Sacred Iconography and Cultural Legacy: The Unique Sculpture of Lord Balarama at Daria Balai Dham, Cooch Behar, Tufanganj.

 

Author – Biswarup Chatterjee

                                                                    Plate No. 1   

           India has long been celebrated as a land of cultural and traditional vibrancy, exemplified through its conventional arts, crafts, artifacts, sculptures, and heritage. Each state and union territory across the country showcases a distinct cultural identity, beautifully expressed through diverse forms of folk art. Every region of the Indian subcontinent is enriched with its own folk traditions, artistic patterns, and heritage. Indian folk art is notably ethnic, colorful, rich, and simple—yet powerful enough to eloquently convey the nation’s vast cultural legacy. Its traditional aesthetic and authenticity have earned Indian folk art global appreciation.

          West Bengal, a prominent Indian state, stands equally proud in this cultural panorama. The state continually reflects its unique culture, folk art, and heritage. The cultural roots of West Bengal are deeply embedded in its literature, music, fine arts, drama, and crafts. Regional variations in cultural expressions are evident—sometimes subtly, sometimes prominently—across the state. Each region possesses its own socio-cultural characteristics. The language and traditional folk literature of West Bengal, such as Caryāpada, Maṅgalakāvya, Śrīkṛṣṇakīrtana, Bengali fables, and folktales, contribute to a rich literary heritage.

          This blog focuses particularly on sculpture—an intricate, refined, and advanced artistic form in both Indian and Bengali traditions. In ancient India, sculpture and architecture often flourished together. The art of sculpture likely developed during or even before the Gupta period. Unfortunately, examples of sculptures that can be definitively dated before the 6th or 7th century CE are scarce. Aside from the damp climate of Bengal, the main reason for this paucity lies in the absence of systematic archaeological excavations and explorations of ancient sites in the region. Most examples of early Bengal sculpture—apart from those preserved in modern temples or found above ground—are chance discoveries from ponds, tanks, ditches, or excavated from shallow soil layers. This explains the abundance of later-period sculptures and the rarity of earlier ones.

          The oldest known specimens of Bengal sculpture include a few stray terracotta pieces found in various parts of the region, such as Pokharna (Bankura)—the ancient Pushkaraṇā—and Tamluk (Midnapur)—the ancient Tāmralipti. A notable discovery from Pokharna is a standing figure of a Yakṣiṇī, which exhibits the stylistic traits of the Śuṅga period (184–75 BCE), comparable to those seen in other parts of India.

          West Bengal’s cultural heritage has evolved significantly through successive dynasties and rulers, each contributing to the state’s diverse artistic traditions. This historical layering has made the region uniquely rich in art and culture. A striking example of Bengal’s artistry is the terracotta reliefs and plaques that adorn temple exteriors. These artworks vividly depict mythological narratives from the Rāmāyaṇa, Mahābhārata, and Maṅgalakāvya, as well as folk literature. They also portray scenes from everyday life and are adorned with motifs of flora and fauna. Terracotta and craft items have played a crucial role in shaping Bengal’s cultural heritage and may represent humanity’s earliest attempts at artistic expression. Terracotta traditions have persisted since ancient times, symbolizing the hopes and spiritual aspirations of rural communities. Additionally, clay sculptures, dokra art, and wood carvings represent time-honored and indigenous artistic practices that continue to define Bengal’s cultural identity.

           The sculpture depicted in Plate No. 1 represents Lord Balarama, a prominent Hindu deity, especially revered in the Jagannath tradition as the elder brother of Lord Krishna. Lord Balarama is venerated as the patron of agriculture and the deity of fertility. His most iconic weapon is the Hala (ploughshare), which also inspires one of his epithets—Halāyudha (he who wields the plough). He is acknowledged as the eighth avatāra of Lord Viṣṇu and is also considered an incarnation of the cosmic serpent Śeṣa or Ananta. Besides the ploughshare, his other characteristic weapons include the club and pestle. He is also known by various names such as Baladeva (God of Strength), Balabhadra (Strong One), Haladhara (Plough Bearer), and Halāyudha.

