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Architecture of Bengal

overview about the architecture of Bengal

The Architecture of Bengal consists of architecture in the Indian region of Bengal.

Quotes

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Lizzie Collingham: ...In Bengal the British, who had been trading there since 1650s, settled for Calcutta as their base around 1690. Here a collection of bungalows which looked like ‘thatched hovels’, a stables, a hospital, a barracks, and a powder magazine could all be found huddled next to the imposing Fort William...
 
Louis de Grandpré: As we enter the town, very expansive square opens before us, with a large expanse of water in the middle, for public use… the square itself is composed of magnificent houses which render Calcutta not only one of the best town in Asia but one of the finest in the world.
 
V. S. Naipaul: Calcutta, more than New Delhi, is the British-built city of India...In the building of Calcutta, known first as the city of palaces, and later as the second city of the British Empire, the British worked with immense confidence, not adopting the styles of Indian rulers,...
  • As we enter the town, very expansive square opens before us, with a large expanse of water in the middle, for public use… the square itself is composed of magnificent houses which render Calcutta not only one of the best town in Asia but one of the finest in the world. One side of the square consists of a range of buildings occupied by persons in civil employments under the Company, such as writers in public offices.
    • Louis de Grandpré, French visitor in A Voyage in the Indian Ocean and to Bengal, 1803, quoted by Sabyaschi Bhattacharya in Traders and Trades in Old Calcutta, published in Calcutta – The Living City Vol I, Oxford University Press, paperback edition, 1995, p. 210
  • Calcutta, more than New Delhi, is the British-built city of India...In the building of Calcutta, known first as the city of palaces, and later as the second city of the British Empire, the British worked with immense confidence, not adopting the styles of Indian rulers, but setting down in India adaptations of the European classical styles as emblems of a conquering civilisation. But the imperial city, over 200 years of its development also became an Indian city…To me at the end of 1962, after some months of Indian small-town and district life, Calcutta gave me the immediate feel of the metropolis, with all the visual excitement of a metropolis… Twenty-six years later the grandeur of the British-built city… could still be seen in a ghostly way, because so little had been added since independence, so little had been added since 1962… The British had built Calcutta and given it their mark. And though the circumstances were fortuitous – when the British ceased to rule, the city began to die.
    • V. S. Naipaul, in India: A Million Mutinies Now, 1990, Minerva, p 281-82.

Kamalapur railway station

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  • Dan enjoyed bragging that the Kamalapur station was one of the largest railway stations in Asia. If one counted the length of its long platforms and adjoining railway staff quarters, the station structures stretched out over a mile.
    • Mary Frances Dunham (August 2014), quoted in Some Weep, Some Laugh: Memoirs of an American family in Dacca 1960-1967, Part II, p.21
  • আধুনিক স্থাপত্যধারায় তৈরি কমলাপুর রেলওয়ে স্টেশন দক্ষিণ এশিয়ার আধুনিক ট্রেন যোগাযোগব্যবস্থার একটি ব্যতিক্রমী প্রতীক। ১৮৮০ দশকে তৈরি মুম্বাইয়ের ভিক্টোরিয়া টার্মিনাল, যেটা এখন ছত্রপতি শিবাজি টার্মিনাল নামে পরিচিত, আর বিংশ শতাব্দীর শুরুতে নির্মিত কলকাতার হাওড়া স্টেশন ছিল ঔপনিবেশিক স্থাপত্যধারার প্রতিনিধি। এ কারণে কমলাপুরের ঐতিহাসিক গুরুত্ব অপরিসীম।
    • Translation: Kamalapur railway station built in modern architecture is an exceptional symbol of modern train communication in South Asia. Mumbai's Victoria Terminal, now known as Chhatrapati Shivaji Terminal, built in the 1880s, and Kolkata's Howrah Station, built in the early 20th century, are examples of colonial architecture. Because of this, the historical importance of Kamalapur is immense.
  • "If you draw a picture of Dhaka, Kamalapur will invariably come to your mind. People keep that iconic image as postcards. You can also find it as decorative paintings behind rickshaws..."
