for mass congregation or performing kirtan was provided in the temple courtyard,
but not within the main shrine.
• Even though the Terracotta temples seems that the inner space and the entrance were
deliberately made narrow to restrict any sort of mass performance or movement of the
common people within the main shrine
supported by two engaged pilasters on either side.
• Such entrance frame is ‘ornamented in manner of the Sultanate mosque’s ‘mihrab frame’.
The concept of ‘visual focus’ through the mihrab frame – modified to form the door frame
of the temple sanctum
THE BARANDI AND JANGHA OF PRE-ISLAMIC
CORNER ELEMENTS AT JOR BANGLA TEMPLE
TEMPLES (LEFT) INFLUENCED THE ENGAGED (LEFT) AND QADAM RASUL MOSQUE (RIGHT).
TURRETS OF ISLAMIC ARCHITECTURE
(RIGHT) WHICH FURTHER INFLUENCED THE
CORNERS OF TERRACOTTA TEMPLES.
LOTUS MOTIF
• The Terracotta Temples of Bengal are famous for the terracotta motifs used for
ornamentation on the temple walls ‘as one of the most original and unique expressions
of decorative temple art in the late medieval period of Bengal Figurative sculptures of
popular gods and goddesses, human in their dancing postures, conjugal postures, floral
decorations, animal figures, etc. were generally used as themes for ornamentation.
• Along with these, activities of social lives, religious cult practices, scenes from the epics
and wars were also depicted in the terracotta motifs.
• Lotus motifs seen on the spandrels of entrance arch of the Garbhagriha at the Terracotta
Temples is another important Islamic influence seen in the terracotta relief works. These
are similar to the Lotus flower medallions used for decorating the spandrels of the
mihrabs in a mosque
TERRACOTTA TEMPLES