a-lJL

soME ASpECTS oF THE ICoNocRApHy oF AVALoKITESvARA IN "PALA-sENA"STONE SCULPTURE

Claudine Bautze-Picron

A. INTRODUCTION, METHODOLOGICALREMARKS

Studies of Buddhist iconography usually tend toidentify, i.e. to name, images with a specific referenceto texts such as the Sädhanamälä or the Nispannayo-gavah. The remarks made recently by John C.Huntington (Journal of Central Asia, YlI, 1984, pp.135-6) are here relevant. As concerns the representa-tions of AvalokiteSvara, the work of M.-Th. deMallmann contains evident and sufficient proofs that"names" which correspond to mental visualizationsby the adept, can only be applied to the artisticmaterial in a very limited number of cases.l In a

certain way, literary iconography proposes a systgm,introduces rules of composition which the craftsmenare supposed (by us) to illustrate into their art(although one cannot-forget that sadhanas were notwritten for craftsmen). The artistic translation ofthese iconographic written rules would thus imply auniformity of visual forms, whatever the region, froma given period (the one ofthe redaction ofthe text) onthe one hand, and a precise correspondance of theimages and the text on the other hand. The secondimplication is not met with, as exemplified in note 1.

As to the first implication, it is refuted by a verygeneral and basic approach of the artistic material:evolution is a continuous process, and even though itmay linger at times at the limit of statism, it reallynever stops. Differences are always observed linkedto the criteria of time and space. It appears possible totrace an evolution of iconographic forms, indepen-dently of the literary sources, and this puts forwardelements which become typical of a period or/and of aregion. The abundance of the artistic material impliesa selection,(1) As regards the material: only stone images are

here considered (stucco, terracotta, bronze,painted images are hence excluded),

(2) As regards the type of stone images: only the onewhere the bodhisattva is seen as main or sole deityis studied (one excludes the bodhisattva attendingto the Buddha, generally with Maitreya on a singlesculpture - some representations of isolatedAvalokiteSvara may have formed a triad togetherwith independent representations of the Buddhaand Maitreya:.64,65,12I; one excludes also theimage of the bodhisattva in a suite of bodhisattva),

(3) As regards the iconographic forms: only the two-,four- (apart from the Sadaksart LokeSvara) andsix-handed images are analysed.

I do not claim to have listed, after consideration of

these three critera, the entire production ofAvalokiteSvara images. The number of images understudy, 131, allows us to trace a development which islikely to have taken place and in which can beincluded or to which can be compared other images.

Analysis is here mainly made through the help of aclassification of the images. Classification impliesintroduction of various "variables" (Bruhn 1976:28-30):- the number of arms and its corollarv. the attributes

and gestures,the attitudes,the ornaments: these are "physical" categories ofvariables;the attending characters (implying a "physical"category),

- the motifs introduced in the superimposed levels ofthe slab (A to D: Figs. 1 and 2): these are"environmental" categories of variables.Three factors determine the order in which the

images are listed in the catalogue (D):(1) the rarity of dated images (47 , I07) prevents us

from ascribing a precise and definite date to otherimages. One follows therefore the system of sty-listic classification presented, in a rough way, in

327

Fig. 1. The four levels on the back-slab behind a standing deity.

328

c. pralambahastatrida1tSalnaga

four-handed a.ak;amöla +

varadam.

b. aksamald

EARLY HISTORIC AND BUDDHIST

Picron 1978; four periods were there distinguished,which correspond broadly to the four centuriesunder consideration.

(2) within the five periods here introduced (the fifthbeing the pre-Päla one), images are listed accord-ing to their geographical origin when it is knownor according to their appertaining to a particularstyle as it can be defined from the study of imagesthe origin of which is known; one reads thus thefollowing order: images from Nälandä, imagesfrom the surrounding of Nälandä ("Nälandäarea"), and which partake of the "Nälandä style",images of unknown or uncertain origin whichbelong to the Nälandä style, images from BodhGayä and Kurkihär . . . images from East Bihar. . . images from North Bengal . . . images fromSouth-eastBengal. . .

(3) within the geographical order, images are classi-fied according to the iconographic type whichthey illustrate.

B. CLASSIFICATION OF THE IMAGES

1. " Physical" categories of variables

1. Number of arms - Distribution of attributesand gestures

two-handed a. varadam. * padma

b. dharmacakram. * padma

Fig. 2. The four levels on the back-slab behind a seated deity.

brackets indicate that the element quoted withinmay or may not be represented;

the bracket in front of two or three elementsindicates that either the one or the other among theseelements is integrated;

the panel is to be read as one sees the image, i.e.mudras or attributes in the left column are presentedby the right hands of the bodhisattva, those in theright column are presented by his left hands, thevertical sequence of attributes and gesturesreproduces the sequence as it is seen on the images:upper and lower hands, or upper, medial and lowerhands; pairs of hands are then constituted, theelements of which being united by +.