  • শুধু কমলাপুর স্টেশন ভাঙা কেন, আমাদের এখানে কোনো ধরনের ঐতিহ্যবাহী জিনিস রাখা হবে না এরকম একটা অভ্যাস শুরু হয়ে গেছে। কেননা এ ধরনের কাজের সঙ্গে যারা যুক্ত তাদের ইতিহাস, ঐতিহ্য ও নান্দনিক কোনো জ্ঞান নেই। সে জন্য শুধু কমলাপুর কেন কোনো ধরনের ঐতিহ্যবাহী স্থাপনা বা নান্দনিক স্থাপনার কোনো মূল্য তাদের কাছে নেই।
    • Translation: Why just demolish Kamalapur station, a habit has started that we will not keep any kind of heritage here. Because those involved in such work have no knowledge of history, tradition and aesthetics. That's why only Kamalapur has no value for any kind of traditional buildings or aesthetic buildings.
      • Muntassir Mamoon, In response to the decision to demolish the Kamalapur railway station to build a multimodal hub, quoted in: Bhorer Kagoj, 11 January 2021
  • কমলাপুর স্টেশন মানেই ছিল বিশালতা, মুক্ত আকাশ, আধুনিকতা। আমি অবাক হয়ে সাপের ফণার মতো কিংবা তাঁবুর মতো তৈরি করা ছাদের দিকে তাকিয়ে থাকতাম।
    • Translation: Kamalapur station meant vastness, open air, modernity. I used to stare in wonder at the roof that was made like a snake's hood or a tent.

Dr. Syed Mahmudul Hasan, Mosque Architecture of Pre-Mughal Bengal

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Dr. Syed Mahmudul Hasan, Mosque Architecture of Pre-Mughal Bengal, Dacca (Bangladesh)
  • “Creighton says, ‘It appears to have been the general practice of the Muhammadan conquerors of India, to destroy all the temples of the idolaters, and to raise Mosque out of their ruins.’ The statement is of course a gross exaggeration, for innumerable contemporary Hindu and Buddhist temples still exist in the cities of India once conquered by the Muslims. ‘Abid ‘Ali seems to have carried the observation of Creighton further when he remarks, ‘It seems to the writer that the builder of the Mosque [Chhoto Sona Masjid at Gaud] had collected the stones containing the figure of the Hindu gods from the citadel of Gaur where temples must have existed in the time of the earlier Hindu kings.’ (...) In the event of a prodigious abundance of Hindu temple building material scattered all over the province, it is difficult to pin-point the provenance of each stray sculptured piece used in the mosques of Gaud and Hazrat Pandua. The existence of any Hindu temple in the citadel or outside Gaud as ‘Abid ‘Ali tells us, is as difficult to prove as to obviate the fact that no material was taken from Devikot or Bannagar in Dinajpur. Contradicting the views of ‘Abid ‘Ali, Stapleton says, ‘On the other hand from Manrique’s statement that in 1641, he saw figures of idols standing in niches surrounded by carved grotesques and leaves in some stone reservoirs in Gaur, it is possible that except during periods of persecution the Muhammadan Kings of Gaur allowed idols and Hindu temples to remain unmolested in their capital.’ Although examples of the use of Hindu material are not scarce, as proved by the discovery of three sculptured figures from Mahisantosh with Muslim ornament on the reverse side, now in the Varendra Research Society Museum, it would be wrong to say after Creighton that all the Hindu temples were desecrated by the Muslims to procure building material… (...) One of the strongest advocates of the Indianized form of Muslim structures is Havell, who is too intolerant to allow any credit to the Muslim builders for the use of radiating arches, domes, minarets, delicate relief works. He maintains that the central mihrab of the Adina Masjid at Hazrat Pandua is so obviously Hindu in design as hardly to require comments. While Havell writes that ‘The image of Vishnu or Surya has trefoil arched canopy, symbolizing the aura’ of the god, of exactly the same type as the outer arch of the mihrab, Beglar says that the Muslims delighted in ‘placing the sanctum of his orthodox cult (in this case the main prayer niche) on the spot, where hated infidel had his sanctum’. Saraswati is even more emphatic on this point when he contends, ‘An examination of the stones used in the construction of the Adina Masjid (one of them bearing a Sanscrit inscription, recording merely a name of Indranath, in the character of the 9th century AD) and those lying about in heaps all round, reveals the fact, which no careful observer can deny, that most of them came from temples that once stood in the vicinity.’ Ilahi Bakhsh, Creighton, Ravenshaw, Buchanan-Hamilton, Westmacott, Beglar, Cunnigham, King, and a host of other historians and archaeologists bear glowing testimony to the utilization of non-muslim materials, but none of them ventured to say that existing temples were dismantled and materials provided for the construction of magnificent monuments in Gaud and Hazrat Pandua...
