In the Bankura District of West Bengal, amidst the plethora of nondescript villages, the twin village of Hadal-Narayanpur stands out for its rich history and the presence of magnificent terracotta temples. Despite its proximity, merely 60km from Bankura and 38km from Bishnupur, it remains a hidden gem, overlooked by mainstream tourism. Yet, for aficionados of undiscovered terracotta marvels, this unassuming Bengal village promises an unforgettable journey.
Situated along the banks of the Bodai river, the two villages of Hadal and Narayanpur sit side by side, collectively known as Hadal-Naranpur. Legend has it that the village owes its inception to one “Murokata” Chakraborty, who carved a settlement out of the dense forest, hacking through trees to establish the foundations.
The annals of Bengal’s history illuminate Hadal-Narayanpur with the arrival of Muchiram Ghosh, a member of the Sadgop caste, who departed his ancestral land in Nilpur, Bardhaman, during the late 17th century, seeking solace in the village’s tranquil environs. Embracing the rustic charm, Muchiram Ghosh opted for a permanent settlement. At the same time, Shubhankar Das, a celebrated mathematician, held the position of tarafdar in Parulia, supported by the local ruler, Malla King Gopal Singh. As the 55th Malla ruler, he oversaw the construction of notable temples in Bishnupur, including those in the Jor Mandir Group.
A deep bond formed between Muchiram Ghosh and Shubhankar Das, catalyzing a shift in the family’s fortunes. Endowed with vast swathes of land, Muchiram Ghosh ventured into indigo cultivation, garnering immense wealth and prestige. Bestowed with the position of Mandalpati (person responsible for collecting revenue) by King Gopal Singh, the family changed their surname from Ghosh to Mandal.
Empowered by newfound prosperity, the Mandal family embarked on a philanthropic endeavor, funding the construction of temples and palaces across the village. However, their zenith gradually waned, marked by their decline in the 1850s. Subsequently, the Mandal zamindari was partitioned among three brothers, each inheriting a portion of the family’s legacy. Today, their descendants safeguard an array of remarkable temples and buildings, adorned with intricate terracotta motifs rivaling the finest in Bengal.
The lands allotted to the three brothers in the village are distinguished as Baro Taraf (eldest brother), Mejo Taraf (middle brother), and Choto Taraf (youngest brother). Each locale warrants individual exploration. Thus, we commence our tour with Baro Taraf, with further insights in subsequent blog posts.
Baro Taraf
The initial landmark in Baro Taref is the Rasmancha, prominently positioned opposite the Mandal family’s grand mansion.
This Rasmancha is a remarkable double-storied octagonal structure, standing at a towering height of 40 feet and boasting seventeen pinnacles. Constructed in 1854 and standing on a 5ft high plinth, this architectural marvel, known as saptadas-ratna rasmancha, features rekha turrets that add to its allure.
The Rasmancha’s adornment is truly exceptional, with intricate terracotta panels embellishing each of its eight sides. These panels depict a variety of scenes, including depictions of Gaja Lakshmi, Ram Sita, Krishna Radhika, Anantasayan Vishnu, Gostho Lila, Mahisasuramardini Durga, Marriage of Shiva, and Shiva-Nandi-Bringhi. Sadly, some of these sculptures have suffered damage over time due to neglect.
Historically, during the Rash festival in November, all the Shalagramshilas of the village were housed here for three days, a tradition that added to the Rasmancha’s significance. Elevated on a high pedestal, the Rasmancha commands attention.
Adjacent to the Rasmancha stands the residence of the Baro Taraf of the Mandal family, notable for its distinct European influence. Painted in a striking yellow hue, the house features a cylindrical entrance. The entrance windows resemble full-sized doors, adorned with old-style green shutters. Each window is crowned by a semicircular arch, showcasing a unique facial motif against a backdrop of exquisite design.
Within the palace, a spacious Thakur Dalan serves as the venue for the ongoing celebration of Durga Puja. The caretaker revealed that during this festival, the palace bustles with pomp and show, with all members of the Mandal Family actively participating.
A smaller courtyard leads to a cluster of three temples nestled within a larger courtyard. Among them, the most impressive is the recently painted south-facing Radha Damodar Temple, distinguished by its five pinnacles.
Accompanying it are two smaller Shiva temples.
A plaque at the foundation of the triple-arched Radha Damodar Temple reveals its construction date in 1728 Sakabda, corresponding to the year 1806 in the Gregorian calendar.
While these temples are well-maintained and adorned with some terracotta ornamentation, their beauty pales in comparison to the exquisite craftsmanship found in Mejo and Choto Taref, topics to be explored in subsequent blogs.
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Categories: Baro Taraf - Hadal-Narayanpur, Hadal-Naryanpur, India, West Bengal
Kevin Standage 
Another fantsatic effort! Who knew there was so much in the countryside. My brother in law trekked out to the family “palace” in Bengal at my prodding. The exterior was impressive, an old zamindar establishment. What I like about him is that he didn’t hide the interior where some 60 families now live. Subinfudation racks the old estates and humbles families. Thanks again for a photographic and historical treasure.
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Thank you for your kind words, and for the coffee that I am currently drinking this morning 🙂
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