1

NCH 101 ASSIGNMENT 2020 SUMMER

ASSIGNMENT TOPIC - KATOJI TEMPLE
NAMES AND STUDENT ID (GROUP H )
1. NAME – RAHUL ROHIT
STUDENT ID 1910967

2. NAME - NAFISA AHMED NOOR

STUDENT ID – 1910318

3 . NAME - MD RABIUL HASAN

STUDENT ID – 1910549

4. NAME - FARHAN NOOR DEHAN

STUDENT ID – 1920269

5. NAME - TITAS BASAK

STUDENT ID - 1910926
 INTRODUCTION
History often tells us that race, religion and nationality all ebb away with the passing of time, as
everything has its own way of diminishing in their glory and existence with time or natural causes.
Kantoji temple is one of the most marvelous and national heritage resources in Bangladesh. It is also one
of the most oldest temple in Bangladesh. The temple is situated at Dinajpur district in Bangladesh. The
temple was commonly known as kantaji temple or kantajew temple. The correct name of this temple is
Kantanagar Temple. The tample belongs to the popular hindu kanta or kishna and this is the most
popular with the Radha-Krisna cult. Kantaji temple is also one of the most magnificent architecture and
religious effects in Bangladesh. The kantajew temple is also famous for its mythological works and
myths of story and legends. The temple carry out our glorious past and glorious architecturical
work in Bangladesh. Among the architectural heritage sites that take Bangladesh to an international
level, Kantaji Temple is a prominent one. It is an excellent example of brick and terracotta temple in
entire Bengal. The temple is also known for its red brics and at the wall of this temple we can see the the
Bengali myth and old religious story . The kantaji temple is one the most valuable and fabulous work in
the entire of the world. Kantjew temple is on of the most valuable UNESCO authorized world heritage
archaeological resource in world. The temple also reflects excellent terracotta work.
 HISTORY OF KANTAJI TEMPLE
The civilization of Bangladesh is also a
many years old. Once upon a time in
Bangla was the richest region of the
Indian subcontinent. The kantoji temple
at kantanagar is a late – medieval Hindu
temple in Dinajpur , Bangladesh.
(bangla pedia, 2014)” The confusion
about the date of its construction can be
settled from the record of a chronogram
in the Sanskrit stone inscription, fixed
on the northeast corner plinth of the
temple. It records that Maharaja Pran
nath of Dinajpur began its construction
about 1722.
His adopted son Maharaja Ramnath
completed it, in Shaka era 1674 (1752
AD) in order to propitiate the consort of
Rukmini in fulfillment of his father’s
wish. However, in the early 20th
century Maharaja Girijanath Bahadur restored it substantially, except for the missing nine spires.
It was built by maharaja pran nath. Its construction started in 1702 and ended in 1752 during
the region of his son maharaja ramnath . it took another 48 years to complete the structure. The
temple belonging to the 18 century. “There is around 15000 terracotta works installed on the
walls of the temple” (the daily star, 2016). Temple since it was declared a protected monument
by the Government in 1960. “ Around 1897 the navratna or nine spired (in which the temple
was built in) was destroyed. This iconic temple was later renovated and was financed by
the Asian Development Bank under the World Heritage of South Asian Tourist
Infrastructure Development Project. This renovation was supervised by the Archeology
Department in 2015.” (dhaka tribune, 2016). There is confusion about the date of
construction. It was settled from a chronogram record inscribed in the Sanskrit stone fixed
on a northeast corner of the temple. Here it is recorded that Maharaja Pran nath of Dinajpur
started its construction about 1722 which was completed by his adopted son Maharaja Ram
nath in 1752 AD. It was done to propitiate the consort of Rukmini. Later, Maharaja Girijanath
Bahadur restored it in the early 20th century. But still, the nine spires are missing. The
department of archaeology has been protected by since 1960 officialiy.
 LOCATION OF KANTAJI TEMPLE
Kantanagar Temple, commonly known as Kantaji
Temple or Kantajew Temple (Bengali: কান্তজীর মন্দির) at
Kantanagar in Bangladesh. Dinajpur district is on of the
largest district in Bangladesh. The total distance of dhaka to
Dinajpur is 359.9 kl . “Dinajpur
district (Bengali: দিনাজপুর জজলা) is a district in
the Rangpur Division of northern Bangladesh. Dinajpur is
the largest district among all sixteen northern districts
(wikipedia, 2020)of Bangladesh. Dinajpur was once a part
of the ancient state of Pundravardhana. Devkot which
rotated as the capital of Lakhnauti was located 18 kilometers
(11 mi) south of Dinajpur town. It is also called "City of
Maharajas".The British administrative control in Dinajpur was established in 1786.[2] Dinajpur
was the biggest administrative district of undivided Bengal. In 1765 the British got the Dewani
of Bengal and in 1772 an English District Collector and Chief of Revenue was appointed in
Dinajpur. The area was then notorious for lawlessness. Mr Marriott was Collector in 1786. Next
to him Mr Red Fern and Mr Vansittart were Collectors for short periods. The next Collector Mr
Hatch started to exercise judicial powers too. The District Magistrate's area at that time extended
to Malda, Bagura and Dinajpur. In the last decade of the 18th century indigo plantation started in
the district. At the time of Partition of India in 1947, part of greater Dinajpur district was
included in West Bengal and it was named West Dinajpur district. People of the district took part
in the Tebhaga Movement and also had significant contribution in the War of Liberation of
1971".[2]” (wkipedia, 2020)