Different forms of padma are found, related toboth criteria of space and time. In the pre-Päla andearly Päla periods, an apparent single row of petals(petals of a second row are seen between these petals,the row is thus under the one which is seen, and as

such, partly unseen) runs around the flat heart whereone recognizes the pistil surrounded by the stamens(Fig. 3-a): type 1. Two or three rows of petals encirclethe heart; the outer one is directed outwards and theinner one inwards on the one hand, the two outerones are directed outwards and the inner oneinwards, or the outer one is open outwards and thetwo inner ones inwards on the other hand around thepistil and the, perhaps more recognizable, stamens:this type 2 is here illustrated by Fig. 3-b (Kurkihär)and Fig. 3-c (Nalandä), it is represented in an earlyphase at Kurkihär and knows a longer developmentin the Nälandä school where it never disappears infact. Later development shows the superimpositionof two or more rows of petals directed outwardsaround a heart circumscribed by another row ofpetals, open inwards (Fig. 3-e): type 3. Apart fromthis seemingly continuous evolution, the type a (Fig.3-d) belongs to a specific area, Bodh Gayä-Kurkihär,and to a definite period, c. ninth and tenth centuries.It evolves from the type 2 of which it enlarges the

+ stalkof padmapadmalkhaQgakapalalflowers

padmatridartdapustaka

l.kamaryQaluI padma

* padmaanjalim.

(not under consideration here as charac-teristic of Sadaksari LokeSvara)2

six-handed a. alcsamdldvaradam.(+ ratna)abhayam.

b. alcsamdlaratnaabhayam.varadam.

Remarks

varadam

* pustaka. padma' (+ pasa)* kamaqtQalu

+[ tridandat,.llDasa+' t'' lpaqma+ 'kamandalu

: varadamudra;

BAUTZE-PICRON 329

standing

seated

inner part and drops the outer row(s) of petals: theresult is a round flower where the pistil and thestamens are particularly well carved.3

Examples of type 1.: 2-5 , fl.-13 , 19 , 40 , 4l; 8 to 10,38 and 45 are closer to type 2 with a heart in altorelievo.

Examples of type 2: 14-16, 18,35-37 , 43, 44, 48-52,57 , 59 , 61. , 62, 90 , 92-95 .

Examples of type 3: 65 , 68-73 , 77 , 79 , 84, 85 , 87 ,99, 96, 98-102, 106, 110, 111, lL3.

Examples of type 4: 20-24, 26-30, 57, 58, 6L, 63.

2. Attitudes

4. + 8.1.2.2.b - images: 41, 43, 44, 54,63-65,67,91,93,r21.

5. + 8.1.2.2.c - image 45 (Bloch 1911:59 mentions under the label "no number" anotherimage of the bodhisattva of which "the legs aredown").(Bloch l9ll: 56, mentions an image, No. 3799,with a pending left leg, i.e. invamardhaparyahka).

6. - 8.1.1.2 + 8.1.2.1..a- images: 3, 12,'1.4, 20, 27,36.

7. + 8.1.2.1.b - images: 32,38, 49, 50,59,80.

8. + 8.I.2.2.a-images:23-25.9. - 8.1.1.3 + 8.L.2.1..a- images: L1, L6, 22, 26,

28, 51., 52, 61, 120, 126, 129.10.11.

+ 8.1..2.1.b- images: 53, \02.+ 8.1.2.2.a-images: 15,21, 33.

The maximum of variety is thus met with the two-handed images. Criteria of time and space being con-sidered, one may state that:- the two-handed images are generalizedin the area

during four centuries; the passage from thesamapada to the tribhahga is chronological;

- the four-handed images become very rare after theperiod 2 (80);

- the six-handed images are common in periods L and2 in the Bodh Gayä-Kurkihär style in general; theyare afterwards very rare (102, I20).

3. Ornaments

The study of ornaments can present two aspects:(1) analysis of their form falls under the caption

"decorative evolution", it belongs to a previousstage of the research not described here, whereall the images, whomever they represent, areconsidered with the aim at tracing the stylisticdevelopment and at underlying the local peculiari-ties; our iconographic development is partlybased on this decorative or stylistic evolution andpaftly on a more "typological" analysis (thefundamental nature of which cannot be deniedsince it partly directed the way of listing theimages in the catalogue, infra: D.);

(2) the mere fact of the absence/presence of specificornaments partakes of the iconography of thebodhisattva. In the following list, the ornamentswhich are constantly represented are introducedby o, these which may or may not be integratedby o. One lists thus:- as hairdress: o the jatra (see the remark by

Mallmann 1975:24-25), with additional motifsas o the representation of a Buddha (Tathägata,Jina: Mallmann 1975: 129), o the diadem, o theribbons;

- as dress: o the ajina, or o the uttariya, . thepridhäna;

- as jewellery: o the earrings, o the armlets,o the bracelets. o the necklaces. o the yaifi.o-

pavlta.

a. samapadab. abhatuga/tribhahgaa

a. lalitas., ardhap.b. mahardjalilds.c. pralambas.

