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Risabhanath (or Adinath) Circa 10th century A.D.
brick structures which are exposed at sections, the three temples yet standing are beautiful examples of rekha deul with their symbolic ratha foundations, fluted finials, the corbelled entrance and the symmetrical height aside the location of the sanctum less remote due to the absence of any -spacious frontal porch or the mukha-mandapa unlike its being so often conventional with the northern Indian design in its genesis of elaboration. Such monuments will, indeed, recall a general
style accepted in Bengal in the early mediaeval epoch. Though there are comparable monuments in Purulia, particularly at Telkupi, Para, Charra and Deulghata recognisable for their oblong turrets (śikhara) sprouting above the foundation often without having any adjunct of separate mukhamaṇḍapa, the shrines built of carved stones at Pakbirra will represent a delicate and imposing style characteristic of their own conforming as in other instances with the ideals of Meru or the Puruşa and thereby, with the symbolism of the ultimate union with the Divine or the realisation as opposed to the primeval polarisation. Apart from revealing the glory of an architectural movement in eastern India which must have its bearing in a wider horizon the shrines of Pakbirra like their counterparts in West Bengal may be regarded as gems defining fulfilment and taste in art. The impressive array of Jaina images
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and purity within an environment of solitude and a bleak landscape. While the large mound having an impressive dimension contains extensive
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