cordinate z Of kantaji temple

‘DMS Coordinates of temple

Decimal
25° 47′ 26″ N, 88° 40′ 0″ E “25.7904° N, 88.666
25.790556, 88.666667
Geo URI geo:25.790556,88.666667
UTM 45R 667106 2853547
Zz
Type landmark
Article Kantajew Temple
(edit | report inaccuracies)’’ (Toolforge, n.d.)

How to go kantajew temple

Take a bus or train from dhaka to Dinajpur .Upon arrival to the dinajpur get on a bus toward
takurgon and tell them you will go to kantajew temple . they wuill drop you at the nearest bus
station in the temple. Take a auto rickshaw to go there. Knatajew temple is always open for
visitors. You can enter the temple in the day . Being a religious site the temple authority don’t
take any visiting charge.

ARCHITECTURAL ATTRACTIONS OF KANTOJI TEMPLE

The architecture of Bengal which compare
the modern country of Bangladesh and has a
long and rich history, blending indigenous
elements. There are lots of types structural
architecture like religious , official,
political etc.
The kantoji temple contains most richest
and indigenous ancient architecture
structure. The temple built in navaratna
style before the the temple caused by the
earthquake.

NAVARATNA ARCHITECTURE
• “The navaratna style of temple architecture (Sanskrit: नवरत्न, meaning “nine gems”)
incorporates two main levels, each with four spired corner pavilions, and a central pavilion
above, for a total of nine spires. The style arose in Bengal during the eighteenth century as an
elaboration of the pancharatna style that had five pavilions (four at the corners and one
above).” (OFFROAD BANGLADESH, 2017)

The kantoji temple is most famous for its terracotta . it is the best example for terracotta
history of Bangladesh. The whole temple contains terracotta.

TERRACOTTA

1. “red-brown clay that has been baked but not glazed, used for making pots, etc.

terracotta pots/tiles/roofs” (OXFOARD LEARNERES DICTONARIY, n.d.)

2. “a red-brown colour” (OXFOARD LEARNERES DICTONARIY, n.d.)

3. “erracotta, terra cotta or terra-cotta (pronounced [ˌtɛrraˈkɔtta]; Italian: "baked
earth",[2] from the Latin terra cocta),[3] a type of earthenware, is a clay-based unglazed or
glazed ceramic,[4] where the fired body is porous. Terracotta is the term normally used
for sculpture made in earthenware, and also for various practical uses
including vessels (notably flower pots), water and waste water pipes, roofing tiles, bricks,
 and surface embellishment in building construction.[5] The term is also used to refer to the
natural brownish orange color of most terracotta, which varies considerably.[not verified in
body”
(wikipedia, 2020)

The entire outer surface of the kantoji temple is exquisitely established with terracotta
plaques which contain flora and fauna, geometric facts, mythological scenes from the
Ramayana and the Mahabharata, and the contemporary social scenes and favorite pastime.
The idol of Kantaji is kept in the garvagriha of the temple in its ground floor.

