Sonamukhi, located within the Bankura district and a mere 35 kilometers away from Bishnupur, stands as a sanctuary for some of Bengal’s most splendid terracotta temples. Revered by many as surpassing even the renowned structures of the neighboring temple town, Sonamukhi’s architectural marvels, although later in date, are some of the most impressive examples to be seen anywhere in the state.
The name Sonamukhi finds its origins in the veneration of the local deity Swarnamukhi Devi, where “Swarna” signifies gold and “mukhi” denotes face, thus translating to “gold face” or “golden face.” Legend has it that during the tumultuous raids in Bengal led by the Maratha Bargees, the Maratha leader Bhaskar Pandit sought solace in the worship of this deity.
During the dominion of the East India Company, Sonamukhi emerged as a bustling hub for the trading of silk, cotton garments, and indigo. Dating back as far as the 17th century, Bengali texts depict the town as a haven for skilled weavers. Following 1813, a notable surge in the export of raw silk from Bengal occurred, with Sonamukhi standing at the forefront of this economic boom. At the helm was a factory overseen by John Cheap of the East India Company, boasting an impressive annual output of silk, averaging over 600 mounds (22,400 kg).
As per local accounts, the majority of the temples dotting this town were erected by prosperous cloth merchants and skilled weavers who settled here centuries ago. While a few of these temples remain steadfast in the town center, regrettably, many have succumbed to ruin or collapse over the years, a victim of prolonged neglect.
Situated within the narrow confines of Madani Galli, near Chowrasta at the heart of the town, stands the magnificent Sridhar Temple, a remarkable specimen of the exceedingly rare panchabingshatiratna (twenty-five pinnacles or peaks) architectural style. Bengal boasts only five temples adorned with twenty-five pinnacles, and the Sridhar Temple stands apart in its architectural distinctiveness, and being the last of its kind to be constructed.
Despite its modest size, scarcely larger than a typical pancha-ratna, the temple impressively accommodates its twenty-five towers, encircling and soaring above a single upper story. Among the other four panchabingshatiratna temples are the Lalji Temple (1739), Krishnachandra Temple (1751), and Gopalji Temple (1766), all located in Kalna, along with one situated in Sukharia (Hooghly district).
According to local lore, Kanai Rudra, a wealthy and devout weaver, harbored a fervent desire to erect a magnificent temple in honor of Lord Vishnu. To realize his vision, he enlisted the expertise of an architect by the name of Hari Sutradhar. Tasked with crafting a temple adorned with intricate terracotta panels that could rival the masterpieces of the temple district in Bankura, Hari Sutradhar diligently set to work. However, upon Kanai Rudra’s inspection of the completed temple, he found it lacking, as not every inch was embellished with terracotta.
Expressing his discontent to Hari, Kanai Rudra urged him to spare no expense and elevate the temple’s grandeur to new heights. Taking this as a divine directive, Hari Sutradhar devoted himself to the task, meticulously covering the entire temple structure with the most breathtaking terracotta artwork of the time.
Upper Panel : Krishna with cowherd boys
Lower Panel : Ram and Sita seated on a throne
Upper Panel : Krishna with Gopis
Lower Panel : Devi Durga with her family
Goddess Kali with other deities
Constructed in 1845 CE, this west-facing temple boasts intricate terracotta relief work adorning every facade and on each of its sixteen-sided pillars. Despite its modest size, this brick marvel stands tall at two stories, featuring a triple-arched entrance on its western side. The pinnacles are in four tiers, with twelve, eight, and four — the temple culminates with a central pinnacle, totaling twenty-five pinnacles in all. Sadly, time’s wear has taken its toll, with many of these pinnacles falling into disrepair. Nature, too, has made its mark, as shrubs and other foliage now cling to the temple’s surfaces, particularly the pinnacles.
The temple showcases exquisite terracotta ornamentation on all four sides. However, only the western and southern elevations are accessible for photography, as the remaining two sides are entirely obstructed—one by the adjacent wall of a neighboring property, seamlessly merging with the temple wall. The extent of encroachment is staggering, with urbanization nearly engulfing this significant and stunning temple, almost rendering it invisible amidst the surrounding development.
The panels boast an astonishing array of themes and subjects, spanning from scenes of the Ramayana, Mahabharata, and Puranas to depictions of Krishna Leela, musicians, dancers, social life, animals, birds, foreigners, floral and geometric motifs, the marriage of Lord Shiva, the birth of Brahma from the navel of Lord Vishnu, Durga Devi as Mahishasura Mardini, and revered sages and saints. Exploring the richness of these depictions could easily consume hours, if not days, of study and appreciation.
Upper Panel : Exchange of child during Lord Krishna’s birth
Middle Panel : Lord Shiva’s marriage
Middle Panel : Birth of Bramha from a lotus springing from Vishnu’s navel
The craftsmanship displayed on the two pillars forming the triple-arched entrance is nothing short of breathtaking, serving as a testament to the unmatched finesse and skill of the artisans.
This temple stands as a textbook example of the ingenuity of Bengal’s craftsmen, who have crafted remarkable terracotta masterpieces throughout the state.
One of the distinctive terracotta features showcased on the Sridhar Temple is the inclusion of mrityulata, also known as the “death-vine” or “creeper of death,” in terms of its placement.
A mrityulata consists of a vertical terracotta panel adorned with a series of human and animal figures, each positioned as if ready to attack the figure below. Typically, this panel is repeated vertically and is commonly observed at the corners of a temple. Scholars trace the origins of these vertical rows of figures to the architectural design of wooden chariots in Bengal. These chariots featured vertical panels at the outer corners, known as “Barsha” panels, comprised of vertical rows of human and animal figures. Given that both chariots and temples were constructed by members of the Sutradhar (or carpenter) community, the pattern from chariots eventually found its way into Bengal temple architecture.
On the Sridhar Temple, this mrityulata sequence can be observed framing the doorway projection on the front facade of the western elevation, as opposed to the corners of the temple which is more typical.
The sanctum sanctorum houses a Shaligram of Lord Sridhar, a black stone which is worshiped as Narayan – an incarnation of Lord Vishnu. During my visit the sanctum was locked.
It’s disheartening to witness the temples in this historically significant town falling into complete disrepair and neglect. Given the remarkable quality of the terracotta works present here, it’s imperative that the responsibility for their preservation falls upon the Archaeological Survey of India (ASI) or the State Archaeology department. Without intervention, these invaluable treasures are at risk of further deterioration over time.
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Categories: India, Sonamukhi, Sridhar Temple - Sonamukhi, West Bengal
Kevin Standage 
I love such intricate, detailed structures!
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