Places to vist - Jiaganj-Azimganj জিয়াগঞ্জ-আজিমগঞ্জ Zone

Jiaganj Museum

The Jiaganj museum, built mostly by individual effort, showcases various kinds of rock sculptures, coins, rock carvings, weapons, and rare ancient manuscripts. Jiaganj is located on the river Bhagirathi and falls under the jurisdiction of the Lagbagh 'mahakuma' (মহকুমা sub-division) of the district of Murshidabad. Once upon a time Jiaganj was a trade centre and a port-town of international importance. The Jiaganj Museum (and the proposed 'Murshidabad Zilla Museum') owes its existence mainly to the untiring efforts of one man - Rai Bahadur Surendranarayan Singh (রায় বাহাদুর সুরেন্দ্রনারায়ন সিংহ) (1881-1972) - a man whose interests included archeology, music and fine arts and whose contribution to freedom struggle and to various other forms of social service are remarkable.

Though we do not have minute details about how he created such a centre for archeological studies in the district and we can only make wild guesses as to the inspiration behind this commendable effort, it can somewhat safely be asserted that some of the motivation came from eminent archeologist Rakhaldas Bandyopadhyay (রাখালদাস বন্দোপাধ্যায়) and historian and researcher Gurudas Sarkar (গুরুদাস সরকার) who were his classmates. The company of such eminent scholars and the vast troves of archeological treasures scattered all over Murshidabad inspired the Rai Bahadur to painstakingly collect artifacts and bring them to his Nehalia palace.

On the 17th of August 1960, Rai Bahadur Surendranarayan Singh convened a meeting at his palace where he proposed to form a committee that would be entrusted with his collection. This committee included eminent personalities and high ranking government officials of the district. There was some initial confusion regarding the name of the proposed museum. While some favored calling it the 'Surendranarayan Singh Nehalia Museum' (সুরেন্দ্রনারায়ন সিংহ নেহালিয়া সংগ্রহশালা), others were not convinced, arguing that this would deter other potential donors from donating their own collections to the museum. After much consideration, committee member and noted journalist Mr. Kamal Bandyopadhyay (কমল বন্দ্যোপাধ্যায়) proposed the name: the 'Murshidabad District Museum' মুর্শিদাবাদ জেলা সংগ্রহশালা.

The committee tried to construct the museum on 1900 sq. meters of land donated by the Rai Bahadur close to his own residence in Nehalia. The construction of the museum commenced in 1964-65 with the permission of the state government and that of the Govt. of India. The work took place at a rather slow pace and it took painstaking efforts to finally equip it with all modern amenities and finally open it to the public. [1]

More recently, attempts have been made to conserve recovered artifacts (that were about to be smuggled) in the museum. Efforts are being made to recover these rare artifacts from the various police stations in the district that are now in charge of these valuables. Notably, due to the efforts made by the District Magistrate, ancient manuscripts have been recovered from Satui সাটুই; sculptures have been collected from the Jiaganj police station. Efforts are also on to showcase the district's dying art forms, indigenous musical instruments, and different art works of the various folk-cultures of the district in a proposed new gallery in the museum.
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Museum Collections

At present the museum has a large number of sculptures of Vishnu carved of black stone, dating from 800 AD to 1200 AD. The museum has two galleries, displaying sculptures belonging to the Pala-Sena period. A brief description of notable sculptures that the museum boasts of are as follows : 1) Sthanaka Vishnu - Sandstone of 9th Century 2) Buddha (Votive Stupa): Sandstone of 10th Century 3) Buddha (Bhumisparsa Mudra): Sandstone of 10th Century 4) Garudasina Vishnu - Black Stone of 10th-11th Century 5) Surya - Black Stone of 10th-11th Century 6) Surya - Red Sandstone of 10th-11th Century 7) Parsvanath - Black Stone of 10th-11th Century 8) Tara - Black Stone of 10th-11th Century 9) Gouri - Black Stone of 10th-11th Century 10) Mahisamardini - Black Stone of 10th-11th Century 11) Parvati - Black Stone of 10th-11th Century 12) Sadyojata - Black Stone of 11th Century 13) Narasimha - Black Stone of 11th Century 14) Brahma - Black Stone of 11th Century 15) Hariti- Black Stone of 11th Century 16) Sthanaka Vishnu - Black Stone of 11th-12th Century 17) Sthanaka Vishnu - Black Stone of 11th-12th Century 18) Sthanaka Vishnu - Black Stone of 11th-12th Century 19) Ganesa - Black Stone of 11th-12th Century 20) Karttikeya - Black Stone of 11th-12th Century 21) Uma Maheshwar - White Sandstone of 11th-12th Century 22) Dancing Apsara- Sanstone of 11th-12th Century 23) Uma Maheshwar - Black Stone of 11th-12th Century 24) Vaisnavi/Narayani on Gaduda - Black Stone of 11th-12th Century 25) Dancing Ganesa (astabahu) - Black Stone of 11th-12th Century 26) Sthanaka Vishnu - Black Stone of 12th-13th Century 27) Ganesa - Red Sandstone of 12th-13th Century.