    • pp. 163-64.
  • The Indian Museum, Calcutta, as well as the Bangiya Sahitya Parishad Museum, Calcutta, acquired a large number of architectural objects from the ancient sites of Bengal, particularly, Gaud, Hazrat Pandua, Bagerhat, Hughli, Rajshahi, Dinajpur and elsewhere. Besides freshly quarried basalts, a large quantity of locally available building materials was employed by the architects of Gaud, Hazrat Pandua and elsewhere. Ravenshaw’s unwarranted observation that ‘Though it (Hazrat Pandua) cannot boast of such antiquity as Gaud, its remains afford stronger evidence than those of the latter city of its having been constructed mainly from the materials of Hindoo buildings’, has been brushed aside by Westmacott, who thinks that Hazrat Pandua is older than Gaud. One of the strongest advocates of the Indianized form of Muslim structures is Havell, who is too intolerant to allow any credit to the Muslim builders for the use of radiating arches, domes, minarets, delicate relief works. He maintains that the central mihrab of the Adina Masjid (Pl. III) at Hazrat Pandua is so obviously Hindu in design as hardly to require comments. While Havell writes that ‘The image of Vishnu or Surya has trefoil arched canopy, symbolizing the aura’ of the god, of exactly the same type as the outer arch of the mihrab, Beglar says that the Muslims delighted in ‘placing the sanctum of his orthodox cult (in this case the main prayer niche) on the spot, where hated infidel had his sanctum’. Saraswati is even more emphatic on this point when he contends, ‘An examination of the stones used in the construction of the Adina Masjid (one of them bearing a Sanscrit inscription, recording merely a name of Indranath, in the character of the 9th century AD) and those lying about in heaps all round, reveals the fact, which no careful observer can deny, that most of them came from temples that once stood in the vicinity.’ Ilahi Bakhsh, Creighton, Ravenshaw, Buchanan-Hamilton, Westmacott, Beglar, Cunnigham, King, and a host of other historians and archaeologists bear glowing testimony to the utilization of non-muslim materials (Fig. 3b & Pl. V), but none of them ventured to say that existing temples were dismantled and materials provided for the construction of magnificent monuments in Gaud and Hazrat Pandua.
    • pp. 170-71
  • “Creighton drew the sketches of a few Hindu sculptures which were evidently used in the Chhoto Sona Masjid at Gaud. These are the image of Sivani, the consort of Siva, Varahaavatara or Vishnu in the form of a Boar, Brahmani, consort of Brahma. In the British Museum there are a few images of Hindu and Buddhist character, such as the Brahmani, sketched by Creighton, and the seated Buddha figure. The Muslim builders out of sheer expediency felt no scruple to use these fragments in their mosques by concealing the carved sides into the wall and utilizing the flat reverse side of these black basalts for arabesque design in shallow carvings. Piecemeal utilization of Hindu sculptures were also to be seen in the earlier monuments, such as, the Mosque and Tomb of Zafar Khan at Tribeni, the Mosque at Chhoto Pandua, the Adina Masjid at Hazrat Pandua, etc. ... Cunningham found in the pulpit of the Adina Masjid ‘a line of Hindu sculpture of very fine bold execution.’ Innumerable Hindu lintels, pillars, door-jambs, bases, capitals, friezes, fragments of stone carvings, dadoes, etc., have been utilized in such a makeshift style as to render ‘improvisation’ well-nigh impossible. In many cases as observed in the Quwwat al-Islam at Delhi and the Arhai-din-ka-Jhopra Mosque at Ajmer, pillars were inverted, joining the base with capitals, suiting neither pattern nor size. Still there is no denying the fact that Hindu materials were utilized, yet it would be far-fetched to say that existing Hindu temples were dismantled and converted by improvisation into mosques as observed in the early phase of Muslim architecture in Indo-Pak sub-continent. The ritual needs and structural properties of the Hindus and the Muslims are so diametrically opposite as to deter any compromise and, therefore, the early Muslim conquerors of Bengal said their prayer in mosques built out of the fragments of Hindu materials in the same way as their predecessors did at Delhi, Ajmer, Patan, Janupur, Dhar and Mandu, and elsewhere. In the event [absence?] of any complete picture of pre-Muslim Hindu art as practised in Gaud and Hazrat Pandua, it is an exaggeration to hold the view after Saraswati that ‘indeed, every structure of this royal city (Hazrat Pandua) discloses Hindu materials in its composition, thus, disclosing that no earlier monument was spared.”
