A Report on

Kantajew Mandir

Mariam Nazia
1831388030
HIS101.16
Introduction
History often tells us that race, religion and nationality all ebb away with
the passing of time, as everything has its own way of diminishing in
their glory and existence with time or natural causes. Kantajew temple is
one of the most marvelous and national heritage resources in
Bangladesh. It is also one of the oldest temples. The temple is situated at
Dinajpur district in Bangladesh. The temple was commonly known as
Kantajew temple or Kantajir mandir. The correct name of this temple is
Kantanagar Temple. The temple belongs to the popular Hindu Kanta or
Kishna and this is the most popular with the Radha-Krisna cult.
Kantajew temple is also one of the most magnificent architectures and
religious effects in Bangladesh. The Kantajew temple is also famous for
its mythological works and myths of story and legends. The temple
carries out our glorious past and glorious architectural work in
Bangladesh. Among the architectural heritage sites that take Bangladesh
to an international level, Kantajew Temple is a prominent one. It is an
excellent example of brick and terracotta temple in entire Bengal. The
temple is also known for its red bricks and at the wall of this temple we
can see the Bengali myth and old religious story. Kantjew temple is one
of the most valuable UNESCO authorized world heritage archaeological
resources in world.
History of kantajew temple
Once upon a time in Bangla was the richest region of the Indian
subcontinent. The kantajew temple at Kantanagar is a late – medieval
Hindu temple in Dinajpur, Bangladesh. (Bangla Pedia, 2014)” The
confusion about the date of its construction can be settled from the
record of a chronogram in the Sanskrit stone inscription, fixed on the
northeast corner plinth of the temple. It records that Maharaja Pran Nath
of Dinajpur began its construction about 1722. His adopted son
Maharaja Ramnath completed it, in Shaka era 1674 (1752 AD) in order
to propitiate the consort of Rukmini in fulfillment of his father’s wish.
However, in the early 20th century Maharaja Girijanath Bahadur
restored it substantially, except for the missing nine spires. It was built
by maharaja Pran Nath. Its construction started in 1702 and ended in
1752 during the region of his son maharaja Ram Nath. it took another 48
years to complete the structure. The temple belongs to the 18th
centuries. “There are around 15000 terracotta works installed on the
walls of the temple” (the daily star, 2016). Temple since it was declared
a protected monument by the Government in 1960. “Around 1897 the
navratna or nine spired (in which the temple was built in) was destroyed.
This iconic temple was later renovated and was financed by the Asian
Development Bank under the World Heritage of South Asian Tourist
Infrastructure Development Project. This renovation was supervised by
the Archeology Department in 2015.” (Dhaka tribune, 2016). There is
confusion about the date of construction. It was settled from a
chronogram record inscribed in the Sanskrit stone fixed on a northeast
corner of the temple. Here it is recorded that Maharaja Pran Nath of
Dinajpur started its construction about 1722 which was completed by his
adopted son Maharaja Ram Nath in 1752 AD. It was done to propitiate
the consort of Rukmini. Later, Maharaja Girijanath Bahadur restored it
in the early 20th century. But still, the nine spires are missing. The
department of archaeology has been protected by since 1960 officially.

Location of kantajew temple

Kantanagar Temple, commonly known as Kantajew Temple (Bangla:
কান্তজীর মন্দির) at Kantanagar in Bangladesh.The total distance of Dhaka
to Dinajpur is 359.9 kl.

How to go Kantajew Temple

Take a bus or train from Dhaka to Dinajpur. Upon arrival to the
Dinajpur get on a bus toward Thakurgoan and tell them you will go to
kantajew temple. They will drop you at the nearest bus station in the
temple. Take an auto rickshaw to go there. Kantajew temple is always
open for visitors. Being a religious site temple authority don’t take any
charges.

Architectural attractions of Kantajew

Temple

The architecture of Bengal which compare the modern country of

Bangladesh and has a long and rich history, blending indigenous
elements. There are lots of types structural architecture like religious,
official, political etc. The kantojew temple contains richest
and indigenous ancient architecture structure. The temple built in
navaratna style before the temple caused by the earthquake.

Navaratna architecture
“The navaratna style of temple architecture (Sanskrit: meaning “nine
gems”) incorporates two main levels, each with four spired corner
pavilions, and a central pavilion above, for a total of nine spires. The
style arose in Bengal during the eighteenth century as an elaboration of
the pancharatna style that had five pavilions (four at the corners and one
above).” (OFFROAD BANGLADESH, 2017) The kantojew temple is
most famous for its terracotta. it is the best example for terracotta history
of Bangladesh. The whole temple contains terracotta. TERRACOTTA
1. “red-brown clay that has been baked but not glazed, used for making
pots, etc. terracotta pots/tiles/roofs” (OXFOARD LEARNERES
DICTONARIY, n.d.)
2. “a red-brown colour” (OXFOARD LEARNERES DICTONARIY,
n.d.)
3. “Terracotta, terra cotta or terra-cotta (pronounced [ˌtɛrraˈkɔtta];
Italian: "baked earth",[2] from the Latin terra cocta),[3] a type of
earthenware, is a clay-based unglazed or glazed ceramic,[4] where the
fired body is porous. Terracotta is the term normally used for sculpture
made in earthenware, and also for various practical uses including
vessels (notably flower pots), water and waste water pipes, roofing tiles,
bricks, and surface embellishment in building construction.[5] The term
is also used to refer to the natural brownish orange color of most
terracotta, which varies considerably. [not verified in body” (wikipedia,
2020)
The entire outer surface of the kantoji temple is exquisitely established
with terracotta plaques which contain flora and fauna, geometric facts,
mythological scenes from the Ramayana and the Mahabharata, and the
contemporary social scenes and favorite pastime. The idol of Kantaji is
kept in the garvagriha of the temple in its ground floor.

