Sanctuary specialists, archeologists and legacy lovers may talk about as to which block sanctuary of Bengal has the most extraordinary earthenware enhancement on its divider. Be that as it may, with regards to sanctuary structure, the Jora-Bangla Temple of Bali Dewanganj of Hooghly District, beats all others in regards to uniqueness, contrasted with alternate sanctuaries.
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The Jora-Bangla Temple clarified: The Chala or Bangla write top of a sanctuary is gotten from fronts of covered cottages in provincial Bengal. Such sanctuaries have two slanting rooftops. A basic Do-Chala Temple rooftop, once in a while resembles a modified vessel, however a Char Chala Temple structure has four inclining rooftops. The top of a Jora-Bangla sanctuary is really two Do-Chala Temple rooftop developed next to each other. In some cases it would appear that two upset pontoons next to each other. In a few cases, a pinnacle is raised between these two rooftops as a delegated component.
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One of this sort of sanctuaries in Bengal, what first strikes a chord is the renowned Kesto Rai Temple at Bishnupur. Aside from being decorated with Terracotta work, the sanctuary has a little Char Chala tower between the rooftops. Among others the, Radha Krishna Temple of Ula Birnagar at Nadia, and Gangeshwar Temple of Baronagar close Azimganj, merit specifying, similar to the exceptional Jora-Bangla Temple of Balidewanganj.
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The nineteenth century fabricated Durga Temple at Rautpara of Bali Dewanganj is more interesting Jora-Bangla style, than other comparative sanctuaries. This is on the grounds that here between the two hovel compose structures with inclining rooftops, stands a goliath Naba-Ratna or a nine pinnacled tower. This Naba-Ratna structure has two stories. On each floor, there is a triple-angled passageway from all sides. Each floor has four furrowed Ratnas or zeniths, one in each corner. The ninth apex is surmounted on the top of the best floor. It is greater than the other eight. Two stucco male puppets can be seen remaining on each side of the frontal triple passageway in the best floor of the Naba-Ratna structure.
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The Jora Bangla bit of the sanctuary has a triple-angled passageway. In its insides, right finished the passageway to the internal sanctum, there are two stucco steeds. There are a few triple passage Naba-Ratna sanctuaries in Bengal. Anyway having a triple passage Naba-Ratna sanctuary in Bengal. Anyway having a smaller than usual Naba-Ratna structure on the highest point of a Jora Bangla sanctuary, makes this sanctuary special. The Naba-Ratna structure is right around 33% of the Durga sanctuary.
The mass of the top of the sanctuary is in dilapidation, in terrible condition. Despite the fact that this sanctuary is under the locale of the State Archeology Department since 1990, it isn't at all in a decent shape. Indeed, even in 2012, there were no billboards demonstrating, these structures were under the care, and security of the State Archeology Department either, perhaps there could be such signs now, and all the more being finished.
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The uniqueness of Durga sanctuary isn't restricted to its structure. Simply over the triple curved passageway, one can see this interesting board including Goddess Durga with her relatives in different boards. This is maybe the biggest board of Goddess Durga in earthenware sanctuaries. Every symbol has a different place of worship made of stucco, which resembles a scaled down sanctuary. This is an exemption as for the most part in earthenware boards we see Durga with her family in a solitary board. Durga involves the focal place of worship, while alternate sanctums are possessed by Ganesha, Kartick, Saraswati and Laxmi. Saraswati and Laxmi have no Vahana. Rather, they are remaining on lotus blossoms.
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The Durga Temple is situated at Rautpara area of Balidewanganj. The territory has a few different sanctuaries of which greatest are in a completely demolished state. Just next to the Durga sanctuary is the Sarbamangala sanctuary which was at one time a Pancharatna sanctuary. Unfortunately enough just the focal zenith remains. None of its earthenware boards exists. The frontal passageway has separated for quite a while. It is something indefensible to permit these lovely, simply "soften away" and vanish., before out eyes, remaining by and viewing. Ideally the State Archeological Department, or the ISA, could get some administration financing and accomplish a remark and safeguard these sanctuaries for the who and what is to come.
