Between 1300 and 1500 Muslim architectural style and craftsmanship got reconciled with this region's weather, heritage and historical experience and led to the development of Bengal's own architectural tradition. At the hands of local artists Islamic calligraphy and geometric designs got compromised with such elements of Hindu culture as lotus, bell with chain, intertwined flowers, creepers and leaves, and thus a unique tradition of architectural ornamentation developed. Examples of this tradition can be seen in Zafar Khan Ghazi's Mosque, chhota pandua minar, adina mosque, eklakhi mausoleum, tantipada mosque, bagha mosque, atiya mosque and so on.
A regeneration of Hindu culture took place in Bengal in the sixteenth century AD due to popularisation of Vaisnava religion through the influence of Sri chaitanya (1486-1533 AD). Collapse of Hindu caste system, practice of devotion to and love for Krsna opened new horizon in spiritual exercise. Most terracotta temples of Bengal were built during the period from late sixteenth through the nineteenth century. Such wide and varied use of terracotta plaques in architectural murals has never been found in the history of art in Bengal. The Vishnupur (17th century) temple of (West Bengal) and Kantaji's temple (18th century) of Dinajpur (Bangladesh) are best examples of this new spirit. Apart from these, specimens of remarkable terracotta murals are to be found on the walls of many temples at Haorah, Hughli, Midnapore, Bardhaman, Birbhum, Nadia and Baranagar in Murshidabad, West Bengal, along with those at Pabna, Jessore, Faridpur, Rajshahi, Barisal and other places in Bangladesh.
Temples of Bengal offered the artists wide walls, huge arches, fat columns, bases of altars as well as cornices, on the surfaces of which could be engraved endless number of mythological tales. Myths of the Ramayana and the Mahabharata, activities of Krsna, as well as contemporary social life, men and women, animals and birds, various creatures and beasts, hunting scenes, designs of creepers and leaves have been depicted with exclusive Bengali characteristics. Apart from these, the lifestyles of Europeans in Bengal along with scenes of sensual enjoyment by the zamindar class are to be found on the murals.
If the temple plaques of the seventeenth, eighteenth and nineteenth centuries are compared with the plaques of Mahasthan, Bhasu Vihara, Paharpur and Mainamati, it is found that the latter are larger in size, of deeper reliefs, and are done in modelling method. In later times, blocks were first made with earth, then partially sun-dried up to need, and thereafter figures were cut out with thin chisels of bamboo or iron. Of course, plaques made for the purpose of design were made in moulds. Due to limited plaque size for reason of medium, its aesthetic use has made the temple geometrical and ornamental at the same time. These temples were built at different places of rural Bengal through the patronage of zamindars and wealthy classes. After the advent of the British, European architectural techniques (use of cement and sand) and Calcutta-centred culture put an end to this tradition. After discontinuation of Indian traditional art practices, cultivation of modern art started with its centre at the Art College in Calcutta city. Although Dhaka Art College had been established back in 1948, sculpture began its journey as a separate department only after the birth of Bangladesh. In quest of heritage, terracotta art's new journey and modern experiments began in independent Bangladesh.
In post-independence period a trend is noticed for creating murals with traditional Bengal and the war of liberation as subjectmatter. A few other subjects have also been added to these. Major places where terracotta murals have been placed are Bangladesh Television Bhavan, Bangladesh Army Headquarters Building, Ittefaq Building, Arab-Bangladesh Bank, BCIC Building, Sonargaon Hotel, Grameen Bank, Safura Tower, Bangladesh Military Academy, Bangla Academy, Yang-Wang Corporation (EPZ Dhaka and Chittagong), Muktijoddha Memorial (Rangpur), US Embassy and British Embassy. But it must be mentioned that terracotta ornamentation have not been used in the entire building. Murals have been created in ceramics and mosaic also. [Alak Roy]
A regeneration of Hindu culture took place in Bengal in the sixteenth century AD due to popularisation of Vaisnava religion through the influence of Sri chaitanya (1486-1533 AD). Collapse of Hindu caste system, practice of devotion to and love for Krsna opened new horizon in spiritual exercise. Most terracotta temples of Bengal were built during the period from late sixteenth through the nineteenth century. Such wide and varied use of terracotta plaques in architectural murals has never been found in the history of art in Bengal. The Vishnupur (17th century) temple of (West Bengal) and Kantaji's temple (18th century) of Dinajpur (Bangladesh) are best examples of this new spirit. Apart from these, specimens of remarkable terracotta murals are to be found on the walls of many temples at Haorah, Hughli, Midnapore, Bardhaman, Birbhum, Nadia and Baranagar in Murshidabad, West Bengal, along with those at Pabna, Jessore, Faridpur, Rajshahi, Barisal and other places in Bangladesh.
Temples of Bengal offered the artists wide walls, huge arches, fat columns, bases of altars as well as cornices, on the surfaces of which could be engraved endless number of mythological tales. Myths of the Ramayana and the Mahabharata, activities of Krsna, as well as contemporary social life, men and women, animals and birds, various creatures and beasts, hunting scenes, designs of creepers and leaves have been depicted with exclusive Bengali characteristics. Apart from these, the lifestyles of Europeans in Bengal along with scenes of sensual enjoyment by the zamindar class are to be found on the murals.
If the temple plaques of the seventeenth, eighteenth and nineteenth centuries are compared with the plaques of Mahasthan, Bhasu Vihara, Paharpur and Mainamati, it is found that the latter are larger in size, of deeper reliefs, and are done in modelling method. In later times, blocks were first made with earth, then partially sun-dried up to need, and thereafter figures were cut out with thin chisels of bamboo or iron. Of course, plaques made for the purpose of design were made in moulds. Due to limited plaque size for reason of medium, its aesthetic use has made the temple geometrical and ornamental at the same time. These temples were built at different places of rural Bengal through the patronage of zamindars and wealthy classes. After the advent of the British, European architectural techniques (use of cement and sand) and Calcutta-centred culture put an end to this tradition. After discontinuation of Indian traditional art practices, cultivation of modern art started with its centre at the Art College in Calcutta city. Although Dhaka Art College had been established back in 1948, sculpture began its journey as a separate department only after the birth of Bangladesh. In quest of heritage, terracotta art's new journey and modern experiments began in independent Bangladesh.
In post-independence period a trend is noticed for creating murals with traditional Bengal and the war of liberation as subjectmatter. A few other subjects have also been added to these. Major places where terracotta murals have been placed are Bangladesh Television Bhavan, Bangladesh Army Headquarters Building, Ittefaq Building, Arab-Bangladesh Bank, BCIC Building, Sonargaon Hotel, Grameen Bank, Safura Tower, Bangladesh Military Academy, Bangla Academy, Yang-Wang Corporation (EPZ Dhaka and Chittagong), Muktijoddha Memorial (Rangpur), US Embassy and British Embassy. But it must be mentioned that terracotta ornamentation have not been used in the entire building. Murals have been created in ceramics and mosaic also. [Alak Roy]
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