Terracotta Decoration
Bengali Hindu temple architecture is unique and many of these temples
are covered on the outer walls with terracotta (carved brick) reliefs.
Outer walls of the Kantonagar Temple are also covered with terracotta
reliefs. It is one of the greatest examples of terracotta architecture of
Bangladesh. The meaning of Terracotta is “baked earth “it’s a Latin
word. Terracotta is a type of stoneware, which is ceramic based on
unglazed or glazed clay where the fired body is absorbent. In
earthenware, Terracotta is the term usually used for sculpture made, and
also for various functional uses including flower pots, water, and
wastewater pipes, tiles which used in roof, bricks, and surface
embellishment in building construction. Most terracotta is brownish
orange color &the term is also used to refer to the natural, which varies
considerably. (Jafar et al.,2017) Kantonagar temple has very beautiful
terracotta of designs of human in their dancing
postures, hunting postures, conjugal postures, floral decorations, animal
figures. “Every available inch of its wall surface from the base to the
crest of its three stories, both inside and out, pulsates with an amazing
profusion of figured and floral art in unbroken succession. The vast
array of subject matter includes the stories of the MAHABHARATA
(Mahabharata) and the RAMAYANA (Ramayana), the exploits of
Krisna, and a series of extremely fascinating contemporary social scenes
depicting the favorite pastimes of the landed aristocracy. The
astonishing profusion, delicacy of modeling, and the beauty of its
carefully integrated friezes has seldom been surpassed by any mural art
of its kind in Bengal. However, even in its bewildering abundance of
diverse motifs, one can observe a carefully arranged thematic scheme in
the composition of subject matters at different levels and spaces on the
temple wall. In general pattern of terracotta decoration of the temple's
outer walls, the lowest four basal panels, running parallel across the four
faces, depict from bottom upward, immediately above the
plinth:
(a) a recurring floral motif, consisting of full-blown rosettes alternated
with a four-foiled foliate pattern;
(b) the second frieze portrays contemporary social scenes and the
hunting parties of the landed nobility;
(c) the third parallel panel above depicts an intricately designed series of
full blown rosettes commonly found on earlier Sultanate mosques such
as at the SHATGUMBAD MOSQUE, BAGHA MOSQUE, KUSUMBA
MOSQUE, CHHOTA SONA MOSQUE etc. Some other depicts
animated hunting scenes of wild games, royal processions of elephants,
horses, camels, and dainty ox-carts of the nobility with their retainers in
Mughal dress and arms. The richly caparisoned majestic elephants and
splendid stallions, their chariot and harness are vividly delineated;
corpulent zamindars are seen squatting in their gilded palanquins puffing
from luxurious terracotta with long sinuous pipes. Still other panels
portray river cruises on long slim boats crowded with revelers; squads of
soldiers often wearing European dress are also shown marching with
drawn swords and even muskets. Mythological scenes on the third
register depict the nativity of Krsna (KRISHNA); the demon King
Kangsa; successive attempts to kill the infant Krsna; Krsna's killing of
the Putana ogress and the Banasura or crane-demon; the lifting of
Govardhana Mountain, the killing of Keshi; the quelling of the snake-
demon, Kaliya, and Krsna's pleasure ride on a long slim boat with
revelers. The south face of the temple also presents stories from the
Ramayana in a somewhat confused sequence. Ramayana stories
continue on the east face. Here the exile of Ramachandra, Sita, and
Lakshmana in the Panchavati forest; Lakshmana’s striking off the nose
of Shurpanakha; the abduction of Sita by Ravana from Dandakaranya;
Jatayu's futile attempt to obstruct the chariot of Ravana; the captivity of
Sita in Ashoka Forest; the fight between Bali and Sugriva with their
monkey followers for the throne of Kiskindhya; Ramachandra's sapta
tala veda and Sugriva with his monkey followers and their palaver with
Ramachandra are shown in striking details. The north face
predominantly portrays scenes of Krsna and Balarama. Thus, Krsna's
various marriages and cowgirls carrying milk and curd pots in shika
(string bags) suspended from pole etc. are shown. In the second register
an interesting European battle ship is depicted in great details with
soldiers and a cannon. The entire western face of the third register
depicts various episodes from the Krsna legend, ending in the slaying of
Kangsa, the demon king of Mathura. It includes the annihilation of
Kuvalayapida, the monstrous killer elephant of Kangsa; and Radha's
fainting fits on her failing to dissuade Krsna from participating in
Kangsa's sport tournament in Mathura. Of particular interest is a group
of cowherds carrying milk and butter in string bags, suspended from a
pole on shoulder, which is still a familiar scene in rural Bengal. The
elaborate panels over the spandrels of multi-cusped arches exhibit
animated battle scenes from the great epics and also rasa-mandala, with
dancing Radha-Krsna couple within circles, and a host of accessory
figures. The spirited battle scenes of Kuruksetra and Lanka are depicted
with great vitality and invention by the folk artists. In the seemingly
inexhaustible store of terracotta mural decoration on the temple wall, the
folk artists, mostly from Krsnanagar, often have left behind the imprint
of their keen awareness of the environment in which they lived. The
deities they depicted in panels were sometimes treated with an
astonishing sense of reality and as intimate and familiar members of
their society. For instance, an extremely interesting series of upright
western panels on the bottom register of the western face depicts Krsna
plucking coconut from the tree and handing them over to one of his
companions climbing halfway up the trunk, who, in turn is delivering
these to another companion waiting on the ground. It is a familiar scene
in Bengal where the deity is intimately shown as one of the members of
society. Individual plaques often display idiosyncratic compositions
such as the one found at the inner face of the corridor on the south face
where Radha-Krsna are shown dancing on an elephant very cleverly
composed of a dozen human figures. Again, on the northern face, Krsna
is depicted with one of his newly wedded brides seated on a pidi (low
wooden stool) under a canopy where she is coyly holding her veil with
one hand over her head and bashfully peeping at her lord. This, of
course, is an endearing familiar wedding scene in rural Bengal. In the
bewildering crowd of friezes, one may even find Krsna squatting
nonchalantly with folded knees, tied with a gamchha (a strip of cloth)
round the knees and back, in a posture altogether uncommon among
Bengalees, but common among the working classes in adjacent Bihar.”
(Bangla pedia, 2014)