    • pp. 171-72.
  • …During the Husain Shahi period the stone cutter’s art was thoroughly practised and perfected, as walls of gates and mosques were adorned with stone, either quarried from Rajmahal hills or obtained from some existing buildings… …The British Museum, London, has in its collection two sculptured pieces from Bengal, namely, the seated Buddha figure (Pl. XLIIa) and the image of Brahmani (Pl. XLIa). Both these images have on their obverse (Pls. XLIb, XLIIb) exquisitely carved diaper work of unmistakable Muslim workmanship. The Indian Museum, Calcutta, has a stone slab carved on the one side with the image of Durga, destroying Mahisha or Buffalow-demon, and on the reverse arabesque. The panel consisting of a scalloped arch with a lotus rosette on each of its sides, surrounded by richly foliated devices, is undoubtedly a Muslim work.
    • p. 183.
  • The Muslim calligraphers did not feel any scruple to utilize fragments of Hindu or Jaina sculpture in carving out beautiful inscriptions in elegant Naskh, Thulth and Tughra, keeping the images inside the wall…
    • p 185
Pandua
  • “Beglar traces the origin of the Adina Masjid to pre-Muslim sources… He bases his arguments on the point that if the Adina Masjid occupies the site of a pre-Muslim Hindu temple, the name may be a reminiscent of Adisur, the so-called founder of the hitherto unidentified temple dating from the 7th century AD; however, he does not know that there is a mosque at Patan, called Adina, and that it is a Persian term for Friday. The use of fragments of Hindu or Buddhist architectural works in the Masjid do [does?] not prove that the site was pre-Muslim. They may have been brought there…”
    • pp. 62-64
  • “…Beglar suggests that the mihrab of the Adina Masjid was transferred from a Hindu temple. He says, ‘Of the Hindu sculpture, the most striking and superb is beyond question the trefoil arch and pillars of the main prayer niche.’ But there are no grounds for his assertion. The Adina Masjid mihrab, forming a single work of art, must be accepted as contemporary with the fabric of the Masjid itself. But it must be admitted that the style is local…
    • pp 77-83
  • “Particular attention has been drawn to the curiously interesting designs of the archivolt of the niche. The conventional grotesque Lion’s head at the crown and the Kinnara and Kinnari at the haunches, which appear in the lintel of the Vaishnava temple from Gaud, according to many scholars have been transformed into graceful foliage, palmette and sensuous tendrils…
    • pp 77-83
  • “The discovery of an odd fragment of Hindu sculpture found built into the steps of the staircase has led many scholars to ascribe a pre-Muslim origin to the Adina Masjid. As Cunningham puts it, ‘The steps leading up to the pulpit have fallen down, and, on turning over one of the steps I found a line of Hindu sculpture of very fine and bold execution… The main ornament is a line of circular panels… formed by continuous intersecting lotus stalks. These are five complete panels, and two half-panels which have been cut through. These two contain portions of an elephant and a rhinoceros. In the complete panels are: (i) cow and a calf; (ii) human figures broken; (iii) a goose; (iv) a man and woman and a crocodile; (v) two elephants. The carving is deep and the whole has been polished.’ This sculpture is still visible. It is, therefore, clear that the exigencies of the circumstances led to the utilization of some Hindu materials available on the site. Nevertheless, such mutilated fragments hardly testify to the fact that the Adina Masjid was built on the ruins of an ancient Indian temple...
