Siddhanatha Shiva Temple of Dhaluabari: A Terracotta Testament of Memory and Heritage .
Author - Biswarup Chatterjee .
CoochBehar, the land steeped in the fragrance of temple as well as one of the most culturally which district of West Bengal. Across this region there are new model Shines dedicated to Lord Krishna/Madan Mohan, Lord Shiva and Goddess Kali. mean of which a steel carrying the legacy of the royal era. After the dissolution of the monarchy the responsibility of the daily worshipping and maintenance of the temple as well as the deity shifted under the Debottar trust board of Coochbehar under the West Bengal Tourism Department. Among these shrines the renowned Siddhanath Temple of Dhaluabari stands a remarkable example of the famous terracotta artistry.
Location and Access :
The temple is located in the village named Dhaluabari (Latitude 26°16'49.6"N; Longitude 89°28'6.1"E), which is situated under Coochbehar sadar subdivision , approximately 4 miles (6.4 km) south of Coochbehar town, on the road toward Dinhata, near the bank of Torsha river. A paved road leads directly to the temple with its intricate terracotta faced becomes visible on the right side of the route. Though somewhat withdrawn from public attention, the temple remains a vibrant centre of local religious and cultural activity, particularly during Shivaratri (a major Hindu festival dedicated to god Shiva), when a weeklong fair is organised.
It is directly accessible by paved road; on the right side of the road, the temple with its elaborate terracotta façade comes into view. The temple is not very well-known to the public, but it is still a lively center of local religious and cultural activity, especially during Shivaratri, when a week-long fair is held.
Here, Shiva is regarded as Lord of all gods (Devadideva), and also considered as a primordial deity by many indigenous communities.
Lord Shiva is worshipped here as Devadideva, the God of all Gods, and also considered as a primordial deity by many indigenous communities. The Koch kings considered themselves as the descendants of Lord Shiva. The founder of the coach dynasty king Viswa Singha claimed himself to be descended from Lord Shiva, (as a result of that the worship of Lord Shiva is quite prevalent among the Koch dynasty before starting any auspicious activity. Even today, whenever a new construction work starts, the custom of establishing a Shiva temple is still continuing in these places.
Previously the region used to be the capital of Koch Kingdom. During that time the construction of the temple began. but it was abruptly stopped, as the capital was shifted, as a result of that the project remained unfinished.
The construction of the temple was again started by the initiation of Maharaja Upendra Narayan Bhupbahadur (royal epithet) (1714–1763) alongside a palace near Dhaluabari. But again it remained incomplete in his lifetime. Later on his son Maharaja Harendra Narayan Bhupbahadur (1783–1839) shifted the capital to Bhetaguri Latitude: 26.2029607° N, Longitude: 89.4812972° E . As a result of this relocation the construction of the temple was temporarily halted again. It resumed again when the capital was once again moved back to the previous place (Dhaluabari), though he too was unable to finish it.
His successor, Maharaja Shibendra Narayan Bhupbahadur (1839 – ), revived the project in 1841 CE, and finished it. He installed the sacred Shiva Lingam, brought from Varanasi. According to the Rajopakhyan chronicle, he largely undertook restoration rather than new construction. Various prevalent folklore suggests that another similar Shiva Lingam was once installed in a local official’s home, but later on it was shifted to Nityananda Ashram after the Torsha’s erosion submerged the settlement.
The major conservation efforts were taken by the directorate of archaeology West Bengal In 1972.
Architecture:
The temple’s architecture presents a unique interpretation of the traditional Ratna style, distinguished by its striking terracotta ornamentation and overall structural elegance. Built on a perfectly square base measuring approximately 21 feet 4 inches on each side, the temple rises harmoniously to a height of about 30 feet. Both the architectural form and the terracotta sculptures work together to create a visually captivating example of regional temple design. The four ratnas rise from the curved roof-corners of each side of the temple, but the central ratna is missing, which raises a long-standing debate. According to Buchanan Hamilton’s 1808 there is no mention of any ratna in the centre, nor was any trace found in the 1972 restoration, which indicates that the central ratna may have never been constructed. The corner pinnacles of the temple are simple and each one has a trident on top. There is a path around the shrine for circumambulation, known as pradakshina-path, and the walls are about two feet thick. The temple has two entrances, the main one opens to the east, and the smaller one opens to the south. The base platform now lies lower than it did originally, probably because the ground has sunk over time.
