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APRIL, 1986
The stylistic traits 52 that reflected through these sculptures, if analysed, would reveal one early phase and a later phase, intervened by a transitional middle phase. The early phase of the artistic activity at Pakbirra, is manifested in a group consisting four sculptures, viz., the image of Yaksi Ambika (No. 39, Pl. 32). The Tirthankara Rsabhanatha (No. 38, Pl. 31), seated Parsvanatha (No. 30, Pl. 23), and Tirthankara Candraprabha (No. 40, Pl. 33). The plastic quality of these four images appear to have a close affinity with that of the Paharpur stone sculptures ;53 while the first three images show a close relationship with the stucco figures of the Maniyar Math, Rajgir54 datable to the C. 6th Cen
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52 Pakbirra, situated in the close range of the imposing cultural centres of Bihar and Orissa, it is presumed, saw varied stylistic traits both in forms and growth stages, radiated from these centres. In an area which is politically not enduring and stable, particularly in the post-Gupta period, Pakbirra may have been subjected to various influences within a short span of time.
In spite of the political vicissitudes, Jainism had maintained its strange hold in this area for centuries together as evident in numerous stone sculptures and temple ruins. These Jain sculptures bear the testimony of the artistic activities of different periods in this part of western Bengal. With the abundance of Jain sculptures and temple ruins, some still in situ, and the rarity of Buddhist images, a kind of exclusiveness for Jain activity becomes apparent. Of the sites, so far known to us in the Bankura-Purulia area Pakbirra stands in the foremost position in respect of the treasure of sculptures. The temple site at Pakbirra presents, uptil now, about fifty stone sculptures, which show various stylistic traits and workmanship belonging to different periods and regions. The various elements and stylistic traits appeared in the series of sculptures are not always extraneous and alien to their plastic content. They, as a whole, contributed to the growth of a style. Some characteristics were carried on, some were left behind. However, for want of systematic excavation record of the site a clear and satisfactory estimation is not possible at this stage. It is probable that a few more interesting sculptures are stilllying buried in the ruins.
With all the variation in forms and other traits, there appears a decisive trend in plastic content that binds together through the process of evolution, and ultimately grew up with the Pala school of art. It would be evident therewith, that, in the midst of different cultural waves, the art of Pakbirra did not evolve in a linear path. The search for a unity in plastic content continued bringing together various elements, idioms, forms and ornamental motifs. This search and experimentation as evident in Pakbirra is, perhaps, inevitable for the transition from one phase to the other. With the chlorite schist as the only stone medium quarried locally, they also speak of local execution and as such express a desire for unity of different traits, though, in a broad spectrum and presented itself as an expression of the indigenous trend of the neo-classical art of this region.
53 For Paharpur stone sculptures see among others, S. K. Saraswati, Early Sculpture of Bengal, Calcutta, 1962, pls. III, IV, VII, IX; R. C. Majumder (edited), The History of Bengal, Vol. I (Hindu Period), Dacca, 1963, figs. 138, 139, 141, 143, etc. 54 Cf., Frederick M. Asher, The Art of Eastern India, 300-800 A.D., Delhi, 1980, pls. 18, 19, 20.
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