    • pp 77-83
  • “The western wall of the northern prayer hall is pierced by two openings on either side of die zenana gallery, which reduce the number of niches (Fig. 3) between the pilaster of the back walls from the 16 found in the southern prayer hall to 14. These postern gateways (Figs. 3, 9, & Pls. IV, V), are built out of elements of Hindu door frames and, therefore, are unusual features, rarely found in Indian Mosques. It is hard to believe that they were provided for the use of the general worshippers. Probably they were for the use of the attendants, palanquin-bearers and entourage of the King and his ladies, who entered the Mosque through the adjoining Ladies’ vestibule.“…
    • pp 77-83
  • However, there is one exception shown in the northern hall, which differs from the other semi-circular niches. Here the trefoil arch corresponds generally with that of the central mihrabs. The arch itself has a superimposed ribbed roof, recalling Hindu architecture. The face of the trefoil is decorated with a lotus and diamond band, the pilasters on either side having kumbha bases and looped garlands on their shafts. All these details are different from the rest of the decorative motifs in the Adina Masjid. But there are no grounds for the suggestion that the work is Hindu or that it is built up of fragments of a destroyed Hindu temple. The space between the pilasters of this mihrab and the stone-face of the brick wall is filled with fragmentary remains of Hindu sculpture.“…
    • pp 77-83
  • The two postern gateways and the two doors are already mentioned. Beglar pointed out that the door frames of all these four door ways are built up of fragments from some other buildings. He identifies the work as being Hindu but admits that he does not know any local source from their fragments. The work is more or less of the same kind as that to be seen in the postern gate. In all these doorways various Indian motifs attracts undivided attention. These include pot and foliage, pilasters, door guardians and the intertwined nagas on the lintel. The utilization of non-Muslim materials in the Adina Masjid as well as in later Mosques in Gaud and Hazrat Pandua is supported by two fragments in the British Museum. They are cut in basalt and the first shows finely cut Muslim diaper work on one side and the figure of Buddha on the other (Pls. XLII, a-b). Another fragment has the image of probably the goddess Brahmani on the other side (Pls. XLI, a-b). The work indicates that these fragments came from Gaud or Hazrat Pandua.“…
    • pp. 85-91
  • The entrance gateway to the Minar at Chhoto Pandua as well as that of the Eklakhi Mausoleum at Hazrat Pandua (Pl. XVI) provide parallels for zenana gatways. The floor of the zenana gallery with its worn basalt paving slabs is supported by the squat pillars of the prayer hall below. These support bays roofed by a corbelled construction of plain slabs placed across the corners of the bays. At earlier mosques, such as the Quwwat al-Islam, internal domes constructed in this way were removed from Hindu temples. Here the old Indian method is still utilized with fresh material…“
    • pp. 85-91
  • A curiously interesting feature of the Adina Masjid is the square structure, adjoining the outer wall of the qibla on the northern side of the central mihrab. It communicates with the zenana gallery by lintellect doorways, formed by Hindu door jambs as stated earlier. According to Beglar it measures externally 54 feet by 48 feet, whereas ‘Abid ‘Ali notes that this roofless annexe is 42 feet square. It stands on a very high plinth, raising the floor to the level of the ladies’ gallery. The plinth is built of random rubble work with conventionalised Buddhist railing ornament resembling those in the dadoes of the qibla wall of the mosque.
