PROBASHI- A Cultural News Magazine Volume 2 Issue 2

Probashi- Invited Article journey by bullock cart—an expensive labour which requires endowment, and unless funds can be found abroad the hundreds of photographs already taken cannot be published.”12 A number of interesting facts come to light from these photographic records, if these are compared concurrently with Dey’s writings. The first and foremost, they give a wealth of information on the methods adopted by the temple builders. For example, quite like the architecture, the decorative aspect of the temple façade and the base was pre‐meditated and must have been carefully followed on the basis of a well‐ documented plan This is evident from the façade and door‐arch close‐up of the temple at Adityapur in Birbhum, wherein various irregular sized terracotta tiles were used. Multiple decorative terracotta tiles were crafted and baked to create the composite image of Raja Ram and his consort Sita. Some of these tiles are pentagonal, and the ones used on the entrance arch are distinctly wedge shaped for structural stability. About such terracotta tile making, Mukul Dey records: “The head of the artists’ guild always had his several well measured and calculated plans from which new temples could be built. When one particular plan was finally chosen by the donor, the master artist gave the complete design and detailed directions to his workers. At once the expert clay modeller and potter of the guild went round searching for the most suitable clay procurable nearby, brought back with them the best Pancharatna and Atchala‐type temples at village Surul, district Birbhum, late‐1940s. samples. When the best clay available was chosen, then the brick makers began making bricks. Next the artist modellers made the figures and compositions of new designs in well prepared clay. When those dried, the expert carpenter made moulds from them in carved wood. Later from these moulds several impressions of each were taken in finely prepared clay— when those dried, the finishing artists craftsmen polished and cleaned the details of everything with their Narun—or nail‐cutter, fine little chisel like instruments, giving finishing touches everywhere in the dry clay brick sculptures. This was the time to make corrections if necessary. Finally these well carved tiles of each different subject were very carefully baked in their specially made kiln. Only the best ones were used on temple façade or other walls. Several copies of sculptured tiles were made of each important panel or subject. When the whole temple was completed, the band of temple builders went to another village for a new commission. These temple builders formed a travelling group of artists—like Kirtan singers and Jatra parties of Bengal. This was their trade; going about making temples in different places, at the same time spreading their art. Recently an interesting discovery was made. In places the sand and lime plaster on the façade had crumbled away, and underneath, on the brick work itself, some early handwriting in Bengali was noticed. It looked as if it was written with a thick needle. On closer examination this writing was found to be instructions to the builder. On bricks were written such remarks as 2nd horizontal, 1st side, in the middle or side columns etc. This discovery clearly indicates that the temples, at least the fronts with their terracottas, were planned before building commenced. Each brick was made to a plan and chart, and, at length ready, they were all placed together according to that plan of the master builder.”13

PROBASHI- A Cultural News Magazine Volume 2 Issue 2 | Page 49