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SECTION 1.1 Importance of the Study: Pre-Ahom Assam has yielded a fairly large number of stone sculpture in the context of independent cult images as well as that of 1 architectural one. Madan-Kamdev, popularly known as the Khajoraho of Assam is one such yielding point of exquisite antiquities. Situated on the north bank of mighty river Brahmaputra and at a distance of 5 k.m. south east of modern Baihata Charali of Kamrup District (Rural) of Assam, this magnificent archaeological site comprises of a group of ruined temples. However, reputation of this site is mainly because of its elegant sculptural exposure of both in the form of round and relief. Despite of its popularity, the history of this great centre of plastic activities still remains under the warp of an obscurity, leaving a wide room for conjectures and hypothesis from time to time. Except some stories and indirect references in the treatises like the Kalika Purana and in the Yogini Tantra, no other form of evidences are there to prove the historicity of this famous temple site. Thus, the sculpture along with runious . architectural parts lying scattered to this temple complex are the best form of evidences survive here to compose the history of this majestic centre of plastic activities at Madan-Kamdeva. But, unfortunately, no such attempt has been made to analyse the same in a proper sense of term. 1. Barpujari, H.K (ed): Comprehensive History of Assam Vol. I,1990, p.456.

2 Aesthetics have always maintain a good sense of social obligation in their exposure. Accordingly the sculptures of Madan-Kamdev also have the potentiality to flash light on a good number of social ethos, once popular in the society of ancient Assam. Thus, the study is the need of the hour not only to put forward the history of this majestic temple complex but also to comprehend different social issues which have some explanation on the light of sculptural arrangements available here at Madan-Kamdev. SECTION 1:2 Statement of the Problem : It was in 1855, one British officer Captain Delton informed the world, through one of his articles published in JASB, 2 about the existence of a vast archaeological ruins near silsako of modern Sangsari village of greater Guwahati region of Assam. Though he failed to code the name of this archaeological site, but still the very location as he described, inspired us to consider him as the first person to bring this site into limelight. But unfortunately, after him for another hundred years, the site wait for scholarly attention. It was in early forties of 20 th century, one Tarini Kanta Sarma, an instructor of Basic Education, reiterated the importance of this famous archaeological site in an article published in Journal of Assam Research Society ³ Later, in an another article published in Journal of Assam Research Society, 4 Sarma tried to highlight Informant Anail Deka, Librarian, Pub Kamrup College, Baihata Chariali. Sarmah, T.K.: Ruins of A Hindu Temple in Kamrup District, 2. 3. 4. Vol.X, 1943, pp. 3-4. 3 Sarmah, T.K.: The Temple where Bukhtiyar took shelter, Journal of Assam Research Society, Vol.XII, 1949, pp.1-2.

3 the importance of this historical site in connection with first Muhammadan invasion in Assam during 1206 A.D. In this article, he tried to identify this spot as a sheltering house for the Muhammadan army after being intercepted by the Kamrupi King. It was in 1977, the Directorate of Archaeology, Assam had decided to take the responsibility of this site and accordingly they have started some exploration work there in phase manner. Initially, a very small area adjacent to the living Madan-Kamdev temple was selected for exploration. From the very first hour, the work revealed immense archaeological potentialities of the site, as it exposed, just after cleaning a large number of images and few structural parts of ruined temples. Thus, after having clues to the existence of more ruins, the department decided to suspend the work temporarily so to start it again in a more composite manner in near future. Accordingly, after having prolonged survey and cleaning of jungles, the department reopened their trances during 1981-82. This time, they have spotted out the existence of more than one dozen temples of both stone and brick masonry work in this site, but unfortunately all these temples are found in a ruined state of condition. Similarly, it also exposes temple ruins in two of the nearby hillocks of Madan-Kamdev, namely Jalpeshwar and Narasimha parvat. In a periodical manner, the exploration work is still continuing and almost in every time new discovaries are coming up. During these years, the department not only explored the edifices of a pancharatha temple, best ever built in the Brahmaputra Valley but also the relics of exquisite sculptural works once affixed to the walls of those magnificent temples.

4 But unfortunately during the period of inaction most of the stray sculptural identities lying scattered to the jungles at Madan-Kamdev reported to be stolen or shifted either by curiohunter or by religious minded people who intended to sanctify their manikuts, namgharh with these age old images. Directorate of Archaeology Assam, as being a part of their responsibility have constructed a well shaded structure of a site museum and give shelter to some of those scatteredly lying sculptures in the site. But this is not enough, still lot of things are there to do in the field of conservation. Delayed conservation has already registered a catastrophic effect almost on all available aesthetic product here at Madan-Kamdev [Madana-Kamadeva]. This has made their analysis almost a difficult task to achieve. So, it is the need of the hour to take positive steps to recover, if possible, those stolen items and conserve them in a more effective manner for future. SECTION 1:3 Review of Related Literature : In the national level, the study reflecting the sculptural trends and tendencies of different localities has already received an overwhelming support from the scholary world. Some of the famous work on this area are as follows: 1) Survey of Indian Sculpture, S.K Saraswati, 1975, Munshiram Manoharlal Pvt. Ltd., Delhi. This is a pioneering works which categorically described the inherent meaning of Indian sculptural exposition starting from the time of Indus Valley Civilization to the late Gupta period. t

2) 3) 4) 5) 6) 5 Maurya and Post Maurya Art, Niharranjan Ray, 1974, ICHR. This is another path finder in the field of sculptural study. This work has urnestly tried to have the sculptural study in reference to a socio historical aspects. History of Indian and Indonesian Art, Anand K Coomaraswami, 1972. Munshiram Manoharlal Pvt. Ltd..Delhi. This book thoroughly described the spirit behind the development of Indian aesthetics and its phase wise consecration through the period of greater Indian history. The Art and Architecture of India (Buddhist / Hindu / Jain), Benjamin Rowland, 1970, Penguin Book, Delhi. This work briefly described the history of Indian art with brief introductions to the phase wise development of Indian architecture and sculptures. Eastern Indian School of Medieval Sculpture R.D. Banerjee, 1981, Ramananad Vidya Bhawan, Calcutta. This work thoroughly describe various icono-sculptural standard of the sculptures found available in grater Bengal proper thus, explaining the facts relating to the E.I.S.M.A. of great Pala Sena dynasties. Metal sculptures of Eastern India, Bimal Bandapadhyay, 1981, Sandeep Prakashan, Delhi. This work beautifully described various physiognomical aspects of Bengal sculptures and their respective chronology.

6 7) 8) . 9) North Indian Temple Sculpture, Urmila Agarwal, 1995, Munshiram Manoharlal Pvt. Ltd., Delhi. This work deals with the peculiarities of north Indian temple sculptures and their social application. Erotic Sculpture of India, Devanga Desai, 1985, Munshiram Manoharlal Pvt. Ltd., Delhi. This is one of the most important work relevant to our study. It describe erotic imageries on the light of different socio-historical aspects of Indian history. Element of Hindu Iconography (four volume), T.A. Ganapati Rao, 1914, The Law printing house, Mount Road, Madras. This is the book which throughly helps the study in explaining various iconographical traits of the sculptures available at Madan-Kamdev. 10) Development of Hindu Iconography, Jitendra Nath Banerjec,. 1974, Munshiram Manoharlal Pvt. Ltd., Delhi. This is another book which helps the study in confirming the iconographical standard of the sculpture at Madan-Kamdev. 11) Iconographic Dictionary of Indian Religion, Gosta Liebert, Sri Satgure Publication (1976) 1986. 12) Illustrated Dictionary of Hindu Iconography, Margaret Stutley, 2003, Munshiram Manoharlal Pvt. Ltd. These two works (11 & 12) throughly describe the basics of Indian iconography to make our study more comprehensive in nature.

7 Thus, in Indian context study though have gained momentum, in the but in the state like Assam where numbers of ruined temples with fragmentary sculptures of different identities are there, this type of study, emphasing on different historical aspect has not received as yet much attention from the scholars. However, during the last few years there are four eminent scholars who deals the matter of Assamese art and architecture in a comprehensive manner. Their works are as follows- 1) 2) Archaeology of the Brahmaputra valley of Assam - R.D. Choudhury, 1985, Delhi. Historical Archaeology of central Assam (from earliest time to 12 th century A.D.) N.P. Choudhury, 1985, Delhi. 3) Architecture of Assam - P.C. Sarmah, 1988, Delhi. 4) Sculpture of Assam - M. Dutta, 1990, Delhi. 路 History is not merely a list of events arranged chronologically, but a valid integrated account of social, cultural, economic and political forces that had operated simultaneously to produce a historical event. 5 Thus, the above mentioned works, except the work of M. Dutta, are primarily on the line of archaeology where the parts of lucid historical analysis has suffered to a great extent, even M. Dutta also intentionally or unintentionally skip some of those keen socio-historical aspects which may have some explanation on the light of sculpture. Over and above, these works though have explained beautifully the overall plastic trend Koul, L.: Methodology of Educational Research, 1997, p. 418. 5.

8 of Assam, but failed to mention anything special about those exquisite antiquities available here at Madan-Kamdev. The fixation of a chronological slot for this temple complex in reference to the physiognomy of the sculpture and sometime on the basis of other archaeological evidences appeared to be the prime concern of these studies, while they ignore all necessary part, cultural history of Kamrupa on the light of those available aesthetic products, which has urgently been call for. SECTION 1:4 Scope of the study : The subject Critical Study of the Sculptures of MadanKamdeva has immense scope and utility as it will open new dimension to the methodology to study the cultural history of Assam. This is not merely a sculptural study in terms of physiognomy and iconography rather, the study with socio-historical approach gives a detail account of the cultural tastes of the people of ancient Assam. The sculpture, as seen at Madan-Kamdev itself has an inbuilt potentiality to illumine the facts relating to the cultural tradition of a country or region like Assam (Kamrupa). At the same time except the existence of exquisite antiquities, no other form of evidences are there to state the history of this famous archaeological site at Madan-Kamdev. Thus, the study, while analyzing those first hand evidences has the scope to establish ourself more near to the history of this giant cenre of plastic activities, as tried ever so.Over and above, this maiden endeavour to analyse the sculptural identities available at Madan-Kamdev has the potentiality to enrich the national history of art and culture

9 of our country as well as to highlight acute cultural bondage that Assam had enjoyed with other parts of India through the ages of its history. SECTION 1:5 Objectives: The study has four main objectives, first to analyse the evidences, both primary and secondary to ascertain rather hypothetically the historicity of this temple complex. The second objective of the study is to have an iconographical analysis of the sculptures; thus, to make and confirm their identity as far as possible. This study helps in understanding some of the acute religious issues of Kamrupi society at one time. Madan-Kamdev has earned its reputation for its erotic sculptures. Erotic sculptures specially the way of executing mithuna and maithuna sculptures always helps scholars in understanding different social issues. Thus the third objective of the study is to have an explanation of the erotic sculptures and their different socio-religious implications in the society of our discussion. Last objective is to have a comparative study of the sculptures of Madan-Kamdev with major contemporary Indian schools of art, mainly to confirm its slot to the whole paragon of Indian aesthetics.

10 SECTION 1:6 Methodology: It is an empirical study based on philosophical thought with a socio historical approach. Thus, observation is the guiding spirit of the study in evaluating different icono-sculptural standard of the sculptures available at Madan-Kamdev. Intensive field works in and around this famous archaeological site, interview with reputed persons on specific issues are two of the elementary methods used here to make the study scientific in nature. Along with that inchtape to take length and breath of the sculptures and the camera, to take photograph of them are the two important tools used as the parts of methodology generally followed in case of any sculptural study. A) Field Study : To carry out this research work, several visits have been made to Madan-Kamdeva [Madana-Kamadeva], and discussions were held with local inhabitants, members of the mandir Committee, purohita etc. on different issues like history of the temple as per their knowledge, about the traditional celebration of Kam triodasi tithi etc. Apart from that, during the course of the study, visits have also been made to Khajoraho, Orissa, south India along with some other important archaeological site in the province of Assam like DahParvatia, Numaligarh, Nagaon, Pingaleshwar, Kamakhya, Hajo etc. to understand different sculptural issues and use them to make study more comprehensive in nature.

11 SECTION 1:7 Sources: The sources of the study can broadly be divided into three categories. A) Primary Sources: Intensive Field work in the site and its adjourning areas and in some other important archaeological site. Contact with local people, purohita, Govt. official mainly of the department of archaeology and state museum of Assam, academicians etc. Deliberation with Pauranic literature, Tantras, inscriptions etc. B) Secondary Sources: Books. c) Others Sources: Etymological works, Journals, Bulletins, Reports, Research Papers, Electronic Media. SECTION 1:8 Chapterisation : For the discipline of the study, the research work has been divided into seven chapters. The introductory chapter comprises of a description of the geographical location of this famous archaeological site along with different scholarly attempt from time to time to bring this site into lime light. The chapter also explain the history of the exploration works done here in phase manner from its inception. This chapter also includes review of related literature, objectives of the study, scope of the

12 study, methodology, field work, sources, chapterisation and some other conceptual clearification of the study. The second chapter deals with history i.e. MadanKamdeva through the ages. This is a chapter of hypothetical analysis. With the help of some indirect evidences hailed from the kalika Purana the Yogini Tantra and from some other secondary literary sources, this chapter explains all possibilities regarding different historical issues of Madan-Kamdev like patronizing hands behind its construction, causes of its destruction, reason behind the selection of this site for the construction of this magnificent temple complex etc. Iconographical analysis of the sculpture is the primary concern of the third chapter, title as Icono-Sculptural Study where emphasis has been given first to identify those unidentified sculptures and then to examine the status of those other sculptures (as their identity has already been made by museum authority) to confirm their identity. About the possible date of their consecration, the study also intended to have the physiognomical analysis of the sculpture and thus to have a specific chronological slot to the whole temple complex at MadanKamdeva. The fourth Chapter is on Erotic Sculptures of MadanKamdeva. Explaining different socio-religious implications of those erotic explanations, this chapter has also intended to deal with very conceptual parts of those aesthetic arrangement to the walls of the temple. The fifth chapter Sculpture as the True Reflector of Society is a study of some of the keen social issues like class

13 distinction, position of women, food habit, music and musical instruments, economy etc. However, main emphasis of this chapter is to highlight different religious topics according to the reflection received from the available sculptural evidences. The sixth chapter titled as Madan-Kamdev, a Product of Pan-Indian Affiliation is a study of comparative analysis. Here the study intended to have a brief sketch of the character of the sculpture and architectural relics and to draw comparision with the product of different archaeological sites of Indian subcontinent, so as to have their uniqueness and confirm their slot to the whole paragon of Indian plastic tradition. The last chapter (Conclusion) of this dissertation mainly gives summary of the whole study. 鈽� 429