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An Ancient Sculpture of the Ridha Mandala

By Nirad Bandhu Sanyal

Vol. 34 · No. 2June - 1958pp. 170-171English

Summary

This short article describes a hitherto unreported high-relief sculpture of Hara-Gaurī (Śiva and Pārvatī) found near Kalna in the Bardhaman district of West Bengal. Carved in stone, the piece measures approximately 30 inches high and depicts the divine couple seated on a common pedestal. Śiva, four-armed, holds a trident and an axe in his upper hands while his lower right hand shows the varada mudrā (boon-granting gesture); Pārvatī sits on his left, her right arm gently resting on Śiva’s shoulder, and holds a lotus in her left hand. Both figures are adorned with elaborate ornaments: large ear-rings, necklaces, armlets and anklets are clearly visible, and the hair is arranged in high jatā mukuṭas. Behind Śiva rises a halo (prabhāmaṇḍala) carved with lotus petals, and above the couple appears the crescent moon. At the base, Nandin the bull (vehicle of Śiva) and the lion (vehicle of Pārvatī) are portrayed seated side by side, adding iconographic authenticity. The sculpture’s style is compared to other late Pala–Sena period art from Bengal. The author notes that the figures are proportionate and graceful, with minimal stiffness, and the handling of ornaments and drapery reflects the mature phase of eastern Indian sculpture in the late tenth or early eleventh century. Similarities are drawn with images from Bharatpur Museum and the Varendra Research Museum in Rajshahi, yet the present piece is distinguished by its intact condition and delicate modelling. The article suggests that the sculpture may have been part of a temple dedicated to Śiva and Pārvatī and highlights the need to preserve such finds. It also provides a valuable addition to the corpus of ridha mandala sculptures, which typically depict divine couples and are important for understanding regional iconographic developments. By documenting this find, the author contributes to the study of Pala–Sena art and encourages further exploration of temple sites in the Bardhaman region.

Conclusion

The Kalna Hara-Gaurī sculpture is a well-preserved example of late Pala–Sena art. Its balanced composition, rich ornamentation and inclusion of Nandin and the lion align with tenth‑century eastern Indian iconography. The piece not only expands the catalogue of Ridha Mandala sculptures but also underscores the artistic sophistication of the region. Its discovery calls attention to lesser‑known temple sites and highlights the importance of documenting and conserving regional artefacts for a fuller understanding of medieval Bengali art.

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