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Sena Sculpture A large number of sculptures representing
Hindu gods and goddesses belong to the phase of artistic activity initiated
under the Sena rulers (c 1097-1223 AD). From the artistic point of view,
Sena sculpture is a continuation of the Pala style in vogue till the late
11th century AD. The slender body form of the late Pala period sculpture
is retained in the Sena period, but the modeling quality shows a marked
deterioration.
Two dated images - one of Sadasiva from Rajibpur, Dinajpur inscribed
in the reign of Gopala III (c 1129-43 AD) and the other of Chandi
from Dalbazar, Dhaka, inscribed in the third year of Laksmanasena,
provide the stylistic index for Sena sculptures. The stone sculpture
of this period is seen overwhelmed by the exuberance of decorative
motifs. The modeling of the body is still retained but in a decadent
manner. This is more evident in the bronze image of Visnu
from Rangpur, now in the Indian Museum, Calcutta. The famous silver
image of Visnu from Churain, Dhaka (Fig-1), which
is regarded as one of the best examples of the metal caster's
art, is no exception. The body form of these sculptures is more
elongated than those of the 11th century.
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Fig-1: Visnu from Churain
Dhaka |
The legs are almost column-like and stiff with an incised circular
ring to indicate the knee. Despite of the attempt to show the
main figure in the round by cutting the back-slab and by following
the curvature of the figure and the accompanying figures in high
relief, the entire composition seems compressed into the stela.
Even the figures with suggestions of movement look dull and stereotyped.
The forced smile drawn in some images such as the one in the stone
image of the Durga at Shakta (Fig-2), seems unusual
and contrary to the nature of the action in which the goddess
is engaged.
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Fig-2: Durga at Sakta, Dhaka |
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Fig-3: Torso of Garuda, Maldha |
Fig-4: Visnu from Padumshahar Tank |
However, a few freestanding images of the Sena period
exhibit bold and better modeling. In this connection mention may be made
of a stone torso of Garuda from Malda (Fig-3) and a colossal
stone head of Visnu (Fig-4) from Padumshahar Tank, both now in
the Varendra Research Museum, Rajshahi. There is evidence of better modeling
in a few composite figures too.
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Fig-5: Ardhanarisvara |
Fig-6: Apitakuca from Vikrampur |
The stone image of Ardhanarishvara (Fig-5)
in the Rajshahi Museum is the best example of such a sculpture. Carved
completely in the round, the left half of the image bears all the features
peculiar to Uma while the right half displays the traits of Shiva.
Another composite sculpture of the period - the stone image of Apitakucha
(Fig-6) from Vikrampur, now in the National Museum, Dhaka is noteworthy
for its superb execution. Not only the minute carving but also the full
face of the goddess with half closed eyes, beautifully carved eyebrows,
and lips have invested the image with a serene and sublime grace which
is hardly matched in any other sculpture of the period.
However,
another type of composite sculpture known as Uma-Maheshvara alingana-murti
(Fig-7), does not have the qualities of the Apitakucha.
These images seem to be popular in the Sena period. Almost all the
museums in Bangladesh have a number of specimens of this icon. In
this type of images Siva is shown seated on a lotus throne in lalitasana,
with Uma seated on his left thigh, and in close embrace. The back
slab of the images are seen crowded with subsidiary deities, profuse
vegetal and architectural decorations. In this respect, the image
of Laksmi-Narayana, a Vaisnavite parallel of the Saivite
Uma-Maheshvara and a rare image, now in the National Museum, Dhaka,
exhibits a better sense of composition and chaste execution. In
spite of technical perfection, all the images of this type, whether
Shaiva, Vaisnava or Jaina, instead of divine repose exhibits a sensuous
beauty. |
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Fig-7: Uma-Mahesvara Alingana-murti |
In fact, the 11th century tendency to accommodate many
subsidiary figures, increase linear movement of drapery, display frivolous
exuberance of vegetal and other decorative motifs, and make clear divisions
of the back-slab into a number of architectural divisions, which became
more pronounced in the 12th century.