The oldest sculpture belonging to the museum is an idol of Vishnu carved out of sandstone, dating back to about 800 century AD. This Sthanaka Vishnu (Standing Pose of Vishnu) is made in Dravidian Style, with stubby nose and a solid body mass with a very distinct Jokhha iconography. The head is adorned with seven snake hoods. The four hands hold sankhya শঙ্খ (conch shell), chakra চক্র (wheel), gada গদা (mace) and padma পদ্ম (lotus). The carving style is different from others, signifying the time the idol was sculpted. The later sculptures are more ornamented. Depending on the ornaments, the Vishnu sculptures can be classified into broadly 24 categories: 1) Kesava, 2) Narayana, 3) Madhava, 4) Govinda, 5) Vishnu, 6) Madhusudana, 7) Trivikrama, 8) Vamana, 9) Sridhara, 10) Hrishikesha, 11) Padmanabha, 12) Damodara, 13) Sarikashana, 14) Narudevam, 15) Pradumnya, 16) Aniruddha, 17) Purushottama, 18) Adhokshaja, 19) Nrisimha, 20) Achyuta, 21) Janardana, 22) Upendra, 23) Hari, 24) Sri Krishna. (As classified by T.A. Gopinatha Rao in 'Elements of Hindu Iconography'.

Ornamented Vishnu
Ornamented Vishnu
The next sculpture is the four armed Gadudarurha Narayana গরুড়ারূঢ় নারায়ণ (Vishnu mounting Garuda a mythical bird). This black stone sculpture dates back to 1200 AD (approx). The sculpture's upper left hand holds a mace, the upper right hand is broken; the wheel is held in the lower left hand and the conch in the lower right. The idol is heavily adorned with a crown, kundal, kankan, necklace etc, is seated on Gaduda গরুড়, and is bedecked with ornaments that are close to the Orissa style. Vishnu is shown with two consorts - Saraswati (Sridevi) and Lakshmi (Bhudevi) and is accompanied by Chakrapurush (চক্র পুরুষ) and Sankhyapurush (শঙ্খ পুরুষ). The stela shows a Kirtimukh (কীর্তিমুখ) and the Bidyadhar (বিদ্যাধর) couple emerging from a cloud. The stela is further carved with the central figurines of gaja-byas-makar-gana গজ-ব্যাস-মকর-গণ. The pedestal has two figures of a man and a woman on either side, genuflecting and in deep meditation. There is a five petal lotus bud in the centre of the pedestal. The sculpture measures 131 cm X 63 cm X 20 cm.

There is a relatively unornamented figure of Narayani নারায়ণী in the museum. The 12th century black stone idol shows the goddess perched on Gaduda whose wings are spread open. The upper arms of the idol are missing and it is difficult to guess what the goddess originally held in her hands. The ornamentation is simple, the goddess is wearing karna-kuntal, keyur (bracelet), sacred thread etc; Gaduda is adorned with bracelets, armlets, garlands. The goddess is decked in a sari while Gaduda is wearing a dhoti and a kind of scarf (uttariya) hangs around his upper torso. The entire figure measures 80 cm X 35 cm X 14cm.

Amongst the Buddhist sculptures in the museum, the most notable is the black stone figure of Tara তারা dating back to 1200 AD. The goddess is seated on a lotus with one hand in the abhaya-mudra and the other presumably holding a lotus (only the stem can be seen). The idol is adorned with fine ornaments - crowns, garlands, armlets, wristlets, bracelets and anklets. The ornaments are detailed, for example, the ornaments that the goddess wears on her toes are carved with extreme precision. The smiling goddess with half closed eyes is depicted as wearing a sari or a ghagra (a kind of skirt). On the top there are small Buddhist figurines. The stela is very unusual: there is a Kirtimukh and the Bidyadhar couple. Adjoining the central the figure of Tara are Heruka (হেরুকা) and Asok-kanta (অশোকান্তা) in a position similar to a Trifoi arch. There are finely carved figures of dancing couples in the background. The pedestal is made of 9 different sections, hence called the navarath, depicting a man and a woman seated in deep meditation on a lotus. There is a Sanskrit text that is carved on the pedestal. The entire figure measures 99 cm X 53 cm X 15 cm.

