




































American International Journal of Social Science Research; Vol. 3, No. 1; 2018 

ISSN 2576-103X   E-ISSN 2576-1048 

Impact Factor: 4.6 

Published by Centre for Research on Islamic Banking & Finance and Business, USA 

   

 

1 

 

The Pair Lion Motif in Shiva Temple of Medieval Bengal: Its 

Source and Evaluation 

 
 

Sk. Zohirul Islam
1, 2 

 

 

 

1
Research Student, Department of Islamic History & Culture, University of Dhaka, Bangladesh  

2
 Researcher, The International Centre for Study of Bengal Art, Banani, Dhaka, Bangladesh 

 

Correspondence: Sk. Zohirul Islam, Department of Islamic History & Culture, University of Dhaka, 

Bangladesh. Email: zohirdu84@gmail.com 

 

To cite this article: Islam, S. Z. (2018). The Pair Lion Motif in Shiva Temple of Medieval Bengal: Its Source 

and Evaluation. American International Journal of Social Science Research, 3(1), 1-12. Retrieved from 

http://www.cribfb.com/journal/index.php/aijssr/article/view/138 

 

Received: August 13, 2018             Accepted: August 19, 2018                Online Published: September 1, 2018 

 

 

Abstract 

Lions, particularly male lions, have been an important symbol for thousands of years and appear as a theme in 

cultures across Europe, Asia, and Africa. The cultural significance of stucco pair lion motif in Shiva temples of 

Bengal and relates with various types of representation of the same motif found in others. The pair Lion used as 

stucco (Jora Shiva Temple, Muroli, Jessore district). Shiva is the braver among the all God and Goddesses in 

Hindu religion during the early period and still. Thus we have found many Shiva temple build in Bengal 

(present West Bengal(Paschimbango) and Bangladesh). This article try to analyses about how the pair lion motif 

is depicting of the Shiva temple and what is the relation between Shiva and lion under Mythology and Purana. 

Shiva is the second most important male deity of Hindu. The usual Shiva –lingam’s which were mainly 

worshipped in the temples and under trees or in an open space. We would have tried to decipher about Pair Lion 

Motif decoration of 18th – 19th century Shiva temple of Bangladesh. Those would have to help the history of 

evaluation of stylized art waves is coming out by its  decoration  motif with ritual, beliefs and faith of Bengal 

society. We may look at the artistic tradition of lion sculptures those are widely found from different parts of 

west Bengal and Bangladesh. 

 

Keywords: Pair Lion, Motif, Shiva Temple, Bangladesh. 

 

“The Myth is not my own, I had 

it from my mother.” 

--Euripides
1 

 

 

 

 

mailto:zohirdu84@gmail.com


 
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2 

 

Introduction 

Lions, particularly male lions, have been an important symbol for thousands of years and appear as a theme in 

cultures across Europe, Asia, and Africa.
2
 The most consistent depiction is in keeping with their image of "king 

of the Jungle" or "king of the Beasts", lions are popular  symbols of royalty, heraldry, stateliness and a symbol 

of bravery. The common motif of the "majestic and powerful" lion was introduced to China by Buddhist 

missionaries from India, somewhere in the 1st century AD.
3
  

Hindu believes that lions protect humans from evil spirits, and frequently used in sculpture, decoration in 

traditional Bengali  architecture. The Lion motif 
4
 used in as terracotta and sculpture in architecture of Bengal as 

like various animal. On the other hand,   pair lion pattern depicted as decorative format. Sometimes single lion 

appeared as Horse shape 
5 

(Plate 17), Snake shape, Man shape
6
 (Plate 15), kirttimukha

7
, Shimhamukha

8 
 and 

Narshimhna. Basically, lion used as bahan or vehicle of Durga as Uma/Mahishmordini deities (Plate 4). The 

association of Durga with lion is common ritual embrace, believed to bring a lion and is practiced in Bengal. 

Uma is wife of Shiva. Shiva is the braver among the all god.
9
 This paper will attempt  to reconstruct a setting , 

the milieu, how  the  pair lion motif  is  depicting  in Shiva  temple  during the  18
th

 to 19
th

 century and what  is 

the relation between Shiva and lion under mythology and Purana? 

As per my preliminary Study, there have found six Shiva temple in Bangladesh where used this pair lion motif. 