Stylistic Influences: ‘Sarvatobhadra’ Plan and Indo-Islamic Touch:
The overall layout of the temple follows the ‘Sarvatobhadra style’, a traditional form in Indian temple architecture where the sanctum can be approached from all four sides. The more striking thing about this temple is the blending of Hindu and Indo-Islamic architecture. The rounded shape domes, the notched arches, the existence of niches clearly reflects the influence of Mughal architecture. This kind of mixed style is quite common in the temple architecture of CoochBehar, especially those, which was built by the later Koch rulers, who invited skilled artisans from North India. While the temples of southern Bengal the domes were usually hidden inside, but the temples of Cooch Behar proudly display the domes both inside and outside. This gives them a unique regional identity and makes them stand out from other Bengali temple forms.
The Existence of Niche :
Another notable thing Inside the south-facing temple is the existence of niches on the both side of the miharab and on the northern wall, , which are about 9 feet in height and 4 feet in width, recessed roughly 2 feet from the wall surface. This design element likely emerged from the craftsmanship of Muslim masons employed in its construction. The Shiva Lingam stands upon an elevated Gauri-Patta, with a serpent’s hood rising behind it, symbolizing generative and cosmic power. Traces of lotus ornamentation are still faintly visible on the ceiling.
The arch design of the entrance of the temple is sharply pointed with multiple moldings. The fluted amalaka motifs are displayed on the pillars. Inside the dome rises directly from an octagonal base without an intervening neck, making the elevation compact. Along with Lord Shiva a Narayan Shila (sacred focalized stone considered as the form of lord Vishnu) is also preserved for daily worship with Lord Shiva..
Terracotta Panels: Narrative, Devotion, and Daily Life:
Originally, the temple is believed to have contained around seventy-three terracotta panels, although a significant number have now weathered away. The surviving motifs reveal a rich visual programme: depictions of nature and everyday folk life such as parrots, creepers, floral designs nearly twenty-seven of this kind along with small animals and scenes of traditional mustard-oil extraction; representations of society and authority, including armed royal guards and possibly British sepoys positioned near the entrance; and a wide range of mythological figures, among them goddess Kali (mother god) with her sword and cup, dancing yaksha-yakshini figures, Rama-like archers, goddess Saraswati with her veena, Karttikeya, Varaha, Nandi-mounted god Shiva, depiction of Radha-Krishna or Madanmohan , and the iconic image of Hanuman revealing Rama and Sita within his heart. The panels also preserve refined cultural aesthetics, portrayed through courtly women dressed in Mughal-style attire.
Cultural–Religious Resonance:
During the reign of Maharaja Naranarayan Bhupbahadur (1533–1587), Vaishnavism, influenced by the famous Assamese Saint Srimant Sankaradeva and later on gained prominence. This led to the worship of lord Krishna/Madanmohan, often without Radha, a feature reflected in the terracotta imagery.
The patron deity of the Koch dynasty however, remained Shiva–Chandi, visibly represented on the temple walls. Hanuman also held special significance: the royal scepter itself was named “Hanuman Danda.” Thus, Hanuman appears prominently in the sculptural narrative.
Rituals & Contemporary Practice:
At present, daily worship is performed in this temple normally, but during the special occasion of Shiva Chaturdashi (a special ritual) a special type of Pooja (worship) is organised here. Local people participate in this worship by offering special bhog-prasad and various ritual ingredients. A fair is also held here during this time beside the temple premises. Even today, people from the surrounding villages come here with various vows and personal wishes. The coexistence of ancient royal traditions and enduring local beliefs continues to keep the temple alive.
Conservation Challenges:
The terracotta plaque deteriorates more quickly in Coochbehar due to excessive humidity as well as, monsoon-prone climate, and many original details have been further lost due to previous amateurish repairs, particularly the excessive use of paint. The proper conservation is required immediately for the preservation of the temple, and right now the following methods can be adopted for the proper conservation or preservation, such as, the Reducing salt efflorescence, managing biological deterioration, employing suitable mortars, enhancing site drainage system, and guaranteeing methodical digital documentation through photogrammetry and 3D archival techniques are the.
Conclusion: Heritage, Aesthetics, and Responsibility:
The Siddhanath Shiva Temple of Dhaluabari is not merely an architectural relic but a living confluence of Koch royal patronage, the combined traditions of Shaiva, Shakta and Vaishnava worship, it is a dynamic synthesis of local artistic skills enhanced by subtle Mughal influence. Even without a central spire, its distinctive form and rich terracotta narrative give it a unique place among the temple monuments of North Bengal. What it now requires is not simple admiration but ethical and scientific conservation, so that this temple, shaped by the fragrance of earth, memory and centuries of devotion, continues to speak to future generations.
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