A New Type of Revanta from the Dinajpur District
Summary
The article presents a newly discovered black basalt sculpture of Revanta from Dinajpur, now housed in the Varendra Research Society’s museum in Rajshahi. The fragmented piece (18” x 9”) depicts a male figure mounted on a caparisoned horse, holding a lash in the right hand and a sword in the left, with a three-tiered crown and royal attributes like a high umbrella held by an attendant. The iconography aligns with descriptions in the *Kalika Purana*, which prescribes Revanta’s imagery as a warrior on horseback, contrasting with the *Brhatsamhita*’s hunting-party representations. The sculpture’s reverse side shows a domestic scene with figures engaged in activities like fish-cutting and a possible confrontation, suggesting Revanta’s role in protecting against threats like robbers, as noted in the *Markandeya Purana*. The article argues that the figure’s attributes—sword, armor, and royal insignia—differ from known depictions of Kalki, a Vishnu avatar, though both share themes of vanquishing evil. The piece is significant for illustrating Revanta’s localized worship and iconographic uniqueness, diverging from both *Brhatsamhita*-influenced Bihar statues and Kalki’s traditional representations. Scholars confirm the sculpture’s adherence to *Kalika Purana* descriptions, emphasizing its cultural and religious relevance.
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Conclusion
This discovery of a new Revanta sculpture from Dinajpur significantly expands our understanding of regional iconography and worship practices. The unique depiction of Revanta engaged in a dynamic hunt scene, accompanied by attendants and symbolic elements like the caparisoned horse and royal insignia, offers fresh insights into his veneration as both a protector and a divine monarch. Unlike Bihar's static representations, this image emphasizes Revanta's active role in safeguarding devotees, as described in the Markandeya Purana. The sculpture's detailed craftsmanship, including the intricate horse's attire and the deity's martial accessories, reflects a synthesis of North Indian stylistic influences with local artistic traditions. Moreover, the inclusion of everyday scenes on the reverse side highlights the integration of Revanta worship into the socio-cultural fabric, suggesting his relevance beyond ritual contexts. This find not only enriches our knowledge of Revanta's multifaceted iconography but also underscores the dynamic nature of regional deities in shaping cultural narratives.