Ruined Jaina Temples at Pakbirra (Plates)
By Unexhibited
Summary
The plate section supplements the article on Pakbirra by presenting photographic and drawn documentation of the site’s key monuments. Plate 1 offers a general view of the ruined temples at Pakbirra, showing how dense vegetation surrounds the decaying stone towers and illustrating the isolation of the site. Plate 2 reproduces a close‑up photograph of the colossal Tirthankara known locally as Kalbhairav (identified by scholars as Padmaprabha or Rsabhanatha); the image highlights the statue’s kayotsarga posture and the damage it has suffered, such as a diagonal crack across the thighs. Plate 3 provides a hand‑drawn sketch of the principal stone temple, emphasising the tri‑ratha plan and the ruined gandhi portion, while Plate 4 shows a photograph of the same temple from a different angle, reinforcing the impression of disarrayed stones. Plates 5 and 6 depict a pair of finely carved sculptures of a divine couple seated beneath a tree with a child in each left arm; the reliefs include attendant figures, heavenly drums and flying Vidyadharas and demonstrate the high quality of the lost Pakbirra ateliers. Plate 7 pairs two images of Parsvanatha and Santinatha, both standing in kayotsarga posture and flanked by serpents, yakshis and attendants; the juxtaposition underscores stylistic differences between the two figures. Plate 8 portrays a standing image of Rsabhanatha sheltered by a canopy of foliage, while Plate 9 shows a stark composition of a solitary pillar surrounded by displaced kalasas, symbolising the fragmentation of the temple complex. Collectively, the plates provide visual evidence of the scale and artistic excellence of the Pakbirra monuments and underscore the deterioration that threatens them. They complement Mukhopadhyay’s textual descriptions by allowing readers to appreciate the sculptures’ iconography and the temples’ ruined state.
Conclusion
The photographic plates convey the poignancy of Pakbirra’s ruins more vividly than words alone. They document the artistic skill of medieval Jaina sculptors and provide a baseline for assessing future deterioration or restoration. By juxtaposing sketches, close‑ups of sculptures and wide views of decaying towers, the section impresses upon readers both the richness of the site and the urgency of preservation. These visual records thus serve as an indispensable complement to scholarly descriptions and as a call to safeguard West Bengal’s Jaina heritage before it is irretrievably lost.