    • pp. 85-91
  • “The real character as well as the distinguishing features of the Adina Masjid have yet to be determined. In the present crumbling state of this one-time ‘wonder of the world’, as Cunningham calls it, it is well nigh impossible to say whether this magnificent mosque occupies the site of any Hindu or Buddhist temple. A group of scholars failed to see in the impressive Adina Masjid anything more than a mere assemblage of Hindu or Buddhist fragments, arranged skilfully to adhere to a mosque plan. Ilahi Bakhsh started the controversy when he wrote, ‘It is worth observing that in front of the chaukath (lintel) of the Adina Masjid, there was a broken and polished idol, and that there were other idols lying about. So it appears that, in fact, this mosque was originally an idol-temple.’ Beglar steps up this controversy by saying, ‘the Adina Masjid occupies the site, of a once famous, or at least a most important, and highly ornamented, pre-Muhammadan shrine’; he depends for his arguments on a Proto-Bengali inscription (Fig. 4b) discovered in the building which bears the name of Brahma. Saraswati seems to have carried the thesis too far when he writes, ‘an examination of the stones used in the construction of the Adina Mosque (one of them bearing a Sanskrit inscription recording merely a name, Indranath, in character of the 9th century) and those lying about in heaps all around, reveals the fact, which no careful observer can deny, that most of them came from temples that once stood in the vicinity.’ Beglar even went so far as to pin-point ‘the sanctum of the temple, judging from the remnants of heavy pedestals of statues, now built into the pulpit, and the superb canopied trefoils, now doing duty as prayer niches, stood where the main prayer niche now stands; nothing would probably so tickle the fancy of a bigot, as the power of placing the sanctum of his orthodox cult (in this case the main prayer niche) on the spot, where hated infidel had his sanctum’. The existence of the foundation of a Hindu Temple in the Adina Masjid is as far-fetched as to consider the circular pedestal to the west of the qibla wall as remains of a Buddhist stupa (Fig. 3). It may be the base of a detached minar, as similar examples are to be seen in the mosques of Egypt, Persia and India…”
    • About the Adina Masjid at Pandua. p. 97
Tribeni
  • The existing tomb and mosque of Zafar Khan Ghazi at Tribeni is another example of contemporary Hindu fragments being utilized in Muslim structure…
    • p. 86
  • The Mosque of Zafar Khan Ghazi is the earliest known example of Mosque architecture in Bengal, and ‘is certainly the oldest in Bengal far anterior to any building at Gaud and Hazrat Pandua’. Marking the earliest phase of Muslim building activities, it incorporates fragments of non-Muslim monuments, like those of the Quwwat al-Islam Mosque in Delhi. R.D. Banerjee is of opinion that ‘the Mosque of Tribeni was most probably a Vaishnava temple but relics of Buddhism and Jainism were found…’
    • pp. p. 128-31
  • …Unmistakable Hindu workmanship is evident in the mutilated figures in some of the architectural fragments used -- a phenomenon to be observed in the Adina Masjid at Hazrat Pandua, dated AH 776/AD 1374. There are five mihrabs in the qibla wall, the most striking being the central one. Tastefully carved multifoil brick arch of the central mihrab is supported by slender stone pillars of some Hindu temple…“…The utilization of non-Muslim building materials is to be taken as a matter of expediency for no mosque plan was ever superimposed on the traditional ground plan of temple architecture. In the light of this phenomena the mosques can hardly be regarded as mere improvisations of existing temples, as stated by R.D. Banerjee in the case of the Mosque of Zafar Khan. The Muslim architects did not feel any scruple to employ fragments of Hindu sculpture still bearing traces of iconographical art in their mosques, and furthermore Hindu workmanship is evident in the delicate stone carvings and sensuous tendrils, and corbelled domes.”
    • pp. p. 128-31
Gaud (Bengal)
  • “…Both Cunningham and Marshall accept Creighton’s suggestion that the Lattan Masjid was built in the year AH 880/AD 1475…446... “The qibla wall has three semi-circular niches, the central one being bigger than the side ones. These are all encrusted with glazed tiles. The mihrab to the north of the central niche has fragments of Hindu sculpture built into it… “…Although less ornate than those of the southern prayer chamber in the Adina Masjid, the Tantipara Masjid pillars have square bases, moulded bands and cubical abaci. Brown says that the pillars of this mosque are ‘of the square and chamfered variety originally part of a Hindu temple’, but this was not so. They are contemporary with the building. Certainly work of this character is known in Hindu building, and this seems to have misled Brown.
