Nestled on the western banks of the Bhagirathi River within the Purba Bardhaman district, the venerable city of Ambowa, now bestowed with the name Ambika Kalna, stands as a treasury of exquisite temples. These architectural marvels, adorned in diverse styles characteristic of Bengal, encompass chala, rekha, ratna, mancha, and plain-roofed structures that grace the landscape of Kalna. Scattered throughout this sacred city, these temples bear witness to the artistic prowess inspired by the ruling dynasties that once held sway over Burdwan.
Under the illustrious reign of Maharaja Kirti Chand Rai from the Bardhaman Raj, the ancient city of Ambowa underwent a transformative nomenclature, evolving into Ambikanagar. This change was a reverent tribute to the city’s enduring presiding deity, Ambika, who had been venerated by the city’s inhabitants for countless centuries. The hallmark of Ambika Kalna today lies in its iconic temples, masterfully erected by the Bardhaman Raj during the 18th and 19th century.
In the midst of this architectural marvel, the scarcity of stone posed a formidable challenge for the skilled artisans. Undeterred, they turned to the clay sourced from the nearby riverbank, fashioning it into bricks that would serve as the foundation for their artistic creations. These bricks were then meticulously adorned with terracotta panels and tiles, becoming exquisite canvases for the artisans’ expressions. Human figures, animals, intricate floral motifs, geometric patterns, vivid hunting scenes, glimpses of social life, and narratives drawn from the Ramayana, Mahabharata, Puranas, and Hindu scriptures graced these baked bricks, weaving a rich tapestry of cultural and religious significance.
Lalji Temple, the oldest structure in the Rajbari temple complex at Ambika Kalna, was built by Maharaja Kirti Chand Rai for his mother Braja Kishori Devi (wife of Maharaja Jagat Ram). This architectural marvel was built in 1739 CE in the very rare Panchabimsati (twenty-five pinnacles or peaks) style.
There are only five Panchabimsati Ratna temples in West Bengal and three of them are located in Ambika Kalna (Lalji Temple, Krishna Chandra Temple and Gopalji Temple) of which two are in the Rajbari temple complex. The other two are Sridhar Temple in Sonamukhi (Bankura district) and Ananda Bhairavi Temple in Sukharia village (Hooghly district).
A Panchabimsati Ratna temple consists of three stories with three pinnacles at each of the four corners of the first storey (3 X 4 = 12). One pinnacle at each corner of the octagonal second storey (1 X 8 = 8). One pinnacle at each of the 4 corners of the third storey (1 X 4 = 4) and finally a single central pinnacle. So the total number of pinnacles totals 25 (12 + 8 + 4 + 1 = 25).
This temple along with Girigorbardhana Temple is in a separate enclosure in the Rajbari complex. There are three horse statues hanging over the entrance of the enclosure. The horse is considered to be the insignia of the Bardhaman Raj. The temple premises has a 4.5m high enclosure wall. The main part of the temple is on a raised platform. The north wall of the temple is about 6.5m high and south wall is about 5.5m high.
Immediately south of the temple stands a Natmandir measuring approximately 9.1m x 4.2m with a typical char-chala style roof. There are five entrances on each side of the Natmandir, with a triple-arched entrance to the south.
The visually pleasing terracotta panels seen on all the walls have intricately detailed flowers, Shiva Linga, scenes of Lanka Yudh, Goddess Durga, Dakshinakali, Balagopala, Jagadhatri Devi, Krishna Leela, scenes of Europeans with their cavalry, horsemen, in ships and hunting. There are stunning panels of elephants with floral designs on the roof of the temple. Many of the panels also depict scenes from the Ramayana, Mahabharat and Puranas.
On the outer corners of the temple where the walls meet are vertical friezes, known as mrityulata (death-vine or creeper of death). A mrityulata is a vertical terracotta panel containing a vertical series of human and animal figures, each poised to attack the figure below. The same panel is then sometimes repeated running the whole length of the temple side, or the scenes are jumbled up as we see here at Lalji temple.
Scholars believe these vertical rows of figures have their origins in the architecture of wooden chariots constructed in Bengal. Chariots were constructed with vertical panels at the outer corner of the main body of chariots consisting of vertical rows of human and animal figures, which is called a “Barsha” panel. As the builders of chariots and temples were from the same “Sutradhar” or Carpenter community, the pattern in the chariots was later assimilated in Bengal temple architecture.
At Lalji temple there’s a wide variety of differing examples of mrityulata, some appear to be quite weathered but detailed, others are more pristine but somewhat cruder in style. I suspect the more simplistic examples are perhaps part of some renovation effort.
It seems I have becomes a little obsessed with these panels, I have probably documented almost all them during my visit here last year.
There is a legend surrounding this temple, one that tells us a vivid story of why this temple came to be constructed and was named Lalji. The tale surrounds Braja Kishori Devi, a virtuous and deeply pious lady, possessed a divine idol of Radha Devi, the object of her unwavering worship.
One auspicious day, bathed in the ethereal glow of Poush Sankranti, Braja Kishori Devi undertook a sacred pilgrimage to the holy waters of the nearby Bhagirathi River. The riverbanks were graced by the presence of saintly individuals and wandering sadhus, all seeking the sanctifying embrace of the sacred currents. As she ambled back, the air around her became melodious with the dulcet tones of a small boy’s voice, an ephemeral melody that captivated her senses.
Driven by curiosity and a spiritual yearning, the venerable Rajmata, a title befitting her royal stature, ventured into a tent that housed a lone sadhu. Within its confines, she inquired about the source of the enchanting voice that had reached her ears. The sadhu, seemingly oblivious to the divine resonance, professed ignorance, revealing that his sole companion within the tent was an idol of Lord Krishna.
In a moment of divine revelation, Rajmata intuited that the Lord himself had communicated with her. Emboldened by this sacred realization, she made an earnest request to the sadhu, entreating him to part with the cherished idol of Lord Krishna. However, the sadhu, agitated and aghast at the prospect of separation from his beloved deity, vehemently refused.
Undeterred by the sadhu’s initial reluctance, Rajmata unfolded her divine plan. She expressed her ardent desire to orchestrate the celestial union of Lord Krishna with her beloved Radha Devi, an act that the sadhu, later known as Lalji, eventually consented to. The sacred marriage unfolded amidst the spiritual aura of Ambika Kalna, with Lalji bearing witness to the divine union.
Lalji, having become an inseparable part of the hallowed surroundings, chose to make Ambika Kalna his eternal abode. Here, he dedicated his days to the worship of Radha Krishna, immersing himself in the divine presence until his last breath. In honor of this celestial devotee, the sacred precincts came to be known as Lalji Temple, an enduring testament to the mystical union that transpired under the benevolent gaze of the divine.
Undoubtedly, Lalji Temple stands out as a prominent feature within the Rajbari temple complex. Although a significant portion of its intricate terracotta work has been lost to the passage of time, there is still enough remaining to provide a tangible glimpse into the former grandeur and detailed craftsmanship that characterized this temple in its heyday.
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