TERRACOTTA PICTURE 1

TERRACOTTA PICTURE 2

Terracotta Decoration
Bengali Hindu temple architecture is unique and many of these temples are covered on the outer
walls with terracotta (carved brick) reliefs. Outer walls of the Kantonagar Temple is also covered
with terracotta reliefs. It is one of the greatest example of terracotta architecture of Bangladesh.
The meaning of Terracotta is “baked earth “it’s a Latin word. Terracotta is a type of stoneware,
which is ceramic based on unglazed or glazed clay where the fired body is absorbent. In
earthenware, Terracotta is the term usually used for sculpture made, and also for various
functional uses including flower pots, water, and wastewater pipes, tiles which used in roof,
bricks, and surface embellishment in building construction. Most terracotta is brownish orange
color &the term is also used to refer to the natural, which varies considerably .(Jafar et
al.,2017)Kantonagar temple has very beautiful terracotta of designs of human in their dancing
postures, hunting postures, conjugal postures, floral decorations, animal figures.

“ Every available inch of its wall surface from the base to the crest of its three stories, both inside
and out, pulsates with an amazing profusion of figured and floral art in unbroken succession.

The vast array of subject matter include the stories of the MAHABHARATA (Mahabharata) and
the RAMAYANA (Ramayana), the exploits of Krisna, and a series of extremely fascinating
contemporary social scenes depicting the favourite pastimes of the landed aristocracy. The
astonishing profusion, delicacy of modeling, and the beauty of its carefully integrated friezes has
seldom been surpassed by any mural art of its kind in Bengal. However, even in its bewildering
abundance of diverse motifs, one can observe a carefully arranged thematic scheme in the
composition of subject matters at different levels and spaces on the temple wall.

In general pattern of terracotta decoration of the temple's outer walls, the lowest four basal
panels, running parallel across the four faces, depict from bottom upward, immediately above the
plinth: (a) a recurring floral motif, consisting of full blown rosettes alternated with a four-foiled
foliate pattern; (b) the second frieze portrays contemporary social scenes and the hunting parties
of the landed nobility; (c) the third parallel panel above depicts an intricately designed series of
full blown rosettes commonly found on earlier Sultanate mosques such as at the SHATGUMBAD
MOSQUE, BAGHA MOSQUE, KUSUMBA MOSQUE, CHHOTA SONA MOSQUE etc .Someother depicts

animated hunting scenes of wild games, royal processions of elephants, horses, camels, and
dainty ox-carts of the nobility with their retainers in Mughal dress and arms. The richly
caparisoned majestic elephants and splendid stallions, their chariot and harness are vividly
delineated; corpulent zamindars are seen squatting in their gilded palanquins puffing from
luxurious terracotta with long sinuous pipes. Still other panels portray river cruises on long slim
boats crowded with revellers; squads of soldiers often wearing European dress are also shown
marching with drawn swords and even muskets.

Mythological scenes on the third register depict the nativity of Krsna (KRISHNA); the demon King
Kangsa; successive attempts to kill the infant Krsna; Krsna's killing of the Putana ogress and the
Bakasura or crane-demon; the lifting of Govardhana mountain, the killing of Keshi; the quelling
of the snake-demon, Kaliya, and Krsna's pleasure ride on a long slim boat with revellers. The
south face of the temple also presents stories from the Ramayana in a somewhat confused
sequence. Ramayana stories continue on the east face. Here the exile of Ramachandra, Sita, and
Laksmana in the Panchavati forest; Laksmana's striking off the nose of Shurpanakha; the
abduction of Sita by Ravana from Dandakaranya; Jatayu's futile attempt to obstruct the chariot of
Ravana; the captivity of Sita in Ashoka Forest; the fight between Bali and Sugriva with their
monkey followers for the throne of Kiskindhya; Ramachandra's sapta tala veda and Sugriva with
his monkey followers and their palaver with Ramachandra are shown in striking details. The
north face predominantly portrays scenes of Krsna and Balarama. Thus Krsna's various marriages
and cowgirls carrying milk and curd pots in shika (string bags) suspended from pole etc are shown.
In the second register an interesting European battle ship is depicted in great details with soldiers
and a cannon.

