An Ancient Sculpture of the Ridha Mandala
Summary
This article discusses an ancient sculpture of Hara-Gauri, a form of Siva and Parvati, found in a small village called Patilpard, not very far from Kalna in the Burdwan District. The image, wrought in basalt and measuring 56 inches high by 36 inches broad, is seated on a high throne on two stony cushions, with Parvati resting on Siva's lap. The sculpture is characterized by its exquisite workmanship, natural and dignified poses, and restrained decoration. Siva is depicted with a high coiffure, four arms, and various ornaments, while Parvati is two-armed and wears a glazed linen sari. The figures are carved in high relief, with a round back-slab embellished by a slender lotus border. Accompanying figures of Siva's bull and Parvati's lion are also present, though their modeling is less delicate than the main figures. The main argument of the article is that this sculpture belongs to the same category as other notable images, such as Indrani (No. 654) and Visnu (No. 62) in the Varendra Research Museum of Rajshahi, and Baghaura Visnu (No. 22) of the reign of Mahipala I. Consequently, the author assigns the image to the last quarter of the tenth century A.D. or the beginning of the following century. The evidence supporting this dating includes the vigorous modeling of the plastic forms, the dignity and grace of the figures, and the restrained decorative details. The author also notes that, far as history is known, Bengal in those days was united politically and had a culture and tradition that were one in the domain of art. The article concludes by highlighting the political unity and shared artistic trends of Bengal during that period.
AI-generated summary, automatically checked against the article text.
Conclusion
This basalt sculpture of Hara-Gauri from Patilpard, West Bengal, represents a significant artistic achievement of late tenth-century Bengal. The work exhibits superb modeling, dignified grace, and restrained decoration, placing it in the same stylistic category as other notable sculptures from the region, such as the Indrani and Visnu images in the Varendra Research Museum. The piece’s natural poses and accurate delineation of details, alongside the deliberate contrast in the treatment of its subsidiary figures, highlight the sophisticated aesthetic sensibilities of the period. Furthermore, the sculpture’s stylistic consistency with other regional artifacts supports the historical understanding that Bengal during this era was politically unified and possessed a cohesive, unified artistic tradition.