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| permlink | beautiful-bangladesh-school-of-life-kantajir-temple-dinajpur |
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| title | "Beautiful Bangladesh School of Life : Kantajir Temple, Dinajpur" |
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| body | "Kantanagar Temple, commonly known as Kantaji Temple or Kantajew Temple (Bengali: কান্তজীউ মন্দির) at Kantanagar,[1] is a late-medieval Hindu temple in Dinajpur, Bangladesh. The Kantajew Temple is one of the most magnificent religious edifices belonging to the 18th century.
Terracotta decoration of the temple is simply outstanding, its wall surface from the base to the crest of its three stories, both inside and out, pulsates with an amazing profusion of figured and floral art in unbroken succession. The vast array of subject matter include the stories of the Mahabharata (Mahabharat) and the Ramayana (Ramayan), the exploits of Krisna, and a series of extremely fascinating contemporary social scenes depicting the favorite pastimes of the landed aristocracy.
Mythological legend in terracotta: The astonishing profusion, delicacy of modeling, and the beauty of its carefully integrated friezes has seldom been surpassed by any mural art of its kind in Bengal. However, even in its bewildering abundance of diverse motifs, one can observe a carefully arranged thematic scheme in the composition of subject matters at different levels and spaces on the temple wall. In general pattern of terracotta decoration of the temple's outer walls, the lowest four basal panels, running parallel across the four faces, depict from bottom upward, immediately above the plinth: (a) a recurring floral motif, consisting of full blown rosettes alternated with a four-foiled foliate pattern; (b) the second frieze portrays contemporary social scenes and the hunting parties of the landed nobility; (c) the third parallel panel above depicts an intricately designed series of full blown rosettes commonly found on earlier Sultanate mosques such as at the Shatgumbad mosque, Bagha mosque, Kusumba mosque, Chhota Sona mosque etc.
A hunting scene in terracotta, Kantanagar Temple The north face predominantly portrays scenes of Krsna and Balarama. Thus Krsna's various marriages and cowgirls carrying milk and curd pots in shika (string bags) suspended from pole etc are shown. In the second register an interesting European battle ship is depicted in great details with soldiers and a cannon. The entire western face of the third register depicts various episodes from the Krsna legend, ending in the slaying of Kangsa, the demon king of Mathura. It includes the annihilation of Kuvalayapida, the monstrous killer elephant of Kangsa; and Radha's fainting fits on her failing to dissuade Krsna from participating in Kangsa's sport tournament in Mathura. Of particular interest is a group of cowherds carrying milk and butter in string bags, suspended from a pole on shoulder, which is still a familiar scene in rural Bengal. The elaborate panels over the spandrels of multi-cusped arches exhibit animated battle scenes from the great epics and also rasa-mandala, with dancing Radha-Krsna couple within circles, and a host of accessory figures. The spirited battle scenes of Kuruksetra and Lanka are depicted with great vitality and invention by the folk artists. Mythological legend in terracotta, Kantanaar Temple In the seemingly inexhaustible store of terracotta mural decoration on the temple wall, the folk artists, mostly from Krsnanagar, often have left behind the imprint of their keen awareness of the environment in which they lived. The deities they depicted in panels were sometimes treated with an astonishing sense of reality and as intimate and familiar members of their society. For instance, an extremely interesting series of upright western panels on the bottom register of the western face depicts Krsna plucking coconut from the tree and handing them over to one of his companions climbing halfway up the trunk, who, in turn is delivering these to another companion waiting on the ground. It is a familiar scene in Bengal where the deity is intimately shown as one of the members of society. Individual plaques often display idiosyncratic compositions such as the one found at the inner face of the corridor on the south face where Radha-Krsna are shown dancing on an elephant very cleverly composed of a dozen human figures. Again, on the northern face, Krsna is depicted with one of his newly wedded bride seated on a pidi (low wooden stool) under a canopy where she is coyly holding her veil with one hand over her head and bashfully peeping at her lord. This, of course, is an endearing familiar wedding scene in rural Bengal. In the bewildering crowd of friezes, one may even find Krsna squatting nonchalantly with folded knees, tied with a gamchha (a strip of cloth) round the knees and back, in a posture altogether uncommon among Bengalees, but common among the working classes in adjacent Bihar. However, one