The entire western face of the third register depicts various episodes from the Krsna legend, ending
in the slaying of Kangsa, the demon king of Mathura. It includes the annihilation of Kuvalayapida, the
monstrous killer elephant of Kangsa; and Radha's fainting fits on her failing to dissuade Krsna from
participating in Kangsa's sport tournament in Mathura. Of particular interest is a group of cowherds
carrying milk and butter in string bags, suspended from a pole on shoulder, which is still a familiar
scene in rural Bengal.

The elaborate panels over the spandrels of multi-cusped arches exhibit animated battle scenes from
the great epics and also rasa-mandala, with dancing Radha-Krsna couple within circles, and a host
of accessory figures. The spirited battle scenes of Kuruksetra and Lanka are depicted with great
vitality and invention by the folk artists. In the seemingly inexhaustible store of terracotta mural
decoration on the temple wall, the folk artists, mostly from Krsnanagar, often have left behind the
imprint of their keen awareness of the environment in which they lived. The deities they depicted
in panels were sometimes treated with an astonishing sense of reality and as intimate and
familiar members of their society. For instance, an extremely interesting series of upright
western panels on the bottom register of the western face depicts Krsna plucking coconut from
the tree and handing them over to one of his companions climbing halfway up the trunk, who, in
turn is delivering these to another companion waiting on the ground. It is a familiar scene in
Bengal where the deity is intimately shown as one of the members of society. Individual plaques
often display idiosyncratic compositions such as the one found at the inner face of the corridor
on the south face where Radha-Krsna are shown dancing on an elephant very cleverly composed
of a dozen human figures. Again, on the northern face, Krsna is depicted with one of his newly
wedded bride seated on a pidi (low wooden stool) under a canopy where she is coyly holding her
veil with one hand over her head and bashfully peeping at her lord. This, of course, is an
endearing familiar wedding scene in rural Bengal. In the bewildering crowd of friezes, one may
even find Krsna squatting nonchalantly with folded knees, tied with a gamchha (a strip of cloth)
round the knees and back, in a posture altogether uncommon among Bengalees, but common
among the working classes in adjacent Bihar.” (bangla pedia, 2014)

Structural Architect
The famous British archaeologist Francis Buchanan-Hamilton mentioned that “the temple is the
finest that I have seen in entire Bengal”. He also wrote “no other monument is comparable to
Kantaji Temple in terms of its precision, architectural superiority and aesthetic beauty”. In 1871,
some photos of the original Kantanagar temple were taken by British photographer John Henry
Ravenshaw. These photos show Kantanagar temple with nine spires, an archway on the south face
with ‘Thakur’s’ canopied chair on the verandah, and the base of one of the western pillars. These
photos are now at the British Library in London.
“The 15.84 sq km temple stands in the center of an oblong court (73.15m ' 36.57m) enclosed by
a pilgrim shed with a corrugated tin roof. Its main fabric pivots around a nuclear square cell
(3.04m), shooting up to a height of about 15.24m above its 1.005 m high plinth of stone, believed
to have been quarried from the ancient ruins of Bannagar near Gangarampur in Dinajpur. Three
other square outer shells in graded heights have been added to it, as much to variegate the plan as
to strengthen the central cella which carry atop a massive tower. The other eight ornamental
towers, now missing, occupied the eight roof corners of the lower two stories.