In many images where vegetal and other conventional decorations
are absent, the back slabs can be seen covered with a large number of
additional miniature figures as in the image of Kalyan-Sundara
from Sankarbandha, now in the national
museum, Dhaka. This sculpture speaks of the Bengali sculptors'
ability and skill to work on stone. But the overall affect of the stela
is that of clumsiness. Moreover, a certain stiffening of the physiognomic
features marks the main figure of the sculptures.
In many sculptures of the Sena period not so over-crowded
with subsidiary figures or decorative devices, the same stiffening of
the facial and physiognomic features can be observed. The image that has
been tentatively identified as Kaumari, now in the Mahasthangarh
Museum, is an example of such a sculpture. It is the only image of its
kind in Bangladesh. The facial quality of the nicely carved sculpture
is noteworthy. There is a smile on the face but it does not bear much
spiritual significance. This trait is also noticeable in almost all the
later products.
The blissful
and happy expression of meditation which was characteristic of the
early sculptures of the Bengal School is absent in almost all the
images of the Sena period. Instead, the faces display an expression
of deep pleasure. The stone image of Parvati from Mandoil,
Rajshahi; the stone image of Shiva from Ganespur and that
of Kamadeva now in the Rajshahi Museum; the stone image of
Lalita from Shunail, the stone image of Gauri from
Madhinagar and the stone image of Ambika from Moroil (Fig-8),
now housed in the Mahasthangarh Museum, Bogra; and the stone image
of Manasa in the Rangpur Museum are but a few examples of
such sculptures. |
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Fig-8: Ambika from Moroil |
Some of these sculptures may be regarded as excellent
examples of the art of the Sena period for their superb execution, technical
perfection and physical charm. In this respect, particular mention may
be made of the black stone image of the four-handed Manasa of Rangpur
Museum. Decked in fine garments and jewelled ornaments, wearing a sumptuous
chignon and with full and prominent bosoms, she strikes us as a gorgeous
lady, dazzling us, and there by justifying her other name of Jagatgauri.
Though the main figure in this image is a bit petrified from the modeling
point of view and the back slab is full of conventional decorations, this
is a unique sculpture that reflects the style preferred during the Sena
period.
Worldly exuberance and sensuousness are also characteristics of the images of Ganga. A number of images of this deity have been discovered in Bangladesh but, the one in the Rajshahi Museum, dated to the Sena period far surpasses all others, both for the sensuousness of its representation and the excellence of its execution. The image is done completely in the round and exhibits masterly modeling. She wears frivolous and lavish jewellery and apparel but, unlike other images, they have not over-shadowed the plastic significance of the bodily form. The sensitive softness of the flesh is intriguingly suggested in the well-marked and deeply incised navel. Although not a new technique for Indian sculptors, except for the Sanchi torso, nowhere has it been so successfully used. The constricting belt that holds the sweet smiling face and youthful body seems more enhanced by the smooth and shining finish of the surface. The image of Ganga and the other images dressed luxurious garments and jewellery reflect the life of luxury prevalent in the Sena Court and amongst the aristocrats of the period. The voluptuousness of the Sena sculpture is indeed a manifestation of the type of culture patronized by the royal court and the upper class of society. Sensuality and grace were also properties of the sculptures of the preceding centuries, but it was the Senas who allowed them to degenerate into a more worldly lavishness. Except for a few noble examples, the sculptures of the Sena period may be regarded as products of a degenerate system, which very clearly demonstrates that the art tradition was almost exhausted from within and was heading for stagnation by the end of the 12th century. [Shamsul Alam]
Bibliography
NK Bhattasali, Iconography of Buddhist and Brahmanical Sculptures in
the Dacca Museum, Dacca, 1929; RD Banerjee, Eastern Indian School
of Medieval Sculpture, Delhi, 1933; AKM Shamsul Alam, Sculptural
Art of Bangladesh, Dhaka, 1985. |