Structural architect
The famous British archaeologist Francis Buchanan-Hamilton
mentioned that “the temple is the finest that I have seen in entire
Bengal”. He also wrote “no other monument is comparable to Kantajew
Temple in terms of its precision, architectural superiority and aesthetic
beauty”. In 1871, some photos of the original Kantanagar temple were
taken by British photographer John Henry Ravenshaw. These photos
show Kantanagar temple with nine spires, an archway on the south face
with ‘Thakur’s’ canopied chair on the verandah, and the base of one of
the western pillars. These photos are now at the British Library in
London. he 15.84 sq km temple stands in the center of an oblong court
(73.15m ' 36.57m) enclosed by a pilgrim shed with a corrugated tin roof.
Its main fabric pivots around a nuclear square cell (3.04m), shooting up
to a height of about 15.24m above its 1.005 m high plinth of stone,
believed to have been quarried from the ancient ruins of Bannagar near
Gangarampur in Dinajpur. Three other square outer shells in graded
heights have been added to it, as much to variegate the plan as to
strengthen the central cella which carry atop a massive tower. The other
eight ornamental towers, now missing, occupied the eight roof corners
of the lower two stories. The curved cornice of the ground floor, sharply
drooping at the corners, rise in the middle to a height of 7.62 m from the
plinth, while that of the first floor rises to 4.56m and that of the second
floor to 1.83 m. There are small square cells at each of the four corners
of the ground and first floors for supporting the heavy load of the ornate
octagonal corner towers above. The temple accommodates four
rectangular corridors on the ground floor around the prayer chamber
measuring 9.17 m × 1.53 m and 4.57 m×1.22 m. On the ground floor,
there are three multi- cusped arched entrances on each side, each
separated by two richly decorated brick pillars. The number of arched
doorways in the ground floor disposed in its four shells is 21; that of the
first floor is 27. The reduced second floor has only three entrance doors
and three windows. A narrow strip of staircase, merely 0.70m wide, built
into the western second corridor, winds up through its dark passage to
the first, second, and third stories. A small derelict single spired temple,
now overgrown with rank vegetation, stands about one hundred yards
north of the main temple beyond the pilgrim shed, which is believed to
have been erected by Maharaja Prannath in 1704 where he initially
installed the Krisna icon, brought from Brindaban. The icon was later
transferred to the 'navaratna' temple when completed. It is now an
abandoned shrine. It is a 16-sided temple rising to a height of about
12.19 m and provided with a multi-cusped arched entrance on the south.
“ (bangla pedia, 2014) . “Kantonagar or Kantaji temple is located within
an of fifty two square feet(4.83 sq. meter). Its corrugated tin roof
protects it from the elements. It is a three-story building. On the ground
floor and first floors of the temple there are square cells that supports the
corner towers. The first two floors have the four centered and wide
multi-cusped arches,. The second floor that only features three
doorways. Narrow staircases connect the various floors. The temple also
has a prayer hall on the ground floor and a sanctuary at the top of the
structure.” (BANGLADESH.COM, n.d.). In the temple the plastered
surface of the walls have immense rectangular and square paneling,Its
signature designs are visible in the magnificently laid edifice with ornate
terracotta and the Persian muquarnas work in stucco inside the half-
domes over the entrance arches and mihirab niches. The round outline of
the domes with constructed necks, domes on octagonal drums with lotus
and kalasa finials as the crowning elements, the round pendentives to
make up the phase of transition for the domes and the multi-faced corner
towers rising high above the horizontal medieval architecture
fortifications make it one of the most aesthetically marvelous examples
of 18th century architecture. (ABM, et all,n.d) The divinity of the
Kantajew temple is related to the tales of Mahabharata and Ramayana,
the two Hindu religious books. It also share the adventure and
spirituality of Krishna. The series of extremely fascinating contemporary
social scenes express the favorite leisure time of the aristocrat class.
There are also images of hunting scenes of wild games, royal
processions of elephants, camels, horses and dainty ox-carts of the
nobility with their retainers in Mughal dress and arms.

