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 SI-IND-712101-08

 SUBAL SMRITI SANGHA
 [ BANTRA SARBOJANIN DURGOTSAV ]

  • Maa Durga Pratima
  • Maa Durga Pratima
  • Pandal Inner Decoration
  • Pandal Outer Decoration
  • Maa Durga Pratima
 
 
Puja Type :   BAROARI
 
Howrah
KADAMTALA
 
Year of initiation  1944  
 
Website :

 
 


HISTORY

The club is 67 years old and is still standing strong. The Puja in earlier years was mainly confined to few houses in the locality but somewhere down the line, it began spreading its wings and now, it is considered as one of the heavy weight Puja of howrah. The club has also tie up with foundations like CRY, BASIX etc. to name a few.


CHRONOLOGY

2010 Theme : Thakbe Bagh, Railet Bon, Bachao Sundarban
  Taking up a cause that needs all our empathy and help’. Our pandal and the décor in whole reflects this magnificent mangrove forest in all its glory and in the midst off all this festivity if we could convey this message to the few and many our effort shall have not then gone in vain.Our pandal has tried to replicate the flora and fauna of Sunderbans – the famous sundari tree, along with goran, gehua, hetal, kakra . As you enter on one side are the sand banks along with their sentinels the “magar” ( crocodile) lying in wait for the innocent and careless prey.With the manmade ‘dongas’(boats) , to the elaborately created twisting and turning riverine tracts replete with fishes and crabs, the whole ambience is meant to make you think of what we have and what we may deprive our children from even seeing.We have been fortunate to get the assistance of notable conservationists and educationists in this field in conceptualizing and designing our Pandal.
     Art Director / Theme Artist :  
     Pratima :  
     Pandal  :  Somenath Mukhopadhyay (Artist)
     Lighting :  
 

 

 
2009 Theme : Tridev
  The Tridev is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Vishnu the maintainer or preserver, and Mahesh (Shiva) the destroyer or transformer. These three deities have been called Tridev ~ the Hindu triad, Great Trinity, often addressed as "Brahma - Vishnu - Maheshvara".
One type of depiction for the Trimurti shows three heads on one neck, and often even three faces on one head, each looking in a different direction. The idol was built in similar fashion with “tridev” in background.
     Art Director / Theme Artist :  
     Pratima :  
     Pandal  :  Bapai Sen (Artist)
     Lighting :  
 

 

 
2008 Theme : Akkashardham Mandir, Delhi
  The pandal was designed on the basis of Akshardham, a Hindu temple complex in Delhi, India. Also referred to as Delhi Akshardham or Swaminarayan Akshardham, the complex displays millennia of traditional Indian and Hindu culture, spirituality, and architecture. The building was inspired and moderated by Pramukh Swami Maharaj, the spiritual head of the Bochasanwasi Shri Akshar Purushottam Swaminarayan Sanstha, whose 3,000 volunteers helped 7,000 artisans construct Akshardham.
The temple, which attracts approximately 70 percent of all tourists who visit Delhi, was officially opened on 6 November 2005. It sits on the banks of the Yamuna adjacent to the 2010 Commonwealth Games village. The monument, at the center of the complex, was built off of the Vastu Shastra and Pancharatra Shastra. The complex features a large central monument crafted entirely of stone, exhibitions on incidents from the life of Swaminarayan and the history of India, , a musical fountain, and large landscaped gardens. The pandal was built with granite(only the external portion) and the art of the temple was done by profound artist ARUN MAJUMDAR using sand and adhesive.
     Art Director / Theme Artist :  
     Pratima :  
     Pandal  :  Palash Banerjee And Manu (Artist)
     Lighting :  
 

 

