Two Saura Images from the District of 24-Parganas
By Kalidas Datta
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.