The curved cornice of the ground floor, sharply drooping at the corners, rise in the middle to a
height of 7.62 m from the plinth, while that of the first floor rises to 4.56m and that of the second
floor to 1.83 m. There are small square cells at each of the four corners of the ground and first
floors for supporting the heavy load of the ornate octagonal corner towers above. The temple
accommodates four rectangular corridors on the ground floor around the prayer chamber
measuring 9.17 m × 1.53 m and 4.57 m×1.22 m. On the ground floor, there are three multi-
cusped arched entrances on each side, each separated by two richly decorated brick pillars. The
number of arched doorways in the ground floor disposed in its four shells is 21; that of the first
floor is 27. The reduced second floor has only three entrance doors and three windows. A narrow
strip of staircase, merely 0.70m wide, built into the western second corridor, winds up through its
dark passage to the first, second, and third stories. A small derelict single spired temple, now
overgrown with rank vegetation, stands about one hundred yards north of the main temple
beyond the pilgrim shed, which is believed to have been erected by Maharaja Prannath in 1704
where he initially installed the Krisna icon, brought from Brindaban. The icon was later
transferred to the 'navaratna' temple when completed. It is now an abandoned shrine. It is a 16-
sided temple rising to a height of about 12.19 m and provided with a multi-cusped arched
entrance on the south. “ (bangla pedia, 2014) . “Kantonagar or Kantaji temple is located within
an of fifty two square feet(4.83 sq. meter). Its corrugated tin roof protects it from the elements.
Kantonagar temple is a three story building. On the ground floor and first floors of the temple
there are square cells that supports the corner towers. The first two floors have the four centered
and wide multi-cusped arches,. The second floor that only features three doorways. Narrow
staircases connect the various floors. The Kantonagar temple also has a prayer hall on the ground
floor and a sanctuary at the top of the structure.” (BANGLADESH.COM, n.d.). In the Kantoji
temple the plastered surface of the walls have immense rectangular and square paneling,Its
signature designs are visible in the magnificently laid edifice with ornate terracotta and the
Persian muquarnas work in stucco inside the half-domes over the entrance arches and mihirab
niches. The round outline of the domes with constructed necks, domes on octagonal drums with
lotus and kalasa finials as the crowning elements, the round pendentives to make up the phase of
transition for the domes and the multi-faced corner towers rising high above the horizontal
medieval architecture fortifications make it one of the most aesthetically marvelous examples of
18th century architecture. (ABM, et all,n.d) The divinity of the Kantajew temple is related to the
tales of Mahabharata and Ramayana, the two Hindu religious books. It also share the adventure
and spirituality of Krishna. The series of extremely fascinating contemporary social scenes
express the favorite leisure time of the aristocrat class.
There are also images of hunting scenes of wild games, royal processions of elephants, camels,
horses and dainty ox-carts of the nobility with their retainers in Mughal dress and arms.
The richly maintained majestic elephants, stallions, their chariot and harness are clearly
portrayed. There are also curving of the zamindars (Landlord) who are seen sitting in their gilded
palanquins smoking from luxurious hukkas with long pipes.
Mythological scenes are also seen on the terracotta of Kantajew temple , such as the nativity of
Krishna, the demon King and his uncle Kangsa, successive attempts to kill the infant Krishna;
Krishna's killing of the Putana(ogress) and the Bakasura (crane-demon). The detailing of the
Hindu scripture in its clay and crafted forms are very beautiful indeed.
The temple consists of deities which express the astonishing sense of reality. The endless panels
of terracotta art embellishing and ornamenting the wall surface of the Kantaji temple, giving it a
life and vitality of their own and are deeply imbued with the spirit nourished for thousand years
on the silt-laden soil of Bangladesh.
The navratna or nine spired (in which the temple was built in) was destroyed around 1897. This
iconic temple was later renovated in 2015. (Taher, 2016)