It’s used in the main facade and over the main entrance of the temple, as: Jora Shiva Mondir (Plate 1), Muroli, 

Jessore; Shila Roy Mondir (Plate 2), Birampur, Jessore; Putiya Shiva Temple (Plate 5) Rajshahi; Krishna 

Temple at Dinajpur Rajbari; Chandina Shiva temple (Plate 18), Comilla and Akhra Para Mondir (plate 3) 

Muroli, Jessore.  

Jora Shiva Temple, Jessore 

Jora Shiva Temple towards northwest, at a distance of about 200 yeards, of the Imambara and close to the 

Muroli  Jessore metalled road are to be seen two east facing single chambered temples standing abrest in a north 

south line.They are similar in size and shape. There used the Pair Lion Motif as stucco with pilaster in this 

Temple (Plate 1) facade at Muroli under Jessore district. This stucco made by usually white lime and grey red 

color. It is a real Lion and its mane, tail, and paws are showing as a running position. It is rampant style lion. 

This temple contains an inscription which records the date of construction in 1189 BS equal 1784 AD.
10  

This 

temple stands on a solid platform which is 2 feet 6 inch in height. The building proper is 16 feet square in plan 

externally and has an arched doorway on it’s east.   

Akrapara Temple, Jessore 

Akhrapara Mondir (Plate 3) content found same illustration. At present, it is very fragile. The temple's survival 

is threatened by the newly established school nearby and the lack of conservation efforts. This temple is situated 

on the north west of  Muroli bus stoppage at a distance about 300 feet, is lying a south facing building that goes 

by the name Akhrapar Mondir’s. It stands on a 4 feet high solid platform and occupies a rectangular space 

measuring 42 feet since from north to south and 25 feet 3 inch from east to west. On ground of its architecture, 

the date of late 19
th

 century AD.
11

  

Shila Ray Temple, Jessore 

Plate 2, Here, same pair lion motif/illustration depicted on the above of entrance façade with stucco decoration. 

Local people have been colored with modern white color. It is not protected monument of Department of 

Archaeology of Bangladesh. It is Shila Ray  Chowdhury  Bari Temple  and situated  at  Birampur  of  Jessore 

sadar upozila and closed by Nayapara Ray family zaminder house  beside  Bhairab river passing away. 

Puthia Temple, Rajshahi (Plate 5) 

This Temple erected between 1823 and 1895 AD, by one of the Maharani’s (Rani Bhubon Mohini) of the Puthia 

Estate. Beside Jagaddhatri or Bara Annik Temple has also triangle Terracotta plaque and used running lion 

position. It is late 18
th

 century AD temple. Now it is protected monument of department of Archaeology of 

Bangladesh.
12  

Here lion figure depicted as terracotta pattern. 

Krishna Temple, Dinajpur 

Here same illustration depicting and cultured by terracotta plaques. This temple is adjacent of Dinajpur Rajbari 

complex, erected 1752, by Maharaja Pran Nath of Dinajpur. 

Chandina Shiva Temple Comilla 

Candina Shiva temple (Plate 18), is aat chala type temple in 19
th

 century and contemporary of Jessore  Jora  

Shiva  mondir  Chanchra Shiva temple. Here same Pair Lion illustration depicting above on the entrance. It is 

also stucco decoration. The Chanchra Shiva temple is aat chala Shiva temple in Jessore, which is built in 1696 

AD in according to Sanskrit inscription on a brick tablet and the 18
th

 century Rameshwar temple at Naldhanga 

closed by.
13

 

Others architecture 

In West Bengal temple architecture, have found depicted Lion figure, not a real shape of lion, along with Shiva 

temple. We find the shape of Snake’s mouth of lion in Hugly temple and Madanmohon temple at Bishnupur 

Bankura.There are many temple, where we have  found lion motif used as terracotta form and also, various 

example in Buddhist vihara, as: Paharpur Mahavihara at Naogaon, Shalban Vihar in Mainamoti at 

http://en.wikipedia.org/wiki/Lion
http://en.wikipedia.org/wiki/Europe
http://en.wikipedia.org/wiki/Asia
http://en.wikipedia.org/wiki/Africa
http://en.wikipedia.org/wiki/Monarchy
http://en.wikipedia.org/wiki/Buddhism
http://en.wikipedia.org/wiki/Chinese_architecture


 
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Comilla(plate 8 and 9). Same type Corner bonding Juxtaposed animals terracotta plaque (Plate  7) at the top 

pair lion in Jessore Naldanga Temple (Now it preserved at Gurusadoy Museum).  In British period, we got pair 

lion form used in the main  gate of palace architecture as example  is that  Balihati Zaminder palace, Pattishar 

kachari house(plate 23) of Rabindranath Tagor at Sirajganj, which is people called lion Gate(shinho daraja).  

Friezes of walking lions are found between the horizontal moldings on the seventeenth century Mathurapur 

deul. Here lions have fantastic heads and long tails(Michell, 1983: 160). Sometimes lions appear in wall panels 

of eighteenth century temple (Bahabpur); on letter temples seated lions fill triangular panels above the corners 

(many 19
th

 century Midnapur examples). Confronted lions raising themselves up on their paws are sometimes 

used as a parapet (Alangiri Raghunath Temple), or as part of a neoclassical frame (Chandrakana Shiva Temple 

in Gazipur).
14

 

Hindu Myth and religion 

Shiva is the second most important male deity of Bengal. Shiva -lingam which were mainly worshipped in the 

temples. Durga is famous deity also and Durga is wife of shiva and Lion is as a bahan of goddesses 

Uma/Durga.
15

 The Mahisasurmardini motif (plate 4, 12 & 13) is common on many of the late medieval brick 

temple of Bengal, where Durga riding her vehicle lion as Pratapeswar Temple of Ambika Kalna at Burdwan 

built in 1849; Bisheshwar Temple of Sribati  at Burdwan; the Radaha gobinda Temple, Aatpur (Antpur, Plate 

14) was built in 1787, constructed by Krishnaram Mitra, the Dewan of Maharaja of Burdwan; Ramchandra 

Temple, Guptipara, Hooghly; Rajrajeswar Temple, Kotolpur (Hooghly); and Jagatdhattri, Naldanga Temple, 

Jessore(Plate 6). 

Shiva is also the creative, fertile, generative principle and in this aspect he is represented by the phallic symbol 

of the lingam. Several books in Sanskrit and Bangla have been written about Shiva. Among them Shivapurana, 

Rghuvamsa(2.35:410), Lingapurana and Bhagavadgita(3.37:411)
 
(Alain Danielou, 1991:220) are more noted. 

In the Bangla Mangalkavya, the story of Shiva is an essential component of the canto about gods. Childless 

women of both Muslim and Hindu communities visit these temples, believing that Shiva can make them 

fertile.
16

 The pillars of the Mauryan emperor Ashoka have lion sculptures as a symbol of royal power (Plate 11). 

Though, lion is part of some Jataka stories, Panchtantra, Kalila-wa-dimna, Gilgamesh, Samson, Heraclea, 

Sphinx etc. Common people, the artists were also interested in lions.  But mostly imagination was used to draw 

the images and this fact becomes clear from the figures where the edge of the mouth is like a horse. In another 

side, its eyes and eye- brows are slightly engraved, the presentation of lions – paws with sharps nails, mane, tail, 

neck and back of the body proved that the images were made lions.
17 

As well as we have found clear scene 

about horse and lion in Mirtulata terracotta plaque of Antpur Temple of Hugly (Plate 14). Especially, Horse’s 

mouth is long shape and thin, but Lion face is round shape. 

On the other hand, in Buddhism lions are symbolic of the Bodhisattavas,
18  

the sons of the Buddha or Buddha’s 

lion. Bodhisattvas are being who have attained a high level of spiritual development. The lion in their role of 

dharma protectors supporting the throne of the Buddha’s and Bodhisattvas (Jampa Chosky, 1988: 28). They are 

also found at the entrance of the monasteries and shrines, in the northern area of Nepal, influenced by Tibetan 

Buddhism and art. The iconographic representation of the lion originated in Persia.
19   

A lion faced Dakini, a 

tantric deity described as a female embodiment of enlightened energy, appears in Tibetan Buddhism. The 

Tibetan Buddhist from in known as Simhamukha in Sanskrit and Senge Dongma. 

Discussion 

It is also a matter of surprise and investigation that why in the 19
th

 century and the succeeding years when under 

the British patronization the composite European motif from Europe was brought up efficiently in the Bengalese 

temple architecture, a simultaneous used lion, sahib figures as well as in the Mughal emperor Jahangir’s 

painting,
 20

 where a lion sat under Jahangir’s leg. However, this illustration depicting in Shiva temple 

architecture on the facade and main entrance during 18th & 19th century in Bengal, was three reasons as:  

Firstly, though this pattern used at Paharpur, Mainamati Buddhist vihara in ancient Bangladesh i.e. lion is 

depicting in stone sculpture of shiva parvati, which is preserved at Mainamati Archaeological Museum at 

Comilla. Another one is that two lion one head based terracotta plaque in corner bonding ornament in Shalban 

vihara at Mainamati in Comilla(Plate 8). Those are 9
th
 to 11

th
 centuries art. Next 17

th
 century when again Hindu 

temple architecture flourishes then it’s used. May be, this pattern was come as attracting pleasure of British and 

where many British were painting on lion hunting more. Though, Lion is an Asian animal. May be it’s came by 

local influence and ritual stylized. 

Secondly, may be not come this influence from Nepal or china, then it’s used generally in our house doorway 

easily, because Lion is the most significant for China and also Nepal; Nepal’s people used in their house for 

removing them from saitan/devil. Though Chinese guardian lions are frequently used in sculpture in traditional 

Chinese architecture. For instance, in the Forbidden City in Beijing, two lion statues are seen in almost every 

door entrance. Actually, the common motif of the majestic and powerful lion was introduced to China by 

Buddhist Missionaries from India, sometimes in the 1
st
 century AD. 

Thirdly, lion is not Bahan of shiva, Shiva’s bahan is Garur, yet Uma, who is called Durga and in here we know 

by the myth and Purana says that Uma’s bahan is lion. Thus they used lion in Shiva temple. Lion is a braver 

http://en.banglapedia.org/index.php?title=Mangalkavya


 
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4 

 

symbol and fertile also(Plate 16).  Hindu women believe Shiva lingam is a symbol of fertile and thus they go to 

Shiva temple to worship it before of pregnancy for getting good position of fertile.
21

 

Beside this, East India company defeated Nawab in 1757 as well as after defeated Tipu sultan, East India 

Company  published shield and medal where they used lion and next their emblem pattern was pair lion in 1777 

(Divyabhansinh, 2005:116). The “Seringapatam Medal” struck to commemorate the deafeat of Tipu Sultan in 

1799 (Plate 21) has the British lion conquering Tipu’s tiger -- engraving in medal. This is National Museum of 

Scotland collection. It is the Arms of Rajkumar College in 1870 AD at Rajkot (Plate 20). Here two lion is 

showing  their rajvokti, we  see throne is on the head of lion.
22 

It  shows   pair  or  two rampant  lions  

Regandant. The Arms of the East India Company in 1709 AD (Plate 19). And also we have found book‘s title 

page of British Period and Government of Bengal published from department of industries in 1903 AD (Plate 

22), where used Coat of the Arms of the British. Now it is preserved at Bangladesh National Museum, Dhaka. 

Here used Emblem of British Empire in contemporary, they struck everywhere for showing their power. 

Though the pair lion motif was the symbol of British from Victorian age, which is a symbol of brave, strength 

courage. We have noticed that lion used Asoka pillar (the Coat of Arms of UK, Plate 10),
 23

 which used more 

than earlier of British. Also, the Coat of Arms  of India (Plate 11) was taken from the Sarnath Lion Capital that 

was built by an Indian emperor named Asoka. It's a pillar in the city named Sarnath. Asoka built it around 250 

BC. Usually, the pair lion symbol depicted like Roman  counterpart “Janus” – “Jana”,
24

 like “yesterday” and 

“today” as well as weighing “life” and “laws” in her balance “protector” and “fertile” in according to British 

influence. Which is the mentioned of British Imperial power(Jack Tresidder, 2004: 291). 

Conclusion 

Motif stands for a constituent feature of a painting, sculpture or a architectural monument. In such a composition 

it appears as a symbolic or stylistic representation of the main theme to be elaborated on or developed. 

Sometimes a repeated figure in design of art also creates a motif. It is used mainly for enhancing the decorative 

value of the concerned work (Sudipa, 2002:1). Gautam Sengupta who first drew attention to somewhat similar 

foliated tail end of the lion on terracotta plaques. Found from the Buddhist monastic establishment of 

Jagjivanpur in Malda district of West Bengal. Says “…there is an element of comicality in the rendering of 

lions, their tails swinging upwards and ending in a flower- shaped knot.”
25

 The pair lions as guardians of the 

temple are represented in pair at the entrance of compounds. We may look at the artistic tradition of lion 

sculptures those are widely found from different parts of west Bengal and Bangladesh. Though Lion is believes 

of Hindu religion, yet especially it has been spread with temple architecture during the late medieval period by 

British influence. 

Notes and References 

1. Rama P. Coomaraswamy,The  Door in the Sky: Coomaraswamy on Myth and Meaning, Princeton 

University, USA, 1997, p.28. 

2. The Lion is the most ferocious beast among wild creatures. Because of its large body, huge strength, mane 

and some other qualities, the lion is called the king of the animals. From primitive era the lion is considered 

as the symbol of strength and power. 

3. Gupta, S. P., The Roots of Indian Art (A detailed study of the formative period of Indian Art and 

architecture: Third and Second centuries B.C. - Mauryan and Late Mauryan), B. R. publication, Delhi, 

1980, pp. 121-122. (see also Asokan Pilalar  at  Sarnath plate 3a).  

4. Explaining the terms “Motif”  the well known folklorist  Stith Thompson writes, “while  the  term motif is 

used  very closely to include  any of the  elements going into a traditional tale, it must be remembered that 

in order to become a real part of the tradition on element must have something about it that  will make  

people  remember  and repeat it” a lion itself is not a motif but a flying lion becomes  one, because  it is a 

least  thought to be unusual.  

5. Horse shape lion in Surul at  Birbhum; gaja singho in Bishnupur at Bunkura. 

6. Man shape,fig. 27, Amiyo kumer Bandyopadyay, “Mandir Bhaskarje Protifolito Samajchittra”, 

Paschimbanger Mondir Terracotta, Calcutta, 2008. 

7. Krittimukha is a decorative motif showing the grinning face of a lion. (fig.73, pravha - tarana, fig. 74, sketh: 

2, Sudipa Bandyapadhyay, 2002). 

8. Singhomuk (snake shape) in Madanmohon Temple of Bishnupur at Bankura; Singhomanob(Triangle 

sculpture) in Baranagar at Murshidabad. 

9. Banglapedia: National Encyclopedia of Bangladesh, (Chief  Editor Sirajul Islam) Asiatic Society of  

Bangladesh, Dhaka, Vol. 9,2003, p. 273,(“Shiva” by Paresh Chandra Mandal). 

10. Md. Mosharraf  Hossain, Greater Jessore: Archaeological Survey Report, Department of Archaeology of  

Bangladesh, Dhaka, 2005, p.14. 

11. Md. Mosharraf  Hossain, Greater Jessore: Archaeological Survey Report, Department of Archaeology of  

Bangladesh, Dhaka, 2005, p.15. 

12. Nazly Chowdhuri and Babu Ahamed, Selected Hindu Temples of Bangladesh,(ed. Dr. Md. Shafiqul Alam) 

UNESCO, Dhaka, 2005,p.37. 

http://simple.wikipedia.org/wiki/Coat_of_arms
http://simple.wikipedia.org/w/index.php?title=Sarnath_Lion_Capital&action=edit&redlink=1
http://simple.wikipedia.org/wiki/Ashoka


 
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13. Nazimuddin Ahmed, Discover the Monuments of Bangladesh,(A guide to their history, location and 

developments), John Sandy(ed.), The University Press limited, Dhaka,1984, pp.105-106 

14. George Michell, (ed.) Brick Temples of Bengal, New Jersey: Princeton University Press, 1983, p.160. 

15. Banglapedia: National Encyclopedia of Bangladesh, 2003, (Chief  Editor Sirajul Islam) Asiatic Society of  

Bangladesh, Dhaka, Vol. 9, p. 273,(“Shiva” by Paresh Chandra Mandal). 

16. Ibid. 

17. See also, Muhammad shohrab uddin and shaermin rezowana, “animal (mammal) representation in 

Somapura Mahabihara in situ terracotta plaques”, Journal of Bengal art, vol. 17, 2012, p.194, (pl. 15.10, 

15.11, 15.13 and 15.16). 

18. Ven. Jampa Chisky, “Symbolism of Animals in Buddhism,” Buddhist Himalaya, vol. 1, no.1, gokan co. ltd., 

1988, p.37. 

19. ibid. 

20. Asok Kumar Das, Mughal Painting during Jahangir’s Time, The Asiatic Society of Kolkata, Calcutta, 

India, 1978, plate 64; others related painting “The Dauphin”, Francois of valos, son of  Francis 1 of  Frence. 

Later  sixteenth century French engraving, tinted and  inlaid into a  surround of  cherubs holding a cram and  

the lion lying down with the  lamb , themes which frequently occur in portraits of himself ordered by 

Jahangir. C. 1610-20 AD, 20.4 × 28.7 cm. Ink and wash on paper. (see. Mughal Miniatures, by J. M. 

Rogers, British Museum press, 1993, London, fig. 73, p. 105);  King of  the  World : The Padshanama (An 

imperial mughal manuscript from the royal library, Windsor Castle), Milo Creveland Beach and Ebba Koch 

with new translations by Wheeler Thackston, Azimuth editions: Sackler Gallery, 1997, New Delhi. 

21. Ibid., Banglapedia. and  also see B. N. Mukhajee, “An early syncretistic icon”,  in Hakim  Habibur Rahman 

khan commemoration volume, Enamul haque (ed.), ICSBA, 2001, Dhaka, p. 63, (article no. 3, plate. 3.1, 

3.2, and 3.3). 

22. Divyabhanusinh, The Story of Asia’s Lions, Marg publications, Mumbai, 2005.p.116. 

23. Divyabhanusinh, The Story of Asia’s Lions, Marg publications, Mumbai, 2005.p.118. 

24. Jack  Tresidder, (ed.), The Complete Dictionary of Symbols in Myth, Art and Literature, Duncan Baird 

Publishers, London, 2004, p. 291, See, The lions of yesterday and tomorrow from an illustration to an 

ancient Egyptian “Book of the Dead”.  

25. Sutapa  Sinha, “A New Light on the Significance of Lion Motif appeared on Coins and on single Inscription 

of the sultans of Bengal”, Journal of Bengal Art, vol. 16, 2011, p.139-155, Dhaka,(plate 10.16A, B & C). 

 

Acknowledgement: I wish to express my sincere gratitude to Asian University of Bangladesh for allowing me 

to present this paper in two day International Seminar on “History and Heritage of Bangladesh Through the 

Ages”2015 at Dhaka. I am special thankful to Dr. Amirul Islam, Head, dept. of Islamic History and Civilization, 

AUB, Dhaka and Dr. Shahnaj Husne Jahan for her valued Comments and suggestions. I would like to thank 

Prof. Dr. Enamul Haque, Chairman, ICSBA, Dhaka for his invaluable help.    

 

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Plate 1: Pair Lion motif, Stucco, main entrance, Jorbangla Shiva Temple, Muroli, Jessore, 1784 AD. 

 

Plate 2: Pair Lion Motif, Stucco, white color, Shila Ray Chowdhury Bari Temple at Birampur in Jessore 

sadar upozila, late nineteenth century. 

 



 
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Plate 3: Fragile Lion motif, stucco in Akhrapara 

Mondir, main facade, Muroli, Jessore. 

Plate  4:  Mahismordini, Terracotta plaque of Bagha, 

Rajshahi, Varendra Research Museum collection.  

 

 

 Plate 5: Pair  Lion, Terracotta, Puthia Temple, Rajshahi. 

 



 
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Plate 6: Jagatdhattri ride on the Lion, Jessore, 

Gurusadoy museum.  

Plate  7: Corner bonding Juxtaposed animals 

terracotta plaque at the top pair lion, Jessore, 

Gurusadoy museum collection. 

  

Plate  8: Shalban Vihar, Mainamati, Comilla Plate  9: Shalban Vihar, Mainamati, Comilla 



 
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9 

 

 
 

Plate 10: Coat of Arms of UK. From Internet. Plate 11: Coat of Arms of India(symbol of the 

capital of the Asoka Pillar, Sanchi, Sarnath, India, 

250 BC). 

 

 

Plate 12: Mahishasurmordini, Durga with lion figure, 

Terracotta plaque, Burdhman.  

Plate 13: Mahishasurmordini, Durga with lion 

figure, Terracotta Plaque, Burdhman.  

  

Plate 14: Mirtulata, Terracotta Plaque, Antpur, Plate 15: Singhomanob, Terracotta Plaque, 

http://simple.wikipedia.org/wiki/File:Emblem_of_India.svg


 
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Hugly.(after Kalyankumer Ganguly) Uchkoron, Birbhum. 

  

Plate 16: Braver man with lion, Terracotta Plaque, 

krishnopur, Hugly. 

Plate 17: Horse shape lion, Terracotta Plaque, 

Surul, Birbhum. 

 

 

Plate 18: Chandina Shiva temple, 19
th

 century, Comilla(after Nazimuddin Ahmed)  



 
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Plate 19: The arms of the East India company,1709. Courtesy: The Story of Asia’s Lions    

 

Plate 20: The arms of Rajkumar college, Rajkot,1870  

 

Plate 21: 1799, defeat Tipu Sultan, National Museum of Scotland  

 



 
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Plate 22: British Emblem used in Modern Cottage Tanning Bulletin in British period, 1903 AD. 

 

Plate 23: Lion Gate of  Patishar Kachari Bari at Shirajganj. 

 

 

 

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