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Two Saura Images from the District of 24-Parganas

By Kalidas Datta

Vol. 9 · No. 1March - 1933pp. 202-207English

Summary

The two Saura images discovered in the 24-Parganas district include a Sun-god (Surya) sculpture and a Navagraha slab. The Surya image, found at Kashipore, depicts the Sun-god standing with a round face, thick lips, and long drawn eyes, wearing a cap-like head-dress, a short necklace with a rectangular bar, plain bracelets, and a long tunic resembling Kushan-era attire. He holds lotus stalks in both hands, terminating in bunches of flowers, and stands with his legs inside the hollow of the car, a feature consistent with ancient iconographic conventions. The pedestal shows a chariot with seven horses and Aruna, the charioteer, holding a goad and reins. The second Surya image, housed in the Rajshahi Museum, shares similar features but differs in dress, with a bare upper body and a short, wrapped lower garment. The Navagraha slab, discovered at Kankandighi, is carved from black chlorite stone and features the nine planets in relief, aligned on a lotus. Each planet is depicted with an oval halo, lotus borders, and snake-head designs, wearing a sacred thread and short skirt. The planets are accompanied by their vahanas (vehicles), including a lion, swan, boar, deer, elephant, and others, carved in scrolls beneath them. The slab’s decorative elements, such as the pointed semi-circular projections and leaf-like designs, resemble Caitya window motifs from the Gupta period. This unique representation of the planets on a single lotus, with a continuous lotus stalk instead of individual flowers, marks it as a rare and stylistically significant artifact from Bengal, likely dating to the late

Conclusion

The discovery of the two Saura images from 24-Parganas offers significant insights into regional sculptural traditions and iconographic variations. The Surya image, notable for its Udicya-style attire and unique depiction of Aruna, provides a rare glimpse into Kushan-influenced art in Bengal, while the Navagraha slab’s distinctive lotus border and planetary arrangement challenge conventional representations, suggesting localized artistic adaptations. These findings not only expand the corpus of early Indian sculpture but also highlight the district’s role as a cultural crossroads, blending northern and regional aesthetics. The detailed carvings and preservation of the Navagraha slab further underscore the technical sophistication of local artisans, positioning the district as a vital site for understanding the syncretic evolution of religious art in eastern India.

Article order

In this issue

Vol. 9 · No. 1
1-10Notes on the Guhyasamaja‑Tantra and the Age of the TantrasMaurice Winternitz11-17The Kingdom of KiraRamesh Chandra Majumdar18-21Maha‑Pralaya and Last JudgmentAnanda Kentish Coomaraswamy22-29Mepputtur Narayana BhattatiriK. Rama Pisharoti30-31The Madhyamikas and the TathataLouis de La Vallée Poussin32-36Avadana and ApadanaEdward J. Thomas37-39The Karddamaka KingsHem Chandra Raychaudhuri40-45What a Deity RepresentsBiswanath Bhattacharya46-48On some Tibetan names of the BuddhaF. Otto Schneider49-62Muhammad Bakhtyar's Expedition to TibetNalini Kanta Bhattasali63-75The Tamil Sangam in a Pandyan Charter of the early Tenth Century A.D.S. Krishnaswami Aiyangar76-87Remarks on the Fourth Rock Edict of AsokaJarl Charpentier88-91Satvant, Satvata and NasatyaJean Przyluski92-97The Nagavamsis of CakrakotyaHiralal Jain98-102A Note on Krsnadasa Kaviraja’s Caitanya‑CaritamrtaSushil Kumar De103The Phalius Worship in the VedaVidhushekhara Bhattacharya104-106TapasVidhushekhara Bhattacharya107-112New Contributions to the Interpretation of the MahavamsaWilhelm Geiger113-120The Yerragudi Copy of Asoka’s Minor Rock EdictB. M. Barua121-130The Pratihara AdministrationRamashankar Tripathi131Indo‑European 'kh' in Sanskrit and AvestanMuhammad Shahidullah132-136Did Tailapa II Defeat a Cedi King?V. V. Mirashi137-140Akbar as a Sun‑WorshipperHirananda Sastri141-144Note on a Newly‑Discovered Taxila InscriptionHarit Krishna Deb145-148A Note on the Girdharpur Brahmi Inscription of the Year 28Sten Konow149-153Notion of Time in Hindu PhilosophySukumar Ranjan Das154-156The Nati of PataliputraA. Banerji - Sastri157-160The Monetary System of the Mughal TimesGottlieb L. Schanzlin161-169Identification of some Brahmanical SculpturesDhirendra Chandra Ganguly170-187A Study of the Twenty Aspects of SunyataEugéne Obermiller188-196Sri Krsna and the Source of the BhagavadgitaAmar Nath Roy197-201Who was the Gupta contemporary of the Kadamba King Kakusthavarman?N. Lakshminarayan Rao202-207Two Saura Images from the District of 24-ParganasKalidas DattaCurrent article208-214Epigraphic Notes – Genealogy of the SalankayanasDineshchandra Sircar215-226Formal Elements in Indian InscriptionsOtto Stein227-236The Buddhist Manuscripts at GilgitNalinaksha Dutt237-243The Saivaite Deity KsetrapalaChintaharan Chakravarti244-252Some political Ideas in the Tamil Work (Kural)C. S. Srinivasachari253-265Some Linguistic NotesP. C. Bagchi266-272HetucakranirnayaDurgacharan Chatterji273-278Epigraphic Notes – Genealogy of the VisnukundinsDineshchandra Sircar279-281Some Technical Terms of Sanskrit GrammarKshitish Chandra Chatterjee282-289The Mainamati Copper‑plate Ranavankamalla Harikaladeva (1i41 SSaka).Dinesh Chandra Bhattacharya290-299The Samkarṣa Kāṇḍa—A genuine Supplement to the Pūrva-mimāmsā ŚāstraV. A. Ramaswami Sastri300-306The Pusti‑marga of VallabhaG. H. Bhatt307-416Dr. Haraprasad Sastri (1853–1931) and ApendixNarendra Nath Law-An Image from Bodh Gaya and AppendixUnexhibited

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