Islamic Art of Mediaeval Bengal Architectural Embellishments

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Under the mediaeval Islamic rule, the art of Bengal entered into a new era of significance which embodied Islamic revelation and spirituality. The architectural embellishments on the religious edifices relating to the sources of Islamic practices manifest a chronological sequence of forms, contents and symbolic languages. Bengal monuments of the era show certain distinctive characteristics in terracotta medium in the aspects of dynamism in the language of art with the inflow of traditional and assimilation of folk art practices. Islamic art in Bengal gradually gained ground and became transparent revealing the proper significance. The book is an effort to document and place on record the scattered and sporadic terracotta architectural decors of the mediaeval Islamic monuments with a view to understand the contributions of the era in the heritage of Bengal art. There are many works of the distinguished authors on the Islamic architecture of Bengal and their historical and technical features. Nevertheless, no systematic consolidation of the terracotta non figurative art motifs has been undertaken so far. Since the process of erosion of the architectural decors of the standing monuments is fast, the work is intended to document some of the available specimens with a view to help the future researchers in this particular discipline.

ABOUT THE AUTHOR Nihar Ghosh

Born on 07.05.1951 at Krishnagar, Dt. Nadia, in a migrated refugee family, Sri Ghosh had the opportunity to meet tremendous diversities in social and cultural atmosphere even in the core of far flung districts of West Bengal with a destablised status before finally settling in North 24 Parganas. As the eldest son of his parents, he had to search employment before attaining the age of 20 years immediately on graduation from Calcutta University and relieved himself from employment before attaining the age 50 years. Meantime his passion and intimate association with the art since early childhood enabled him to continue art practices in systematic but non academic path. As a natural corollary of search into the identity and tradition, he devoted himself into the tiresome, expensive, occupying and sometimes humiliating nature of the enormous task including documentation, restoration, drawings as well as appreciation of the specimens. He conceived three publications in chronological sequence, out of which the second one relating to the mediaeval Bengal is now getting published.