distinctly delightful aspect of the fabulous terracotta ornamentation of the Kantanagar Temple (Kantaji Mandir) is its restraint in depicting erotic scenes. In this, it is unlike Orissan and South Indian temples. The endless panels of terracotta art embellishing the wall surface of the Kantaji temple, have a life and vitality of their own and are deeply imbued with the spirit nourished for thousand years on the silt-laden soil of Bangladesh. In a country like Bangladesh, being formed by enormous volumes of fertilizing soft alluvium, the development of an indigenous terracotta art was a logical outcome, given the absence of stone. The tradition of this plastic art is rooted in the early historic period, especially during the Pala-Chandra period, when Buddhist temples at paharpur (Pahadpur), Mainamati, Bhasu vihara, Sitakot and other monuments were enlivened with floral and figured terracotta art. These plaques are however, large and usually archaic, but the terracotta embellishments on the Kantaji temple walls are of totally different nature. They represent a highly sophisticated mature art with a very carefully integrated scheme of decoration. Contrary to the earlier tradition of isolated and somewhat unrelated composition, the art in this temple was composed of several individual plaques, integrated into an extended composition so that the entire space followed a rhythm." |
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| to | randowhale |
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| body | "We are not just trying. We are going to be successful on changing it" |
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| permlink | re-dana-edwards-201771t173538931z |
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| title | "" |
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| body | "Fully agree. It is not a feasible. Maybe we should raise money to buy a Steemit Island: 0.0% tax and all facilities funded by Steemit :-) What do u think?" |
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| 1. | | parent_author | thehomesteadlife |
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| parent_permlink | re-lukestokes-re-thehomesteadlife-re-lukestokes-re-thehomesteadlife-re-lukestokes-re-schattenjaeger-re-lukestokes-re-schattenjaeger-re-lukestokes-re-schattenjaeger-hf19-is-this-what-we-want-spam-self-vote-galore-20170701t135910116z |
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| author | lukestokes |
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| permlink | re-thehomesteadlife-re-lukestokes-re-thehomesteadlife-re-lukestokes-re-thehomesteadlife-re-lukestokes-re-schattenjaeger-re-lukestokes-re-schattenjaeger-re-lukestokes-re-schattenjaeger-hf19-is-this-what-we-want-spam-self-vote-galore-20170701t153543585z |
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| title | "" |
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| body | "Do you see the judgement within your claim of it being a "flaw"? What you see as a flaw, I think everyone should do more of because clarity of communication is really important.
When you have a conversation or debate with someone, do you think it's important to restate what you heard them say when responding to ensure you heard them correctly and you're fulling including their perspective in your response? I think that's really important both offline and online.
I'm not purposefully being hostile. I'm doing what I rationally think to be a good communication practice.
You quoted "generally" which is what I said. That helps us clarify the conversation. If you were not saying "The action of quoting what people say back to them is generally accepted as obnoxious" then what's the alternative? Is it more "As an individual, I personally feel it's obnoxious to quote someone when responding to them"? To me, this is a matter of preference, not a flaw. Just as you felt the need to quote the word "generally", I feel the need to quote what others say to ensure I understand them correctly and communication is clear.
This conversation highlights the challenges with so many value judgements. We all do it. We make a judgement about something being good or bad, being a virtue or a flaw. At times we take it further and point it out to help someone else. I think there's value in recognizing someone may have very rational reasons for their actions and our own perspectives don't fit in the right and wrong category but is really just a subjective preference.
If someone chooses to engage with me, I communicate in ways I think are the most clear. The conversations I enjoy the most are ones where I know I'm being heard and the other person knows I've heard them. Quoting and responding to individual statements is the best way I know to do that in text format.
So we disagree on communication tactics and styes but you think my actions are flawed. Can you concede some may actually prefer my approach which would make it not a flaw for them at all?" |
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