 
2007 Theme : Rajrani Temple, Bhubaneshwar
  The temple was designed on the basis of The Rajarani temple, Bhubaneswar) in the district of Khurda is located towards north-east of Lingaraj temple is one of the most beautiful temples representing a unique experiment in the field of architecture in Orissa. The temple, in all probability, referred to in the traditional sanskrit texts as Indresvara Siva temple is remarkable for its sculptural excellence, profusion of ornaments, exuberant architectural features and multiple scroll work. At present, the sanctum is devoid of any deity. The present name Rajarani has been derived from a very fine grained yellowish sand stone called Rajarania in common parlance with which the entire edifice has been built. Mellowed by time, the glaring amber of the stone complements its architectural splendor.
Facing east, this temple consists of a sanctum (deul) with height of 17.9m and a porch (jagamohana) raised above a platform of three mouldings is pancharatha in plan with a curvilinear superstructure (rekha sikhara), reminiscent of the Kandariya Mahadeva temple of Khajuraho. Temple exhibits yet another phase in the evolution of Orissan temple architecture.
The temple has panchanga bada or five divisions’ viz., pabhaga, talajangha, bandhana, uparajangha and baranda. The lowermost division is called pabhaga having five decorative mouldings namely, khura, kumbha, patta, kani and basanta. The superstructure (gandi) of the temple is distinguished by number of miniature turrets (angasikharas). The composite form of the temple with clustering of such miniature turrets, multiple recesses and angles make the edifice circular in appearance. Above the superstructure is crowned with a fluted disc shaped architectural members called amalaka. A vase (kalasa) surmounts the amalaka as the crowning finial.
In a pleasing contrast to the ornate decoration of the sanctum, the tiered (pidha) jagamohana is severely plain, though intended to decorate it originally but possibly left incomplete. The plan of jagamohana is square in contradistinction to its rectangular counterparts of earlier temples. Like sanctum, its interior is also devoid of any workmanship. Extensive conservation appears to have been carried out on jagamohana in the later period before taking over by Archaeological Survey of India.
The monument is noted for its exuberant sculptural wealth of which the naga-nagi sthambha, saiva dwarapalas on the entrance door jambs, sculpture of Lakulisa on the lintel of entrance above which is the architrave of Navagrahas are worth mentioning. The presence of Lakulisa, saiva dwarapalas tend to prove its saivite affiliation.
The best preserved and the most outstanding sculptural wealth of the temple are the standing astadikpalas on the central façade of kanika appearing on the jangha portion of the bada clad in diaphanous drapery, they stand on lotus with their mounts below. Among the dikpalas, the intact Varuna is remarkable for its body ornamentation, coiffure and facial expression. Scenes of marriage of Siva, Nataraja, Parvati are some of the important cult images of the temple.
The celebrity of the Rajarani temple is also a large extent due to the tall slender sophisticated nayikas gracing the walls of the sanctum particularly on the anurahapagas of the lower jangha carved in bold relief, depicted in various roles and moods in amorous dalliance with actions such as turning her head from an emaciated ascetic, fondling her child, holding a branch of tree, attending to her toilet, looking into mirror, taking off her anklet, caressing her pet bird and playing instrument, etc. These nayikas are vivacious and lively with their fascinating facial expressions and elastic movements.
The erotic (mithuna) figures carved in high relief on the projecting pagas of the uparajangha were quite notable. Besides, the other most popular decorative motifs were carved out in the shape of vyala, jagrata and gajakranta. Further, the most dominant scroll motifs were the foliages, creepers and vines (vanalata) and each contained lush foliage independent of any stalk or vine.
The pandal was built with plaster of paris, bamboo shaft and bricks. Moreover, the drawings surrounding the temple were mainly done in dice so as to lower the total budget.
     Art Director / Theme Artist :  
     Pratima :  
     Pandal  :  Palash Banerjee And Manu (Artist)
     Lighting :  
 

 

 

AWARDS

Year Awards  
2010  W.B. Govt. Pollution Control Board  Serar Sera Nirmal Puja" 3rd position at Howrah 
  Awarded by W.B. Govt. Pollution Control Board   
 
2010  Kolkata TV  Jelar Sera 
  Awarded by Kolkata TV   
 
2010  24 Ghata  Sharod Annya of Howrah 
  Awarded by 24 Ghata   
 
2010  Parle-Anandabazar Patrika  Best Idol at Howrah District 
  Awarded by Parle-Anandabazar Patrika   
 
2009  Bangiyo Sahitya Parisad in Association with Dainik Statesmen Patrika  2nd prize for overall puja of Howrah District 
  Awarded by Bangiyo Sahitya Parisad in Association with Dainik Statesmen Patrika   
 
2009  Bangiyo Sahitya Parisad in Association with Dainik Statesmen Patrika  Best Idol of Howrah District 
  Awarded by Bangiyo Sahitya Parisad in Association with Dainik Statesmen Patrika   
 
2009  Eastern Institute of Integrated Leaning in Management  1st Prize 
  Awarded by Eastern Institute of Integrated Leaning in Management   
 
2008  Bangiyo Sahitya Parisad in Association with Dainik Statesmen Patrika  Best Idol of Howrah District 
  Awarded by Bangiyo Sahitya Parisad in Association with Dainik Statesmen Patrika   
 
2007  Bangio Sanskriti Parishad  Best Aloksajja Samman of Howrah District 
  Awarded by Bangio Sanskriti Parishad   
 
     

 


 

ORGANIZER

Name : Parimal Samanta -
Address :

 

 

 

 


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