To sum it up, the above descriptions are only brief sketches of a few sculptures of great archeological import. The descriptions have left out many of the other concerns of the archeologist, including the dating and the period characteristics of the idols. And it is also important to talk about the recovery of the stolen sculptures and their characteristics. The museum has many other sculptures whose descriptions have been left out for brevity, including the sculpture of an infant Shiva lying beside Parvati, the engraved figure of Pragya-paramita প্রজ্ঞাপারমিতা, Uma-Maheshwar উমা মহেশ্বর, Parshvanath পার্শ্বনাথ, Ganga গঙ্গা, Yamuna যমুনা, Chandi চন্ডী etc. The museum is not only known for its rich collection of sculptures but also has an equally rich collection of manuscripts made of palm-leaf, ancient coins, rare books which after many years have been opened for public viewing. The museum awaits visitors who would be worthy of understanding the true relevance of this rare display.
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The Jiaganj Museum is situated on the eastern bank of the river Bhagirathi and is only 1 Km from the Jiaganj Bus stand and 2.5 Kms from the Jiaganj Railway Station, and 8 Kms from the Hazarduari Palace, Lalbagh. The Palace of Rai Bahadur Surendranarayan Singh Nehalia (রায় বাহাদুর সুরেন্দ্রনারায়ন সিংহ নেহালিয়া) is near the museum (24°14'35"N 88°15'44"E).

(Location Map : 24°14'37"N 88°15'46"E)
Download Route Map :: jiaganj-museum-map.pdf
NOTE : The museum remains closed on Wednesdays. Visiting hours are from 10:00 AM to 05:00 PM.
The Palace of Rai Bahadur Surendranarayan Singh Nehalia near the Museum is also worth visiting.

References :
  • [1] The first inauguration of the Jiaganj Museum was done by Mr. Manab Mukherji on 16th Jan 1999. The museum was inaugurated for the second time in 2004 on the 28th of June. Back
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Baranagore (বড়োনগর)

In the mid 17th century, a small trading centre called Azimganj came up on the banks of the Ganga in Murshidabad. The royal family of Natore, now in Bangladesh, built a riverside palace in a village near Azimganj, and called it Baranagore (meaning a big town). Opposite on the west bank of the river Bhagirathi, about a couple of miles from the Azimganj Railway station is Baranagore, formerly the residence of Rai Udai Narayan (রায় উদয় নারায়ন) of Rajshahi (Bangladesh). Udai Narayan was Zamindar of Chakla Rajshahi in the time of . He rebelled and Murshid Quli Khan sent Muhammad Jan against him with an army. A battle took place near Udai Narayan's palace, and Ghulam Muhammad was killed. Thereafter, Udai Narayan being in fear of Murshid Quli Khan's displeasure committed suicide. Murshid Quli Khan gave the zamindari to Ram Jivan and Kala Kuar of Natore. Ram Jivan had adopted Ram Kanta as his son and successor, who was married with Rani Bhavani. In 1730 Ram Kanta inherited the entire zamindari of Rajshahi at the age of 18. Thoroughly inexperienced in zamindari administration, he, neglecting the zamindari affairs, passed most of his time in religious activities. Fortunately, Rani Bhavani, his wife and a lady of great foresight, sagacity and intelligence, efficiently managed the zamindari with the help of trusted dewan Dayaram.

Here on the banks of the sacred Bhagirathi lived the famous Rani Bhavani (রানি ভবানি 1716-1795), who spent enormous sums of money in funding endowments and charitable institutions. She gave large portion of her zamindari to the Brahmins as Lakhiraj (rent free lands) for their maintenance and other charitable activities. She was a great patron of Hindu learning and bestowed large endowment for the spread of education. Her piety and devotion were unparallel and her good name as a pious, devout, liberal and actively benevolent lady has become a household word in Bengal. a Hindu officer describes her, in a note contributed for the Gazetteer, as "the wisest, most intelligent and most pious Hindu lady who figured in the history of Bengal in the eighteenth century, and whose unrivalled munificence and virtue are still engraved upon every Hindu heart". The revenue paid by her to the Nazim was rupees seventy lacs and the rents collected by her were more than a core and a half. Rani Bhavani, born in 1716 and widowed at 32, became a legend for her administrative ability. Driven by religion, she planned to build a Varanasi in Bengal. From 1755, a huge complex with over a dozen temples was built in Baranagore. Many have since been reduced to dust, but a few still stand strong, a testament to the past glory of Bengal.