LIFE STYLE
The kantaji temple is one of the most oldest and historical place in Bangladesh.. Maharaja
Prannath of Dinajpur began its construction about 1722. its construction started in 1704 CE
and ended in the reign of his son Raja Ramnath in 1722 CE. The temple was created by
lots of people such like as workers , artists, architectures and so many . The workers who are
directly involved with to built the temple most of them are not a rich or well shaped as well as
they were poor. They used to live day to day income. The king Prannath is a ruler and king of
that time. He used to live a rich life and he is a very religious person. His lifestyle is a good and
well shaped. The kantoji temple is hindu religious temple. So there are much hindu priests and
religious scholars who used to conduct the temple rules and used to make spiritual and religious
festival and worship of god . The priest are the important person of this temple . They used to
live an ordinary life. They are always dedicated to the god and specially to the Radha Krishna.
There is place for living priest and other staffs whom are worked for this temple. The folk artists
who lent their masterful touches to the temple were superb storytellers. The folk artist are the
main back born of this historical terracotta and built this temple. The folk artist are made this
terracotta and they used to mention the ritual fact on the wall of temple. They are really talented
and creative person. They worked so hard to contribute to this temple made a classic, historical
temple. They used to live their life by using this artistic fact. They worked their heart and soul to
make this artistic act terracotta and paintings. They also live a simple life. At present there is also
the historical ritual and festival which are also be maintained. ‘The Dol Purnima Utsab, a festival
of colours of the Hindu community. Dol Purnima or Dol Jatra is a major festival of hindu
community. This festival is dedicated to Sri Krishna. On this auspicious day, an image of
Krishna, richly adorned and besmeared with colored powder (Abir in Bengali and assam and
Odisha), is taken out in procession in a swinging palanquin, decorated with flowers, leaves,
colored clothes and papers.’ (wikipedia, 2020)

At dol Purnima in kantioji temple every year there held a festival at the premices of kantoji
temple . There has been arranged a special occasion. Arranged a special prayer for god(radha
krisna ). Many of people gather from across the country. On this day hindu community plays
with color . At festival at kantoji temple priest make the worship of god. A fair is held on this
festival. The other one which is also a most generous festival held at kantoji temple is rash
Purnima. “Shakta Rash or Shakta Rasa or Shakta Ras (Bengali: শাক্তরাস) is the most
celebrated festivals of Nabadwip, West Bengal, India. This festival celebrated thirty-five days
after the autumnal Durgapuja celebration or fifteen daus after Kali puja in Kartik Purnima. To
the people of Nabadwip Rash Festival is everything. Entire commonwealth are eagerly waiting
for this festival all year around.[2]” (wikipedia, 2020). Rash Purnima usely held at end of
November.rash Purnima is a joyful festival at hindu community. The priests of the temple are
used to make and arranged the ritual and make festival great. The rash Purnima there had been a
fair and many of dramer they called dhaki in Bengali they came there and make beautiful
attraction .

PRESENT CONDITION
Kantonagar (Kantaji or Kantajew) temple is one of the beautiful and magnificent temple situated
at Dinajpur in Rangpur division, Bangladesh. Kantaji Temple is located in the graceful heart of
beautiful countryside of Dinajpur. This is a stunning block of religious artwork, and is one of the
most impressive Hindu monuments in Bangladesh. It is also a famous local heritage in
Bangladesh.

Kantaji temple represents how artistic and creative the late-medieval community Bengal had
been. The temple lies 287 kilometers (178.24 miles) northwest of the capital Dhaka. Kantanagar
Temple is about 19.31 kilometers (12 miles) north of Dinajpur town, and about a mile west of
Dinajpur-Tetulia highway across the Dhepa River. It has gained eminence as an outstanding
monument in Bangladesh for its fabulous terracotta embellishment. . Kantoji temple is one of the
greatest examples on terracotta architecture in Bangladesh and once had nine spires (towers), but
all were destroyed in an earthquake that took place in 1897.The Kantoji temple was later
renovated and was financed by the Asian Development Bank (ADB) under the World
Heritage of South Asian Tourist Infrastructure Development Project. This renovation was
supervised by the Archeology Department of Bangladesh in the year of 2015.
Kantanagar Temple is commonly known as Kantaji Mondir or Kantajew Mondir (Temple) at
Kantanagar. This Hindu temple is one of the most magnificent religious buildings belonging to
the 18th century. The temple dedicated to Kanta or Krishna and his wife Rukmini. The temple is
very popular with the Radha-Krishna cult in Bengal. There is currently around 15000 terracotta
(carved bricks) works installed on the walls of the temple. (Yusuf, 2016)