    • pp 123-31
  • …Two rows of chamfered pillars, each carrying 5 pointed arches, divide the interior of the [Chhoto Sona] Mosque into 3 longitudinal aisles. In each row there are 4 pillars of black basalt which in their moulded string-courses, cubical pedestal, dog-tooth ornament and square abacus recall those of the supporting pillars of the zenana gallery in the Adina Masjid. Evidently they are much more attenuated in shape in the Chhoto Sona Masjid than those in the Adina Masjid. It is hard to ascertain their origins, but considering the enormous quantity of Hindu spoil used in the Chhoto Sona Masjid (Pls. XLI, XLII) and comparing its pillars with the carved stone pillars at the Bari Dargah which originally must have been brought from the Adina Masjid it may be said that they were taken from unidentifiable Hindu temples.
    • pp 160-63
  • …Many of the stones used for casing the wall to give the illusion of a stone monument from distance are evidently Hindu. To quote Creighton, ‘The stone used in these mosques had formerly belonged to Hindu temples destroyed by the zealous Muhammadans,’ as will be evident from an inspection of Plates XLI and XLII, representing two slabs taken from this Building. Creighton’s painting XVI represents a stone with the image of the Hindu deity, Vishnu, in the Boar incarnation, with shallow diaper carving on the reverse side. The figure of Sivani, the consort of Siva, one of the Hindu triad, appears on another stone sketched by Creighton. The mother figure evidently drawn from sculptured stones used in the Small Golden Mosque is that of Brahmani... It is very interesting to point out in connection with the figure of Brahmani that it agrees in meticulous execution of details and perfection of style with that of the British Museum piece. Therefore, it is certain that Creighton drew his sketch from this black stone which curiously displays diaper work on the other side (Pl. XLIb) similar to that of Creighton’s Plate XVI. Arabesque design in shallow stone carving, resembling delicate tapestry, appears also in another superb black basalt piece, shown in Plate XLIb, now in the British Museum. It has the image of a seated Buddha on one side thereby again indicating the utilization of non-Muslim material (Pl. XLIIa). This fascinating piece may well be attributed to the Chhoto Sona Masjid on the grounds of the close similarity of its diaper work with that of the stone sketched by Creighton in his Plate XVI, and of the existence of gilding in the shallow carvings of the diaper work.”
    • pp 160-63
Rampal (Bengal)
  • “The famous Mosque of Baba Adam, the patron saint of the locality in the ancient Hindu site of Rampal where Raja Ballal Sena built his palace in the district of Dacca is an impressive architectural monument of pre-Mughal Bengal.
    • pp 138-41
  • “…Measuring 43 feet by 36 feet externally and 34 feet by 22 feet internally, the Mosque incorporated a number of beautifully carved stone pillars of unmistakable Hindu workmanship…
    • pp 138-41
  • “In the construction of this 6-domed mosque, measuring 36 feet by 24 feet, considerable amount of locally available materials from dilapidated Hindu monuments were employed as evident in the black carved basalts of the pillars, mihrabs, epigraphic slabs, etc…
    • pp. 138-41
Chhota Pandua (Bengal)
  • ‘Next to Satgaon’, writes D.G. Crawford, ‘Pandua is the oldest place of Hughli District-once the capital of a Hindu Raja and is famous as the site of a great victory gained by the Musulmans under Shah Safi over the Hindus in about AD 1340.’ Besides the Mosque and Tomb of Shah Safiuddin, the most outstanding architectural project of great magnitude is the Great Mosque at Chhoto Pandua… O’Malley and M.M. Chakravarti differ from Blockmann in ascribing Buddhist origin to these pillars and maintain that they were probably quarried from a Hindu temple. As put forward by Cunningham, ‘The Mosque stands on a mound once die site of a Hindu temple, the pillars of which now support this mean-looking barn-like Masjid.’ It would be far-fetched to maintain that the Great Mosque at Chhoto Pandua was built on the very foundation of a Hindu temple, like the improvised Tomb of Zafar Khan Ghazi at Tribeni, dated 14th century AD.”
    • Chhota Pandua (Bengal). pp. 144-45
Sadipur (Bengal)
  • …A.K. Bhattacharya points out that an inscription in Arabic, carved in Tughra is found on the reverse of an image of Adinath, which is recovered from a ruined Dargah in the village Sadipur, P.S. Kaliachak, Malda.
    • Sadipur (Bengal). page 185
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