          Iconographically, independent images of Balarama often feature a canopy of serpent hoods above his head, symbolizing his divine association with Śeṣa Nāga. Mythologically, he is portrayed as immensely strong and fond of wine (Madhu-priya), which may reflect the influence of Śākta-Tantric traditions. His consort is Revati.

          In this particular sculpture, Lord Balarama is depicted lying flat on the ground—a highly unusual and rare posture. He lies inside a temple with his head oriented toward the east, his body aligned in an east-west direction, and holding a plough in his right hand. Interestingly, the temple itself faces west, which may follow canonical prescriptions stating that if a temple dedicated to the Sun (i.e., Viṣṇu) cannot face east, it should face west.

          According to the Bhaviṣya Purāṇa, the entrance of a Sun temple should ideally face east; if that is not feasible, then west is acceptable. In Vedic literature, Viṣṇu is often identified as an aspect of the Sun, referred to as Āditya-Viṣṇu. Given that Balarama is regarded as Viṣṇu in both his Vyūha and Avatāra forms, the east-west alignment of the Balarama temple may allude to an ancient but forgotten connection between the Sun (Sūrya) and Viṣṇu.

          There is scholarly debate regarding the temple's founder. Some historians claim it was constructed by Maharaja Dhairjendra Narayan Bhupbahadur (reigned 1765–1770 CE and 1775–1783 CE), the 13th and 16th Koch king of the Koch Kamta kingdom. Others attribute the construction to Najirdeo Santanarayana during the reign of Maharaja Upendranarayan Bhupbahadur (1747–1763 CE), the 11th Koch ruler.

          The temple is situated on the banks of the Gadadhar River, approximately two miles west of Tufanganj town, in present-day Ghogharkuthi village, under Chilakhana mauja in the Cooch Behar district of West Bengal, India. Locally, the site is known as Daria Balai Dham—a sacred abode of Lord Balarama—where “Daria” means river and “Balai” refers to Balarama.

         References to Lord Balarama appear across a range of literary, artistic, and epigraphic sources. Notable among these are the Bhaviṣya Purāṇa, Brahma-vaivarta Purāṇa, Harivaṃśa Purāṇa, Bhāgavata Purāṇa, various parvas of the Mahābhārata, and Arthaśāstra. Additionally, post-Mauryan punch-marked coins feature depictions of Balarama wielding a mace and plough. Sculptural evidence includes pieces from Mathura dating to the early medieval period (8th–13th centuries), and a 6th-century sculpture of Balarama from Phnom Da, Angkor Borei, Takeo, Cambodia—now housed in the National Museum of Cambodia.

A coin from the Indo-Greek King Agathocles (c. 185–170 BCE) also portrays Balarama (Saṃkarṣaṇa) standing with a mace in his right hand and a plough in his left, while the reverse side shows Lord Krishna holding a conch and discus (chakra).

          In conclusion, Lord Balarama is esteemed both as a guardian of agriculture and a divine embodiment of fertility. The depiction of Lord Balarama in this unique sculptural form—lying flat with a plough in hand—offers a rare iconographic expression that blends mythology, symbolism, and regional tradition. As a deity deeply associated with strength, fertility, and agriculture, Balarama's representations across literature, coins, and sculptures reveal his enduring significance in the religious and cultural consciousness of the Indian subcontinent and beyond. The orientation of his temple and its architectural symbolism further reflect the ancient connection between Viṣṇu and the solar cult, underscoring the theological syncretism in Hindu thought. Despite regional variations and historical ambiguities about the temple’s origin, the site known as Daria Balai Dham continues to stand as a sacred testimony to the rich spiritual and artistic heritage of Cooch Behar.

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References

1) Ahmad, Khan Chaudhary Amanatulla. Kochbiharer Itihas. Vol. 1. Reprint 1990. Kochbihar: Kochbihar State Press.

2) Pal, Nripendra Nath. Itikathay Coochbehar: A Brief History of Coochbehar. Corrected and enlarged edition. Kolkata: Anima Prakashani, 2015. First published 2000.

3) My Personal fieldwork.