At present, the temple is famous for its beautiful terracotta ornamentation. The entire temple is
decorated with 15,000 terracotta plaques (curved bricks) that express flora and fauna, geometric
motifs, mythological scenes from epics Ramayana and Mahabharata (The two religious book of
Hindu religion), the exploits of Krishna (Rasa-Lila), and contemporary social life. All these
wonderful decorations give the temple an eye-catching and majestic look and notable heritage
value. The idol of Lord Krishna or Kantaji (“Thakur”) is kept in the ‘Garbhagriha’ (womb
chamber) of the temple on the ground floor. (Ali,2018)

A small derelict single tower temple, now overgrown with the farmlands, stands about one
hundred yards north of the main temple beyond the pilgrim shed, which is believed to have been
built by Maharaja Prannath in 1704 where he initially installed the Krisna idol, brought from
Brindaban(India). The icon was later transferred to the 'navaratna' (main) temple when
completed. It is currently an abandoned shrine. It is a 16-sided temple rising to a height of about
12.19 meter (40 feet) and provided with a multi-cusped arched entrance on the south. Every
available inch of its wall surface from the base to the crest of its three stories, both inside and
out, pulsates with an amazing profusion of figured and floral art with terracotta in unbroken
succession.

The astonishing profusion, delicacy of modeling, and the beauty of its carefully integrated friezes
has hardly been surpassed by any mural art of its kind in Bengal. However, even in its
bewildering abundance of various motifs, one can observe a carefully arranged thematic scheme
in the composition of subject matters at different levels and spaces on the temple wall.

In general pattern of terracotta(curved bricks) decoration of the temple's outer walls, the lowest
four basal panels, running parallel across the four faces, depict from bottom upward,
immediately above the plinth: (a) a recurring floral motif, including full blown rosettes alternated
with a four-foiled foliate pattern; (b) the second frieze portrays contemporary social scenes and
the hunting parties of the landed nobility or aristocrats; (c) the third parallel panel above depicts
an intricately designed series of full blown rosettes usually found on earlier Sultanate mosques
such as at the SHATGUMBAD MOSQUE, BAGHA MOSQUE, KUSUMBA MOSQUE, CHHOTA SONA
MOSQUE etc.(Banglapedia, 2014)
The temple also organizes “The Rash Mela” every year. Almost 200000 people gather around the
temple during this time. It has a great significance to the people and the pilgrims. During the
celebration, the Kantajiu idol (Radha-Krishna Bigroho) of the Kantanagar Temple is brought at
the Rash altar (Rash Bedi) in the presence of thousands of devotees. These devotees came from all
over the subcontinent especially India and Nepal. The rituals are performed on a full-moon night
in accordance with a tradition that dates back five hundred years ago, connected with Rajas (Kings)
of Dinajpur. The festival itself transforms the whole region. A veritable human sea swells and
pulses around the Kantanagar Temple area with thousands of devotees from India, Nepal, as well
as across Bangladesh, as pilgrims from Dhaka, Thakurgaon, Barisal, Faridpur, Rangpur,
Madaripur, Magura and Bhola flood in for the festivities.
During this period the temple authorities provide food and entertainment for the philgrims. The
latter includes ritual songs (Kirtan) and Radha-Krisha dances, much to the delight of the attending
pilgrims and in keeping with traditional temple hospitality. In addition to the purely religious
rituals, the festival organizers also arrange a month-long mela(carnival) at the temple premises.
There, hundreds of traders from different parts of the country arrive with their products.

