Sribati Temple Complex, Katwa
Youtube Link: https://youtu.be/S_x2-83-96U
References:
https://kevinstandagephotography.wordpress.com/2023/03/29/the-sribati-terracotta-temple-complex/
https://rangandatta.wordpress.com/2013/04/10/sribati-west-bengals-hidden-terracotta-gem/
https://en.wikipedia.org/wiki/Sribati
Location: “G5GC+58G Sribati Terracotta Shiva Temple Complex,
Tri Mondir, Chandra Para, Sribati, Postgram, West Bengal 713514”
Sribati is home to one of the best preserved Bengali terracotta temple
complexes from the nineteenth century. The complex consists of three temples
housing Shiva-lingas named: Shri Viswesara (made of black
stone), Shri Bholanath (made of white marble), and Shri Chandreswar (made of
black stone),. The oldest of the temples, dedicated to Shri Chandreswar, was
built in 1802 by Smt. Bhabanicharan Chandra built in the Rekha deul structure,
with a single spire and a square base, and decorated with terracotta reliefs
from Hindu scripts like Dashavataras, Dasha-mahavidyas and Ramlila. The
Chandras were the descendents of Shobharam Chandra, an enterprising Gandhabanik,
who left Saptagram (Hoogly) in search of new opportunities. He initially
explored the region around Kaithan before finally settling down and starting a
family in Sribati in 1705 CE. The Chandra family prospered through successive
generations, acquiring huge wealth as salt agents for the East India Company,
culminating in owning 56 salt depots across north India. The family probably
originally hailed from Gujarat and travelled all the way to Bengal.
The middle temple and the third temple, dedicated to Shri
Bholanath and Shri Viswesara, were built in 1836, by members of the, Shri
Ramkanai Chandra and his wife, Annapurna Devi.
The Bholanath temple, is a pancha – ratna temple (five spires, with one each at the four
corners and one at the center). The Viswesara temples (right side temple), stands on an octagonal
base while the Chandreshwar temple on the left, consists of a square base. The
central Bholanath temple, houses the white Shivalinga of Bholanath. The
octagonal and the square temple respectively contain the black Shivalingas of
Chandaneshwar and Bishwashwar respectively.
The star attraction lies
on the outer walls of these two hundred year old temples. Every square inch of
the walls of the temple are intricately curved with terracotta panels,
depicting scenes of barges floating down the river, European soldiers, ladies
with swords peeping out of windows, musicians playing musical instruments and
many more scenes from day to day life.
The motifs on the
Chandreshwar temple on the left, are almost solely puranic, there are no social scenes depicted at all.
The Bholanath temple in
the center, is exquisitely decorated, with a mix of both Puranic and social
scenes alongside floral and geometric motifs. The pain terracotta panel above
the doorway depicts a seated Rama and Sita with Jambavan to the right. Two
archers and a hermit in a panel below seem to be that of Rama, Lakshman and
Vishwamitra. Sita is seen in a sari and Rama in a typical nineteenth century
headgear worn aristocrats of the time. Depictions of Rama and Sita together in
the central panel above the door of a temple is a common theme in many temples
in Burdwan and Birbhum built between 1815 and 1849 CE. It’s quite possible that
this trend came about from a group of artisans that traveled around the area
and being employed by wealthy family to decorate their newly built temples. Bholanath
Temple’s depiction of mrityulata (death-vine or creeper of death: a
vertical terracotta panel containing a vertical series of human and animal
figures, each poised to attack the figure below) is very fascinating, found
framing the doorway projection on the front facade. This panel is then
repeated running vertically and is usually seen at the corners of a temple.
Scholars believe these vertical rows of figures have their origins in the
architecture of wooden chariots constructed in Bengal.
** Chariots were
constructed with vertical panels at the outer corner of the main body of
chariots consisting of vertical rows of human and animal figures, which is
called a “Barsha” panel. As the builders of chariots and temples were from the
same Sutradhar (or carpenter) community, the pattern in the chariots was later
assimilated in Bengal temple architecture.**
The both corners of the
front façade have a repeated sequence of five terracotta blocks, each one
depicting four soldiers in standing posture. There appears to be three types of
soldiers are present – Indian soldiers in short dhotis, Muslim soldiers with
beard and Islamic dress, and probably Portuguese soldiers wearing hats with an
upturned brim.
The base of the temple
has a wealth of imagery on display including lines of soldiers, battle scenes,
musicians
The three front walls of
the octagonal Bisheshwar temple have a density of terracotta ornamentation that
would be hard to surpass, it is almost too crammed in due to the limited space
available. The images depicted deal mainly with social scenes, a clear shift in
emphasis from the neighbouring Bholanath Temple that has a blend of both
Puranic and social. One of the most striking features about the Bisheshwar
temple are the various representations of men and women, which include both
Europeans and Indians The social scenes are clearly heavily influenced by
European life. These individuals are depicted carrying walking sticks, wearing
elaborate hats, the women in particular stand out with their lace hats and
frilly gowns. The depiction of soldiers is equally interesting. What
appear to be Muslim soldiers are shown with beards in Islamic dress, whereas
native soldiers are bare-chested with a short dhoti brandishing a sword.
Here we also have a Batyanavartini, a stucco female face
peering through the door as if trying to catch a glimpse of the outside world.
These are a popular motif on temples in the Birbhum and Bardhaman region, and
further examples frame the central pinnacle of the neighbouring Bholanath
Temple.
The pinnacles of all the
terracotta temples are highly restored and the original terracotta works on
them are completely missing as in the case of most of the temples of Birbhum
and Bardhaman.
Other Attractions
Near
the terracotta temple complex are eighteenth and nineteenth-century zamindari
mansions, in various states of preservation, displaying exquisite architectural
motifs representative of the colonial era in Bengal: open courtyards, hanging
balconies, surrounded by up to three floors of living spaces. Many of the
houses also contain a very high-ceilinged puja mandap or large hall on one side, with
designs etched into the walls. One of the houses still hosts an annual Durga Puja, that has been held continuously
for over 300 years.[7]
Another
attraction is the Shri Shri Raghunath Jiu Mandir, established in 1705.
The mandir or
temple is dedicated to the kuladevata of the local zamindari Chandra
family, Shri Raghunath Jiu, a form of Vishnu. The shaligram in this temple was one of the
idols worshipped by Maratha general, Bhaskar Pandit, when Marathas came to
Bengal.
How to Reach:
·
By
Train: The nearest
major railway junction is Katwa.. From Katwa, take a
bus to Singhi More. From Singhi More, take another bus or
local transport to reach Sribati village.
·
By
Air: The location is
around 135 KMs from Netaji Subhas Bose Terminal, Kolkata. Take the train/bus
route from the airport or hire a private taxi.
Photography and
Parking:
Photography is fully allowed, Drones can be
used too.
Parking is tough as the temple complex is
situated in a village. Adjust your vehicle somewhere in the gully outside the
temple.