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The ruined Sarbamangala (L) and Mangalchandi (R) temples at Bali Dewanganj
Behind the Sarbamangala temple is the Mangalchandi temple which once had 13 pinnacles. Now it is left with only one. Its pinnacles may have broken down long ago. David J. McCutchion mentioned this temple in his 1972 published book ‘Late Mediaeval Temples of Bengal: Origins and Classification’ as “The ruined richly terracotta-decorated Mangal Chandi temple at BALI (Hooghly: Goghat) is said to have had thirteen turrets)”. Very few terracotta plaques are left on the temple’s walls.
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The Largest terracotta panel of Goddess Durga in Bengal Temples, Bali Dewanganj
Sadly the Durga Idol is heavily damaged. The lion and the Mahishasur demon cease to exist. Only their hind legs remain. Two hands of the Durga idol are bigger than the other eight. Out of those two, the right arm is half broken. Of the small eight hands only five remains – three of the right-hand side of the idol and two of its left. Durga is in standing in a most aggressive manner. The way she is dressed is not the usual Bengali pattern, but to some extent in the Orissa Style.
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Lord Ganesh statue has some damage, his trunk has been broken, among other damage.
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Jora-Bangla styled temple is not uncommon although not abundant in Bengal. The city of Kolkata itself has several brick temples although out of the existing none of them belong to this style.
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Mother Lakshmi idol holding stalks of lotus buds, Durga Temple, Bali Dewanganj. This carved statue seems to be in relative good condition.
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The conditions of the walls and pillars of the temple are in a bad shape.
The condition of the temple is deteriorating over the years despite being declared as a protected monument by State Archaeology. The walls are getting damaged with the passing of each year.
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Kartick idol at Durga Temple, Bali Dewanganj. Like in many other temples, one of the arched entrances has vertical friezes of superimposed figures of horseback warriors hunting animals or demons on the top portion of its pillars. The figures are damaged. Such vertical friezes can be seen on the walls of temples and locally known as “Mrittu Lata” (Death Creeper). I have seen best examples of such vertical friezes in the Krishna Chandra Temple of Kalna.
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Few remaining terracotta panels on the walls of Mangalchandi temple
Opposite to Mangalchandi temple is a brick structure whose exterior is totally ruined and beyond recognition as to what shape it was. A tin shade is fixed on its entrance. A deity is being worshipped in the interiors by the locals. I guessed this may be the Damodar temple as mentioned by David McCutchion in his above mentioned book. In its present condition, its is not even worth mentioning.
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Frieze decorations at the entrance arch pillars, Durga Temple, Bali Dewanganj
The other entrances have similar vertical friezes, but they are not soldiers. The figures of one such frieze are that of superimposed women lying on their chest and putting up their legs in an unnatural folded fashion. These are actually gymnasts and similar frieze can be seen at Ananta Basudev Temple of Banshberia. In another frieze, there are sitting figures over each other in double vertical columns. The figures look like men, though the faces have been eroded severely by the vagaries of time.
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The unique panel featuring Goddess Durga with her family members in other panels. This is perhaps the largest panel of Goddess Durga on terra cotta temples.
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Terracotta work on the two wall panels of Durga Temple, Bali Dewanganj. (L to R) : Shiva and Parvati, Ganga carrying Bishnu as Varah Avatar and a Man smoking hookah
On the two vertical wall panels beside the triple arched entrance, there are some terracotta figures depicting events arranged in vertical fashion within a rectangular frame. Most of them were severely damaged. I could recognise a defaced Kali and an erotic scenario among them. Social scenarios like a man smoking hookah and traditional panels of Shiva and Durga were present. A panel showed Ganga carrying Vishnu as Varaha Avatar (from tales of Vishnu’s Dasavatar). However, these terracotta figurines were crude compared to the ones seen in the Durga Panel. It looked as if a different artist had made these.
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