The Baranagore Temples represent Hindu zamindari Murshidabad of the 18th century. They are just a mile from Azimganj railway station. An array of Hindu Mandirs (temples), spread over a one and a half kilometer radius at Baranagore, are attributed to the Raja of Natore and his dynasty. The Queen of Natore, Rani Bhavani, was the prime mover of temple innovations and aesthetics in the latter part of the 18th century. The main attraction of Baronagar is the Charbangla mandir (চারবাংলা) complex [Location Map : 24°15'05"N 88°14'37"E]. The word "Char" means four. Built in 1760 by Rani Bhavani, this is a small square arena fenced by four massive temples (a quadrilateral configuration of four temples). Each one is built on a 1.5 feet high foundation and is dochala (two roofed) hut-shaped, a fine example of Bengal architecture. Each temple has three doors with three Shiva icons inside. Scenes from the Hindu epics, the Ramayana and the Mahabharata, are depicted on the walls of the temple in "terracotta". This is unique among terracotta temples in Bengal. Hindu motifs are also visible.

Charbangla temple layout The Shiva temple of Bhabaneswar (ভবানীশ্বর) built by Tarasundari, daughter of Rani Bhavani, in 1755 is 18 meters high with a massive dome on top and decorated with fresco works, both inside and outside. The Raj Rajeshwari Temple has a deity of the Goddess Durga that is made of 'Asta Dhatu' (an eight-metal alloy). It is sculpted on a 15.2 cm x 20.3 cm panel. Hindu icons of Madangopal, Jaidurga, Karunamoyee, Mahalakshmi and Vishnu accompany the main exhibit. The temple also has a very unique five-faced icon of Lord Shiva. The vernacular reference for this Shiva icon is 'Panchanan Shiva'. Moreover, a rare 'Hayagriva Vishnu' Idol is also kept here. The Ramnatheswar temple is one of the oldest Temple of the Baranagore Set of Temples. It was established in the year 1663 Saka Era (ie 1741 AD), as inscribed upon a panel over the main entrance. The structure is 'Ekduari' (single entrance), 'Charchala' and contains Terracotta panels and beautiful Fulkari ornamentation.

Perhaps the finest temple of them all is Gangeshwar, also known as Jor-bangla (জোরবাংলা))temple. The Jor-Bangla temple was built by Rani Bhavani in the 18th century, is the finest specimen of Bengal's terracotta temples [Location Map : 24°15'12"N 88°14'33"E]. The word 'Jor' means Pair. The Jor-bangla Shiva Mandir exhibits Bengal's unique style of surface terracotta art. This mandir has a subset of three Shiva mandirs: the Gangeshwar Shiva (গাঙ্গেশ্বর), the Kastureshwar Shiva (কস্তুরেশ্বর) and the Nageshwar Shiva (নাগেশ্বর). The Kastureshwar Shivalingam, was established by Kasturi Devi, mother of Rani Bhavani. The Gangeshwar temple is located about a Kilometre from the Char Bangla temple. It consists of twin Ek-Bangala temples with the porch heavily ornamented and standing on three arches. The main entrance faces west. The temple belongs to mid 18th century. The dimensions of this temple are 6.90m x 7.80m while the height is approximately 5.50m. The three arches are supported by pillars measuring 0.85m up to the first tier and 0.62m from there to the end of the second tier. The palace of the royal family at Baranagore, should not be missed out. Rani Bhavani died here in 1795, at the ripe age of 79. The family history is displayed through oil paintings.
Terracotta, Baranagore Temples

Baranagore Gallery

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Dahapara (ডাহাপাড়া)