Present condition
Kantonagar (Kantaji or Kantajew) temple is one of the beautiful and
magnificent temples situated at Dinajpur, Bangladesh. Kantajew temple
represents how artistic and creative the late-medieval community Bengal
had been. The temple lies 287 kilometers (178.24 miles) northwest of
the capital Dhaka. Kantanagar Temple is about 19.31 kilometers (12
miles) north of Dinajpur town, and about a mile west of Dinajpur-
Tetulia highway across the Dhepa River. nine spires (towers) were
destroyed in an earthquake that took place in 1897.The Kantajew temple
was later renovated and was financed by the Asian Development Bank
(ADB) under the World Heritage of South Asian Tourist Infrastructure
Development Project. This renovation was supervised by the
Archeology Department of Bangladesh in the year of 2015.Kantanagar
Temple is commonly known as Kantaji Mondir or Kantajew Mondir
(Temple) at Kantanagar. This Hindu temple is one of the most
magnificent religious buildings belonging to the 18th century. The
temple dedicated to Kanta or Krishna and his wife Rukmini. The temple
is very popular with the Radha-Krishna cult in Bengal. There is
currently around 15000 terracotta (carved bricks) works installed on the
walls of the temple. (Yusuf, 2016) At present, the temple is famous for
its beautiful terracotta ornamentation. All these wonderful decorations
give the temple an eye-catching and majestic look and notable heritage
value. The idol of Lord Krishna or Kantajew (“Thakur”) is kept in the
‘Garbhagriha’ (womb chamber) of the temple on the ground floor.
(Ali,2018) A small derelict single tower temple, now overgrown with
the farmlands, stands about one hundred yards north of the main temple
beyond the pilgrim shed, which is believed to have been built by
Maharaja Prannath in 1704 where he initially installed the Krisna idol,
brought from Brindaban(India). The icon was later transferred to the
'navaratna' (main) temple when completed. It is currently an abandoned
shrine. It is a 16-sided temple rising to a height of about 12.19 meter (40
feet) and provided with a multi-cusped arched entrance on the south.
Every available inch of its wall surface from the base to the crest of its
three stories, both inside and out, pulsates with an amazing profusion of
figured and floral art with terracotta in unbroken succession. The
astonishing profusion, delicacy of modeling, and the beauty of its
carefully integrated friezes has hardly been surpassed by any mural art
of its kind in Bengal. However, even in its bewildering abundance of
various motifs, one can observe a carefully arranged thematic scheme in
the composition of subject matters at different levels and spaces on the
temple wall. In general pattern of terracotta(curved bricks) decoration of
the temple's outer walls, the lowest four basal panels, running parallel
across the four faces, depict from bottom upward, immediately above
the plinth: (a) a recurring floral motif, including full blown rosettes
alternated with a four-foiled foliate pattern; (b) the second frieze
portrays contemporary social scenes and
the hunting parties of the landed nobility or aristocrats; (c) the third
parallel panel above depicts an intricately designed series of full-blown
rosettes usually found on earlier Sultanate mosques such as at the
SHATGUMBAD MOSQUE, BAGHA MOSQUE, KUSUMBA
MOSQUE, CHHOTA SONA MOSQUE etc.(Banglapedia, 2014) The
temple also organizes “The Rash Mela” every year. Almost 200000
people gather around the temple during this time. It has a great
significance to the people and the pilgrims. During the celebration, the
Kantajiu idol (Radha-Krishna Bigroho) of the Kantanagar Temple is
brought at the Rash altar (Rash Bedi) in the presence of thousands of
devotees. These devotees came from all over the subcontinent especially
India and Nepal. The rituals are performed on a full-moon night in
accordance with a tradition that dates back five hundred years ago,
connected with Rajas (Kings) of Dinajpur. The festival itself transforms
the whole region. A veritable human sea swells and pulses around the
Kantanagar Temple area with thousands of devotees from India, Nepal,
as well as across Bangladesh, as pilgrims from Dhaka, Thakurgaon,
Barisal, Faridpur, Rangpur, Madaripur, Magura and Bhola flood in for
the festivities. During this period the temple authorities provide food and
entertainment for the philgrims. The latter includes ritual songs (Kirtan)
and Radha-Krisha dances, much to the delight of the attending pilgrims
and in keeping with traditional temple hospitality. In addition to the
purely religious rituals, the festival organizers also arrange a month-long
mela(carnival) at the temple premises. There, hundreds of traders from
different parts of the country arrive with their products.

Recommendations
‘For improving the Kantaji temple as a tourist spot, enough investment
should be ensured by the government or authority

• Architectural beauty is one of the main attractions of Kantaji temple

and it should be preserved and maintained properly. Regular case and
observation from selected authority should be ensured
• The main way to visit Kantaji temple is by road or by train and the
road and railway network system should be improved as much properly
• Government should come forward to promoting the region as brand
destination which will increase the popularity of Kantaji temple
• Accommodation facilities is very important for tourist and for Kantaji
temple accommodation facilities should be ensured for tourist
• The involvement of local people in tourism activities should be
increased and it will help to develop the tourism sector of Kantaji temple
more. We have to make local guidance who knows thw temple well.
• The involvement of local people in tourism activities should be
increased and it will help to develop the tourism sector of Kantaji temple
more
• There should be some sorts of team whom will be able to solve any
kind of problems.

Conclusion
Bangladesh is a land of beauty and bases with manu historical
architectural fact and structure. Kantojew temple is one of them. This
temple represent our culture and the rich history of our country. We have
to protect our own resource and national heritage.