PROBLEMS OF KANTOJI TEMPLE

Kantoji temple is one of the most oldest temple in Bangladesh. It is historical architect built in
Bangladesh. But it has face much problems.There are no such team like to preserve the
architectural facts. ’In different public development strategiesin heritage sites plays a significant
role and it is generally considered as an important asset in recent socio -economic development.
Among the different heritages in Bangladesh , kantaji temple is one of them and the artistic
beauty, architectural style, prodigious structure has made the entire view of kantoji temple so
much soothing. But due to proper care there is a huge amount of social cost and some major
problems behind the social cost are lack of enough advertisement of kantoji temple ,lack of
appropriate tourist facilities in the area of kantoji temple , lack appropriate coordination of
different authorities etc. As kantaji temple is a major tourist attraction of our country. But there
are some major problems like lack of enough advertisement of Kantaji temple, lack of appropriate proper security
in the area of Kantaji temple, lack of appropriate coordination of different authorities etc. and for these
problems creates and society is losing a lot of money and it is also rising social cost. The main necessities
of heritage is the values of benefits it generates. According to Deacon at al.(2013) the benefit can
be divided into two categories. ‘One is ‘use values’ and the other is ‘nonuse values’. ‘ (academia,
n.d.)Use values are actually those benefits we get from those heritage. The economic case for
government intervention in heritage lies in the community wide nature of many of these benefits. The
aesthetic quality of a building’s heritage facade, for example, will be of value to passers-by as well as
to the building’s owner .In economic terms, these benefits are positive externalities or public goods’
(academia, n.d.). The main problem of the kantoji temple is the insufficient transport system , lacking
advertisement, lacking of maintains of the architectural facts and fail to attract tourist from outside of country.
These are the main problems of kantoji temple though are may be some problems but these are bullet point of
problems. The lacking of attract tourist its cost social economic condition. Social economic condition are the most
important things for a country national heritage and country. Kantoji temple is responsible for improving our social
economic condition . Because with these heritage we can present our country to the whole world. So we have to
make this way to keep maintains and advertise to the whole world to introduce the country through kantoji temple.

RECOMMENDATIONS
Bangladesh is the land of beautiful scenic and historical beauty. Tourists are attracted by the blessings of our
country. Kantoji temple is one of the most blessing and historical architectural fact in our country . But there are
some problems kantoj temple So , we would like to give somer ecommendation improve kantoji temple situation.
At the same time Kantagi temple can be a great blessing for our country asa historical edifice and an attractive
tourist spot. But the cost benefit of heritage is very important , here and in our country we cannot get the best
opportunity form tourist spot like Kantaji temple as there are a huge amount of social cost related to the heritage.
Therefore, our tourists are not being interested to the spot and we are also losing foreign tourist at the same time. To
reduce the social costs related to Kantaji templesome initiative should be taken.

• ‘For improving the Kantaji temple as a tourist spot, enough investment should be ensured by the
government or authority
• Architectural beauty is one of the main attractions of Kantaji temple and it should be preserved and
maintained properly. Regular case and observation from selected authority should be ensured
• The main way to visit Kantaji temple is by road or by train and the road and railway network system
should be improved as much properly
• Government should come forward to promoting the region as brand destination which will increase the
popularity of Kantaji temple
• Accommodation facilities is very important for tourist and for Kantaji temple accommodation facilities
should be ensured for tourist
• The involvement of local people in tourism activities should be increased and it will help to develop the
tourism sector of Kantaji temple more. We have to make local guidance who knows thw temple well.
• The involvement of local people in tourism activities should be increased and it will help to develop the
tourism sector of Kantaji temple more
• Safety and security is a major concern of our county after attack of Holey Artisan Bakery On the night of 1
July 2016. Therefore, safety and security of the tourists should be ensured properly in Kantaji temple by the
government
• There should be a some sorts of team whom will be able to solve any kind of problems. Like as there should
be security team to ensure proper security area of the temple. There should be also a medical team whom
will be able to get primary treatment to the injured people.’ (academia, n.d.)

So this are the main things which are hihghly coureged to improve this facilities.
Attract the our national heritage as like as kantoji temple we should take care of this temple.
 CONCLUSION
bangladesh is a land of beauty and bases with manu historical architectural fact and structure.
Kantoji temple is one of them .. Kantoji temple is a hiostorical a architectural structure. This
temple represent our culture and the rich history of our country. We have protect our own
resource and national heritage.

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