Visiting Paherpur Bihar
As the car drove in, I noticed the much secured wall of the Paherpur Buddhist Stupa. It looked well built and stylish. Within few minutes after passing by the wall I caught the first glimpse of Paherpur ‘temple’, one of the oldest Budhist Stupa in Bangladesh. (Noticed that in one of the introductory sign posts at the site, the stupa is introduced to the visitors as one of oldest in the South of Himalays)
...Yes, of course I have seen the image of Paherrpur Budhist Bihar many a times in the photographs of Bangladesh Parjatan Cooperation and many other sources but when I saw it all by myself for the first time, I immediately noticed that the structure was looking somewhat stumbling and thought that I perhaps did not have the right idea of its height. After all I have only seen it in the pictures but I was wrong. Later with the help of our guide, I came to know that during the reconstruction of the site in 2001 along with many other things, the structure was elevated. I sensed all the pictures I have seen perhaps was taken prior to this ‘reconstruction’ work!
I however thought whether this was necessary at all. (I asked the guide whether he would be able to brief us on the methodology of this last reconstruction. His answer sounded insufficient to my queries. At my prodding however the guide pointed out that the elevation has ensured that some parts of the Stupa are now off limit to the public. Well that explanation sounded strange to me and I just hoped that that should not the reason for its reconstruction. An archaeological site of this magnitude having to bear the brunt of unruly visitors is the last thing I expected to hear but the guide showed me that that was the case pointing to some callous protective measures, again to keep the upper areas off limit! The Terracotta have been reconstructed too with scanty information on which were the new ones and which were the ones found during the excavation.
After entering the main structure of Paherpur Bihar, the first thing you will notice is the Teracotta plaques fixed at the walls of the main structure. It is said by historians that the plaques depict the ‘earliest evidence of aboriginal people’s life in the early medieval Bengal’ Hossain 198..) So for historians this Bihar along with some other sources, is a ‘treasure trove’ for earlier forms of lives and activities in Bengal. However, the invocation of the word ‘aboriginal’ with contemporary connotations always poses an epistemological issue of how to view these objects for an analysis. Spivak would perhaps say this use of the word ‘aboriginal’ is a reification of the colonial discourse!
Here I try to take into consideration some of my immediate thoughts on seeing this archaeological site.
1. Why was it necessary for culture experts to raise this structure? What were the considerations?
2. Is it to make the site more attractive to the tourists?
3. How raising the structure of an archaeological site has any thing to do with history? or alternatively, does making the structure higher and dominating, have anything to do with history or say ‘our heritage’?
I suspect in archaeology, the discipline per excellence which deals with these questions, have two schools on these questions. These questions came to my mind when I came to know from the guide that much of the Teracotta that still remains affixed with the Stupa have been reconstructed according to the ‘shapes and size’ of the earlier plaques and the ‘original’ ones. The ones which were found during the excavation have been removed and kept in the store of the Museum.
Instead the authorities during its reconstruction decided to ‘reconstruct’ them on the basis of ‘whatever could be understood from the ‘original’ plaques. I was curious to know that actual process and the guide corroborated with whatever he knew and heard on this. That some Indian terracotta artists were invited, that they completed the art work on the site and then the terracotta were taken for burning. I was also told that it took almost 6 months for them for an approximate twelve artists to actually complete the terracotta work. The guide told us that there are few terracotta plaques which are still left with the upper floor of the Bihar. But none remained at the lower floor walls as they were stolen at various times!
...Yes, of course I have seen the image of Paherrpur Budhist Bihar many a times in the photographs of Bangladesh Parjatan Cooperation and many other sources but when I saw it all by myself for the first time, I immediately noticed that the structure was looking somewhat stumbling and thought that I perhaps did not have the right idea of its height. After all I have only seen it in the pictures but I was wrong. Later with the help of our guide, I came to know that during the reconstruction of the site in 2001 along with many other things, the structure was elevated. I sensed all the pictures I have seen perhaps was taken prior to this ‘reconstruction’ work!
I however thought whether this was necessary at all. (I asked the guide whether he would be able to brief us on the methodology of this last reconstruction. His answer sounded insufficient to my queries. At my prodding however the guide pointed out that the elevation has ensured that some parts of the Stupa are now off limit to the public. Well that explanation sounded strange to me and I just hoped that that should not the reason for its reconstruction. An archaeological site of this magnitude having to bear the brunt of unruly visitors is the last thing I expected to hear but the guide showed me that that was the case pointing to some callous protective measures, again to keep the upper areas off limit! The Terracotta have been reconstructed too with scanty information on which were the new ones and which were the ones found during the excavation.
After entering the main structure of Paherpur Bihar, the first thing you will notice is the Teracotta plaques fixed at the walls of the main structure. It is said by historians that the plaques depict the ‘earliest evidence of aboriginal people’s life in the early medieval Bengal’ Hossain 198..) So for historians this Bihar along with some other sources, is a ‘treasure trove’ for earlier forms of lives and activities in Bengal. However, the invocation of the word ‘aboriginal’ with contemporary connotations always poses an epistemological issue of how to view these objects for an analysis. Spivak would perhaps say this use of the word ‘aboriginal’ is a reification of the colonial discourse!
Here I try to take into consideration some of my immediate thoughts on seeing this archaeological site.
1. Why was it necessary for culture experts to raise this structure? What were the considerations?
2. Is it to make the site more attractive to the tourists?
3. How raising the structure of an archaeological site has any thing to do with history? or alternatively, does making the structure higher and dominating, have anything to do with history or say ‘our heritage’?
I suspect in archaeology, the discipline per excellence which deals with these questions, have two schools on these questions. These questions came to my mind when I came to know from the guide that much of the Teracotta that still remains affixed with the Stupa have been reconstructed according to the ‘shapes and size’ of the earlier plaques and the ‘original’ ones. The ones which were found during the excavation have been removed and kept in the store of the Museum.
Instead the authorities during its reconstruction decided to ‘reconstruct’ them on the basis of ‘whatever could be understood from the ‘original’ plaques. I was curious to know that actual process and the guide corroborated with whatever he knew and heard on this. That some Indian terracotta artists were invited, that they completed the art work on the site and then the terracotta were taken for burning. I was also told that it took almost 6 months for them for an approximate twelve artists to actually complete the terracotta work. The guide told us that there are few terracotta plaques which are still left with the upper floor of the Bihar. But none remained at the lower floor walls as they were stolen at various times!
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