(Part One)
April, 1997. A little-known village in the Sundarbans named Purkaiter Chak suddenly became the center of attention. While excavating a pond, local residents unearthed a beautifully crafted sculptural image made of smooth black basalt stone bearing an inscription. The sculpture, about two feet high, was visually striking.
Its lower portion was shaped like a quadrangular cubic base that gradually transformed upward into a cylindrical linga form. At the top of the linga was engraved an eight-petalled lotus chakra. Within the lotus, the pericarp (padmanabhi) was slightly elongated. Beneath the linga, on an almost square pedestal, bloomed a five-petalled cosmic lotus (vishvapadma). Around the linga, upon this exquisite lotus core, were seated four Shakti figures.
Each goddess figure sat in padmasana with half-closed eyes, hands joined at the chest in pranam mudra, absorbed in meditation. Below the navel, their garments were gracefully draped. Their bosoms were uncovered yet adorned with ornaments. They wore crowns, beneath which slightly visible matted locks appeared. Their ears were hidden under elaborate earrings. These four Shakti figures, emerging from the linga, seemed to draw radiance from it and shine with divine brilliance — or perhaps Shiva himself drew radiance from the quartet of Yoginis to manifest as a luminous linga. Such an extraordinary artistic creation is rare not only in Bengal but in all of India.
From a historical perspective, this sculpture was invaluable. On the pedestal of the linga was engraved a single-line inscription consisting of two words with six letters. The script belonged to a transitional phase when Brahmi script had just begun evolving into a regional script. Several letters of the inscription could not be deciphered accurately. Unfortunately, further study became impossible — within a year, the sculpture, though preserved in concrete inside a local temple, was stolen one night after thieves broke through the concrete casing. It has never been recovered.
The village of Purkaiter Chak, where the sculpture was found, is rich in archaeological remains from the Gupta-Pala-Sena periods. Nearby lies Dighirpar Bakultala village, from where the Sundarbans copperplate inscription of Maharaja Lakshman Sen was discovered. The Mandalgram mentioned in that inscription is believed to be present-day Purkaiter Chak, as the nearby locality is called Mandal Para.
Based on archaeological evidence, sculptural style, and the inscription, it is estimated that this exquisite sculpture was created in the 9th century. It should also be noted that the photograph of the sculpture does not do justice to its beauty, as the old photograph has significantly deteriorated over time.
(Part Two)
September 12, 2008. Location: Mandirtala, Sagar Island. During excavation work under the “100 Days’ Work” scheme, another linga-emergent Shakti sculpture of the same cult was discovered. Based on information provided by this researcher, descriptions of the sculpture were published in Anandabazar and other newspapers.
This black basalt sculpture weighed 14.2 kilograms and stood 46 cm tall. It too was exquisitely ornamented. Upon a quadrangular pedestal and cosmic lotus stood a great linga. Around the linga were carved four goddess figures. Like the earlier sculpture, each goddess had an uncovered yet ornamented bosom, hands joined in pranam mudra, seated in meditation. They wore crowns with visible matted hair beneath. Two goddesses bore circular forehead marks (tilaka), while the other two displayed a third eye in the middle of their brows. They were adorned with jeweled necklaces, waistbands, and anklets. On one side of the pedestal sat two winged celestial beings flanking an auspicious symbol. At the top of the linga was a lotus motif, and from the quadrangular base extended four serpent-like designs downward.
Mandirtala, where this sculpture was found, is among the oldest archaeological sites of the district. Ruins of multiple Pala-Sena period temples exist here. The foundation of a Sena-period temple still partially survives despite erosion by the Hooghly River. Located in the ancient Saraswati river basin, this site holds layers of historical wonder. Artifacts from the Chalcolithic culture have also been discovered here, though that is another story.
Based on associated artifacts and sculptural style, the second sculpture is estimated to date from the 10th–11th century.
Analysis
Scholars classify lingas bearing faces or surrounding figures as Mukhalingas. Broadly, there are two types: purely Shaiva, and those representing a combined Shaiva-Shakta cult. In the sculptures discussed here, goddess (Shakti) figures are carved around the linga, indicating a mixed Shaiva-Shakta cult. Such sculptures are found more abundantly in eastern India, particularly Bengal.
Dr. Niharranjan Ray, in Bangalir Itihas, mentions several 9th-century four-faced Shiva lingas from North Bengal, where four Shakti figures surround the linga. Binoy Ghosh, in Paschim Banger Sanskriti, includes an image of a Chaturshakti Shivling from the Savitri Temple in Jhargram. The prevalence of such sculptures in Bengal suggests that this cult may have originated locally. It emerged from Shaiva-Shakta-Tantric religious traditions.
A question naturally arises: what is the identity or nature of these four Shaktis surrounding the linga? The answer may be found in another sculpture of the same cult.
A four-faced linga-based Shakti sculpture discovered in Jamalpur village of Bardhaman was preserved in the State Museum by the late Superintendent of Archaeology, Amal Ray. Beneath each of the four Shakti figures were carved their respective mounts (vahanas): deer, tortoise, makara (mythical aquatic creature), and mouse.
Uma (Gauri) is associated with the deer. The Devi Purana states:
“Vrisha Uma prakarttavya padmopari vyavasthita / Yogapattottarasangamriga-simha parivrita” —
indicating that Uma may be associated with the bull, lion, or deer.
The tortoise is associated with Goddess Yamuna, the makara with Goddess Ganga, and the mouse with Ganeshani (Vainayaki). These goddesses are also counted among the Matrikas (Mother Goddesses). From Ashta Matrika (Eight Mothers) to Nava Matrika (Nine Mothers) to the Sixty-Four Matrikas and even a thousand Matrikas, the Puranas mention their many forms. According to the devotee’s wish, they manifest around the Shiva linga.
Before concluding, one final thought:
How many significant sculptures from the Sundarbans are being stolen and disappearing due to our negligence — who knows where they end up? In this way, we are continually losing our own history. It is deeply shameful that to research the history of the Sundarbans, we often have to visit museums abroad.
Author: Debishankar Midya
Image courtesy: Sundarban Pratna Gobeshona Kendra
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