To the South-West of Farah Bagh is Dahapara, said to be a form of Daccapara, from the fact of the settlement there of Darpa Narayan, the chief Qanungo[2], who migrated from Dacca to Murshidabad with many followers, and accompanied Murshid Quli Khan to his new headquarters. Darpa Narayan built his residential home at Dahapara of which Kiritkona was practically a portion. The family of Darpa Narayan were known as the 'Mohashais'. The founder of the family of the Mohashais were the brothers Bhagwan Rai and Bangabinod of Khajoori near Katwa, who received from Akbar the title of 'Bangadhikari Mahasay' and made the Qanungo of Bengal, Bihar and Orissa. After the death of Bhagaban Rai his youngest brother Bangabinod Rai became the Qanungo and obtained large devottar (দেবত্তর) and Lakhiraj (rent-free lands) from the Emperor. One of the devottar properties was the area where the deity Kiriteshwari was installed and was described as Bhavanithan. After Bangabinod the post of the Qanungo and the property went to Bhagaban's son Hari Naryan. He was succeed by Darpa Narayan. Darpa Narayan refused to sign the tax collection papers prepared by Murshid Quli Khan, for submission to the Emperor at Delhi. On Murshid Quli Khans return to Murshidabad, Darpa Narayan's influence declined. His son Shiva Narayan was appointed Qanungo. He was succeeded by his son, Lakshmi Narayan, who exercised curtailed powers. On each succession large sums as Nazar had to be paid to the Samrat at Delhi.

Dahapara Ashram (ডাহাপাড়া আশ্রম)

Jagadbandhu Dham, also known as Dahapara Ashram is situated at Dahapara, Azimganj. It is the birth place of Sri Sri Prabhu Jagadbandhu Sundar. Prabhu Jagatbandhu Sundar was an ascetic vaishnava preacher who propounded the philosophy of Bhakti yoga and Hari nam sankirtan in various parts of Bengal during the late 19th century in the post Chaitanya era. He was born in May 1871 in a poor but learned brahmin family of Dahapara. His father was a brahmin scholar Dinanath Nyayaratna and his mother was Bama Devi. He lost both his parents quite early in his life and was brought up by his elder sister. He spend the most part of his life in Faridpur, Bangladesh. Prabhu Jagatbandhu travelled widely in his youth and attarcted thousands of people who came to him and devoted their lives to hari bhakti (devotion to the supreme lord). The last 20 years of his life were spent in Mahagambhira Lila - an almost continuous state of meditation and trance when he confined himself in a small cottage isolating himself from the outside world. He left this human form on 17 September 1921. The ashram founded by Sri Kunjadas Brahmachari, is set in picturesque surrounding. Worship of Prabhu Jagadbandhu's image and Annual Birth Anniversary are being performed there with all earnestness.
[Location Map : 24°11'34"N 88°15'13"E]

Dahapara Gallery

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Kiriteshwari (কিরীটেশ্বারী)

Just five kilometers from Dahapara railway station is the Kiriteshwari temple, the oldest temple in the Murshidabad district, and a place of great antiquity. When the body of Sati (another name for the goddess Durga), borne on the shoulders of Mahadeva, was mutilated by the Chakra of Vishnu, her crown fell here. The goddesses is named Bimola and is known as Kiriteshwari or the Crown goddess. Mention of this is found in the Puranas. Tradition has it that there are fifty-one places of sakta-pitha (a Hindu sacred place). The word pitha means altar or seat where the body parts of the goddess Sati fell.

The 'Bangadhikaris' or Qanungos[2] of Dahapara made extensive provisions for the maintenance of the Temple. One of their ancestors Bhagaban Rai received the area of Kiriteshwari as jagir from Delhi. The original Kiritkona Temple was destroyed in 1405 AD. The temple which was overgrown with jungle and dilapidated, was renovated by Bangadhikari Darpa Narayan. He erected several new temples and excavated a tank close by, called the 'Kali Sagar'. The annual fair held at Bhabanithan or Kiriteshwari was conducted by Darpa Narayan. The temple of Kiriteshwari was a favorite place of Raja Ram Krishna, the husband of Rani Bhavani. The present temple in the village was built around 1730 by Raja Kirtichand (1702-1740) of Burdwan Raj. The temple of Kiriteshwari has had all along a great sancity attached to it. Mir Jafar when in death-bed, under the advice of Maharaja Nanda Kumar took the Charanamrita of Kiriteshwari. Rani Bhavani's son, Raja Ram Krishna was a devout Sakta (a person who worships Shakti as the wife of Shiva). He conducted his meditations on a seat placed over five human skulls under a Bel tree. He was a frequent visitor at the shrine at Kiriteswari, and tradition relates, he had a canal excavated from Baranagar to that place in order that he might get there by boat.