(d. padmds., vajrds., vajrap. )

Remarks

padmas., padmasana,. . .

vajrap., . . .: vairaparyahka, .

Cross-references are possible between B.1.L and8.1..2:1. - 8.1.1.1 + 8.L2.1.a (pre-Päla) - images: 1, 2,

7,L9,46,47.2. + 8.I.2.1.b (Pälak periods I and 2:

abhahga, periods 3 and 4: tribhahga) - images:10, 17, 18, 48, 58, 68,70, 74, 84, 86,87, 89,94-96,101,104.

3. + 8.7.2.2.a-images: 8,29,30,34,35,39, 40, 55 -57, 62, 66, 7 1,',77, 81-83, 85, 88, 90, 92,99, 100, 103, 106-1.14, 116-119, 122, r23, t25 .

Fig.3. Padmas.

330 EARLY HISTORIC AND BUDDHIST

Some ornaments may be represented in specificplaces and not in others. The pair constituted by thepearled earring and the girandole (1. and r. earsrespectively) appears in the Nälandä style (Fig. a-b)(8, 11, 13 and 31: from North Bengal). The aiinaismainly integrated at Kurkihär or Bodh Gayä inperiods I and 2 (15, 20-24, 26-28, 30, 48, 56, 57 ?, 6I,63, 7 5 or 31, 5'J., 52 : from North Bengal and Nälandä).Ribbons of the hairdress are seen in the same group atthe same period (22,25,26,29,30, 56, 58, 59, 61,63-65); they are afterwards generalized (66, 67 ,71,72,7 4, 81-90, 92-96, 99 -702, 104-107, 109- 1 1 1, lL3, rt4,L17,\20,121,127 . . .).

Forms of motifs may change accordingto the place,e.g. the jatra is more conical at Nälandä and moreround at Kurkihär-Bodh Gayä, the loops are alsofalling straight on each side ofthe central large loop atKurkihär-Bodh Gayä while they follow a morerounded line at Nälandä (Bodh Gayä-Kurkihär: Fig.5-e, 23,24,26,28-30, 6I . . .; Nälandä: Fig. 5-b, c,73,34-36. . .). A similarremarkwas done hereaboveconcerning the padma.

The presence of a motif can be linked to a specificperiod. The pair of earrings shown on Fig. 4-b isfound in periods 1. and2, another one constituted bytwo identical rings with a flower or some pearls in a

row attached to the outer surface is met with rarely inpre-Päla or early Päla period in the Nälandä style(Fig. 4-a, 6,13), it appears more often from period 2and onwards in the Bodh Gayä-Kurkihär group (Fig.4-c,1,26,28,56, 58, 61,62 and as a sign of the BodhGayä-Kurkihär influence towards the North: 46,47(?)s) or in periods 3 and 4 in the Delta (82, 84-86, 89,94,96,120) being met on the way in East Bl}:'ar (32,117 , 127). The pair cannot be confused with anotherone presenting two flowers the stalk of which passesthrough the lobe, this type is represented in the lateNälandä style of periods 3 and 4 (1.01., 102, 112, 1.13) .

The ajina is worn in periods l and2 (see above). Onsome pre-Päla or early Päla images, neither the aiinanor the uttarlyaare represented (1, 2, 4, 5, 10, 18, 19,32, 36, 38, 43 , 46, 47 , 58, I29 and from later times: 95 ,r21).

The form of a motif can change in course of time as

it could already be seen tbr the padma. As concernsthe jatra, one observes in the pre-Päla or early Pälaperiods that large loops of hair are all directed fromthe forehead towards the back of the head, thehairdress presenting a slight conical shape; a smallniche is preserved in the front where a Jina sits (Fig. 5-a, 1, L3). This niche can also be ignored: Fig. 5-d isthus close to the previous model but without niche.Moreover, the Jina is there, as on Fig 5-e, directlybacked on to the hair, which might be a more typicalfeature in the Bodh Gayä-Kurkihär style in periods 1

and 2 (1.4-17, 20, 22-24, 26-30, 55, 57, 58, 91, 62, 64,65) before being integrated in images of Nälandä stylein period 2 (rarely) and onwards (48, 66-72 . . .). Fig.5-b and c show two ja{as from Nälandä, with roundloops falling on both sides of the central vertical one(which is drawn from the forehead to the back as

s

,e\ &Fig. 4. Ear-rings.

previously); the Jina is here backed on to a small slab(45,46,48-50, 53,54,63). These ja{as are also moreconical than the typical jatra of the Bodh Gayä-Kurkihär style (Fig. 5-e) where long loops are fallingvertically on both sides of the central one (20, 23,24,26,29,30, 56-58, 6l-63 . . .). Fig. 6-c and d show howthe curls are regularly interwoven (6-c,68-70,72,75,7 6, 7 8, 7 9, 8r, 96, 99 -102, 104, r09,'1.12, 1.14, 1 15 . . . )or vertical loops hold by horizontal and roundedloops are disposed on either sides of a vertical loop (6-d, 1 10, 1,11,, 1I3, 122 - type which extended in NorthBengal: 85, 120). In the late period, tiny flowers orfloral ornaments are also seen intermingled within thehair. Fig. 6-a and b are, on the other hand, examplesof the Bodh Gayä-Kurkihär style: the ancientdisposition of the hair is maintained, i.e. verticalloops on either sides of the central loop (6-a, 65 55,64 and 74 in the Bodh Gayä-Kurkihär style, 46, 66and 130). "Innovation" is here constituted by thepresence of horizontal and rounded loops seen atvarious levels of the hairdress. Fig. 6-e illustrates thetypical Bengali hairdress inherited from the biharifashion of periods I and2: loops are regularly, andwithout the fantasy observed in later times, disposed

trl t

#

ffic

Ne

Fig.5. Ja!ämukufas.

BAUTZE-PICRON

on either sides of the central vertical one (83, 88, 93,95 and from East Bihar: 32,80, 127 - compare withFig. 5-b). In periods I and2, the ribbons are usuallyfalling on the shoulders (22,26,29,30,58); they arealso then more typical of the Bodh Gayä-Kurkihärstyle. In later periods, they are carved as if taken bythe wind, in a curved line.

Motifs contribute by their mere absencelpresence todefine specific iconographic types. For example, an"ascetic" bodhisattva is observed in later periods,deprived from ornaments such as the diadem, theearrings, the necklaces, the armlets, the bracelets,the anklets, the belt. AvalokiteSvara seated on thelion is often depicted so (69, 73,76,78,79,115) while,without the lion, he is very rarely represented so (68,70). It remains difficult to explain the absence of theJina in some examples (25, 43, 60,78,79). In twocases (60, 79), a caitya or stüpa replaces the Jina.

2. "Environmental" categories of variables

Specific motifs are introduced at very definite placeson the back-slab, which permits us to distinguishthree levels or zones, A to C, above the pedestal,level D (Fig. 1). In the case of seated images, thezones B and C are superimposed (Fig. 2). Motifs arehere basically iconographic; they may be found onimages of other deities, Buddhist or Hindu, butwithin the iconographical representation hereconsidered, their specificity can be underlined. Forinstance, concentric rows of flames are carved behindsome Avalokitesvara seated on the lion (78, 79,1.L5)and not behind other iconographic types - the rowscannot be identified with the single row of flameswhich runs on the edges of the slab or marks thenimbus (see below) - they remind you naturally ofsome rare similar representations behind variousHindu deities.6 Mention must be made here of theaureole which runs on the edges of the slab throughthe three levels A to C. It is mainly met with inperiods I and2 in Bihar and is usually composed of arow of flames and a twisted garland or a row of pearls(3, 18, 23-27, 29, 37, 4l-43, 49-51, 54, 69, 61).

1. ZoneA

7. Nimbus. "Nimbus" differs ftom "aureole" in theterminology here used (Mallmann 1975: 3). Thenimbus appears, behind the head, in period 1; it isusually composed of an internal pearled row ortwisted garland and an external row of flames (cf. thetreatment of the aureole). Before the period 3, a

specific treatment of the flame in a "cloud-like"(Huntington 1984: 98 and passim) or "reversedquestion mark" shape seems to have prevailed atNälandä (36,41,42,51.,54 and in "Nälandä st.": 3,45, 49,51).7 A triple arch in relief is carved behind

331,

F

.WFig. 6. Jatämukufas.

seated bodhisattvas in periods 2 and 3, replacinggenerally the nimbus stricto sensu (and, as a tesult,acting as it) (44, 55, 66, 67 , and, with nimbus: 92). ltsupports then a rocky landscape where animals andworshippers can be introduced and where five nichescontain images of the Jinas (not on 44). A similar archis seen on image 46 where it supports a rockylandscape with devotees. A triple arch is also seen ontwo images in Nälandä style (34, 35), on one fromNorth Bengal (93): it rests then on two columns. Thearch on image 62 is typical of a particular category ofarchitectural slab (see B6nisti 1981, passim).

2. Jinas. