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Asutosh Museum of Indian Art

Any Yamaha two wheeler owner in India can join Blue Streaks community. One can join Blue Streaks by registering with us on the Blue Streaks website. Apart from the large number of early terracottas belonging to Maurya, Sunga, Saka-Kushana and Gupta periods, the burnt clay and bricks depicting various stories from the epics and mythology, usually used for the decoration of the facades and outer walls of the temples of Bengal in late medieval periods reveal a wide repertory and an extensive variety of terracotta work of Bengal.

Among the early pieces, mention may be made here of a supple and willow Yakshini from Bangarh. In this section the seals and sealings depicting various animals, symbols and scenes of love and also pictographs largely add to the curiosity of the visitor.

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  • The temple plaques of late and medieval period are narrative in content and are characterized by rare boldness and vigour with emphasis in details. In this particular gallery, the visitors may also find systematic display of the various excavated objects and antiquities, so far discovered from such ancient sites like Bangarh and Chandraketugarh. From the ground floor across the spacious exhibition area and the lobby, the visitor is welcomed by the grand staircase to the first floor of the Museum. Here one finds large copies of ancient Indian and SriLankan mural paintings on the outer wall of the main hall, while inside, folk-art, paintings, metal and wooden sculptures are on display.

    In the main hall here, almost the same size as the sculptures gallery below, have been displayed the rich collections of folk-arts as also textiles mainly from Bengal and Orissa, colourful and mystical banner paintings from Tibet and Nepal and numerous paintings of the Mughal, Rajasthani, Pahari and local styles. On the left side of the hall from the entrance are arranged systematically within cases Pats scroll paintings , painted Saras, popularly known as Lakshmi Saras, Pata manuscript covers with paintings , Kantha embroidered textiles , folk-toys, dolls and ritual objects of wide variety and interesting details.

    Distinguished by vigorous lines and vivid colour, the scroll paintings depict subjects from legendary tales, epic cycles relating to the life study of Krishna, Rama, Sri Chaitanya and others. A tiger in the Gazipat or the narrative of Kamale-Kamini depicting Chand Sadagar in his maritime quest or a Bhumij woman in the afterworld reveal the pleasant character in their inane simplicity and boldness.

    The earliest known examples of the Pat style is to be seen in the illustrated Ramayana manuscript of Tulsidas, dated A. The exhibits in this hall in their wealth of variety not only give a highly entertaining feast in colour but also reveal, while strictly depicting the locale, a distinctive flavour enriched by the eastern tinge.

    In its continuous recurrence in the field from the time of the Palas, painting has been in Bengal a well cherished tradition that has continued for long and can be traced in manuscripts, in manuscript covers in wood, on scrolls and other variety of pats and paintings in Murshidabad, Krishanagar and Kalighat style, all of medieval and late medieval age. In the allied fields of cultural activity there have been toys, dolls, ritual objects, textiles, Baluchari saris, kanthas, dance masks and varied other items which would entice one to enter a forgotten world of colour nuances and ecstasy.

    The array of painted wooden manuscript covers collected from Bengal and Orissa reveals a style of uncommon interest. Examples from Jessore and Khulna from Bangladesh are particularly noteworthy for their neat workmanship and rare beauty. The Kalighat painting themes were very popular those days.

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    A few outstanding examples of these paintings have been displayed along with contemporary paintings on paper and cloth from Orissa. Dolls and toys of all varieties and of such materials as clay, wood, pith, cloth, paper, etc. Of these, a cult figure depicting mother and child from Goalpara, Assam and a wooden doll, probably representing a noble lady from Dhaka, Bangladesh may be mentioned for their rare craftsmanship and significance of design. A unique illustrated paper manuscript dated A. In this section are also a number of paintings on textile from Rajasthan, Gujarat and the neighbourhood.

    The grandeur and pomp of the court as well as the royal life of the Mughals, who came from Central Asia, are beautifully illustrated in the Mughal paintings arranged chronologically on display screens set up as a separate inner wing of the main gallery. In this wing may also be found selected Rajasthani and Pahari paintings of extraordinary beauty, endowed with rich and glowing colours, full of religious fervour, devotion and love.

    Rare and noted examples of paintings of such important post-Mughal local schools like Oudh, Patna, Murshidabad, Nadia, Burdwan, etc. The visitor is next invited from here across a corridor, to the gallery of wood and metal sculpture situated in a spacious room bathed in north light. Apart from some very interesting metal images belonging to the Eastern Indian School, rare specimens from Nepal and Tibet as well as from Orissa enrich the collections in this room. Along notable metal images mention may be made of a syncretistic image of Siva Lokesvara from Barisa, Bangladesh, a Vishnu standing in Samapadasthanka attitude from Sagardighi, district Murshidabad and a seated Buddha from Jhewari in Chittagong.

    An important copper plate inscription of Dommanapala, a ruler of Khadi Mandala, discovered from Sundarban and dating back to A. The rich tradition of Nepalese metal casting finds represented in the numerous images of Buddhist and Brahmanical deities, a tradition that has continued to survive till the present age. A few notable metal pieces in Western Indian tradition and of Jaina faith add to the variety of the collection.

    The rarest wooden sculpture of the Museum happens to be a beautiful standing figure of Gopala of 16th century A. The carved wooden brackets from South and Western India, originally used as corner support for thatched huts or wooden structures are crowded with battle scenes having human and animal figures, creepers and foliages.

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    • In conclusion, notice of the visitor may be attracted also to numerous miscellaneous items including ivory works, bidri works, metal wares, glass, etc. The activities of the Museum are varied and manifold. The Museum also provides guide services to organised visits from educational institutions, has an excellent library consisting of books on art and culture, holds lectures and exhibitions for popularising art and archaeology and undertakes all museum work for public edification. Its picture postcards are available to the public for sale at a nominal price.

      After the visitor has gone through the galleries and taken a dip into the traditions of art and culture of the country, particularly of Bengal, the Museum would like to bid him a hearty goodbye and a warm invitation to come back again. The filming operations are to be carried on in such a way that no disturbance is caused to the visitors. The applicant will have to change his programme if the Curator apprehends any such disturbance.

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      If necessary, the permission may be cancelled any time without previous notice. The Museum shall not be held responsible for loss, if any, suffered by the producer on account of such cancellation. University Home. Dinajpur C. Barisal, East Pakistan C. Malda C. D In conclusion, notice of the visitor may be attracted also to numerous miscellaneous items including ivory works, bidri works, metal wares, glass, etc.

      D The activities of the Museum are varied and manifold. The number of objects to be photographed is to be stated clearly in the application for the purpose.

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      The use of flash-gun or use of strong light for photography which may have injurious effect on the paintings in the Galleries is strictly prohibited. Exhibits must not be touched or removed from their position for the purpose of photography. No photograph will be allowed to be taken unless a representative of the section concerned is present.