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A tradition of the mysteries of Kiriteshwari has been handed down to posterity. One day a bangle seller, fatigued with his morning errand, stepped down to drink water of the tank near the temple. On the step next to water he found a very young girl performing her ablutions. She prevailed upon him to sell her a pair of bangle. The man slided the rings into the tiny hands of the young girl and when he demanded the price she referred him to her father, the Shebait (caretaker) of the temple of Kiriteshwari. She also mentioned that the money was in a certain place in the house. The man went to the Shebait and asked for the price of the bangles which his daughter had purchased. The Shebait thought the man was a cheat for he had no daughter. The man indicated the place where the money was kept as told by the girl. When it was searched it was found that money was there, although it was never kept before. The Shebait still suspicious asked the man to show him where his daughter was. They came to the steps of the tank but there was no body in the vicinity. The man began to weep, being reprimanded by the Shebait as a cheat, when two beautiful hands radiant with the light of divinity and bedecked with the pair of new bangles jutted forth from the water in the middle of the deep tank and soon disappeared. Both the Shebait and the seller stupefied as they were at this miraculous appearance.

Legends also cluster round Tara, daughter of Rani Bhavani, and to this day stories are told of how she escaped the evil designs of Siraj-ud-Daulla (সিরাজ-উদ-দৌল্লা) through the help of a saint named Mastaram. On one occasion, when the Nawab came to seize her, he found her suffering from small-pox and retired discomfited. The small-pox, which had been miraculously caused by the saint, at once disappeared in the same miraculous fashion. Mastaram lived at Sadekbagh on the opposite side of the Bhaglrathi and had the supernatural gift of being able to walk, or of being transported by invisible agency, across the stream. The akhra at Sadekbagh, which was founded in 1646, is known as the Akhra of Mahant Mastaram Aulia.

According to the Sair-ul-Mutakharin, Mir Jafar was persuaded by Nanda Kumar (or Nuncomar), to take water in which the sacred emblem of the goddess had been bathed, in the hope that it would be a cure for the malady of which he died. The emblem is a piece of black stone engraved with, floral designs. The crown, or frontal bone, itself, which is called guptapit, is preserved in a pot covered with red silk and is rarely exposed to view.

A fair is held every year on each Tuesday and Saturday of the month of Poush পৌষ (Poush month begins in mid December and ends in mid January) at the Kiriteshwari Temple on the western bank of the Bhagirathi.
[Location Map : 24°12'N 88°13'E]

Kiriteshwari Gallery

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Bhattabati alias Bhattamati (ভট্টবাটি বা ভট্টমাটি)

Bhattabati is under Nabagram Police Station, and about 5 kilometers from the Lalbagh Sadar Ghat. According to legend, during the reign of Alauddin Husain Shah (1494-1519 AD), the independent Sultan of Bengal, around 1200 Bhatta Brahmin families from Karnat of Southern India came to settle down at this place. Hence the place got its name as Bhattabati (Residences of the Bhattas) or Bhattamati (Land of the Bhattas). The Ratneswar Temple is said to have been built during the early 18th century when the second Qanungo of Bengal Joy Narayan (জয় নারায়ন), used to live here at Bhattabati, while the first Qanungo Darpa Narayan (দর্প নারায়ন) stayed at Dahapara. It is not known who built this temple and precisely when. This Pancha-Ratna (Five Pinnacle) Shiva Temple with exquisite Terracotta Arts, is possibly the most beautiful temple in this district and can easily stand favourable comparison with any terracotta temple in West Bengal.

This single door of the temple faces south. On one side of the entrance are incidents from the life of Ram. The other side has terracotta figures depicting Lord Krishna's life. At the base of the entrance there are rows of terracotta soldiers. The central panel has scenes from daily life, with some panels showing the King watching dancing girls.

References :
  • Bengal District Gazetteers, Murshidabad - By L.S.S. O'Malley (1914)
  • A history of Murshidabad District (Bengal) With Biographies Of Some Of Its Noted Families (1902) - By John Henry Tull
  • [2] The Qanungo "was an officer in each district acquainted with its customs and land-tenures and whose appointment was usually hereditary. He received reports from the pativaris (land-stewards) of new cases of alluvion and diluvion, sales, leases, gifts of land" etc. -- Riyazu-s-salatin, a history of Bengal - By Ghulam Husain Salim Back

Page Updated : November 29, 2012 05:37 pm