A Note on Jaina Sculptural Remains at Sitalpur, Bhangra, Harup and Deoli Villages in Purulia District
Summary
Atul Chandra Bhowmick’s “A Note on Jaina Sculptural Remains at Sitalpur, Bhangra, Harup and Deoli Villages in Purulia District” documents and analyses a series of Jaina sculptures discovered in the Purulia district of West Bengal. The author begins by locating the villages geographically relative to the town of Purulia and notes that the sculptural remains were found in situ in village temples or reused in local shrines. The study focuses on the iconography, stylistic features and cultural context of each piece. At Sitalpur, the most significant object is an image of Ṛṣabhanatha carved in chlorite‑schist and measuring about 132 cm by 64 cm. Ṛṣabhanatha is depicted in kāyotsarga (standing meditation) on a lotus throne with attendants, lion pedestal and a halo formed by a blooming amalaki disc. The stele includes vidyādharas (celestial beings), musicians playing drum and cymbal and graha devatās (planetary deities) carved in registers. Lotus petals, a fluted āmalakastila and a trilinear chatra (umbrella) emphasise the divinity’s royal status. The author dates the image to the 10th century CE on stylistic grounds. In Bhangra village, several sculptures are described: another Ṛṣabhanatha stele (dated to the 10th century), a broken but elaborately carved devi disc identified as Achchupta (a Jain goddess) with six arms and her vahana, and a damaged statue of Pārśvanatha discovered by the Shahu Jain Trust. There is also a miniature four‑sided shrine in chlorite‑schist tapering towards the top which features Ṛṣabhanatha on each face and may mimic an Orissan caumukhī. The author notes that some images are heavily worn or partly reconstructed with cement but retain their iconographic features. At Harup village a well‑preserved devi sculpture carved from sandstone is discussed; the goddess rides an elephant and carries weapons while musicians, vidyādharas and dancers fill the composition. Bhowmick compares this figure to Gupta and early mediaeval models and suggests a 9th‑century date. Lastly, the author describes ruins and fragmentary remains at Deoli village, including railing pillars, toraṇas and a beautifully carved image of a Jaina Tīrthaṅkara placed in the sanctum of a ruined temple. The paper concludes by acknowledging assistance from local archaeology officers and providing references to previous studies. Overall, the article enriches our understanding of regional Jaina art by cataloguing little‑known sculptures and placing them in historical context.
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Conclusion
Bhowmick’s survey highlights the richness of Jaina material culture in the Purulia district of West Bengal. By meticulously describing sculptures of Ṛṣabhanatha, Pārśvanatha, various goddesses and miniature shrines, he demonstrates the region’s role in sustaining Jaina religious art from at least the 9th to the 12th centuries. The iconography—kāyotsarga poses, chatras, vidyādharas and graha devatās—reveals an amalgam of stylistic influences and local innovations. The article underscores the need for preservation and further study of these neglected monuments, which collectively attest to the historical spread and diversity of Jaina worship in eastern India.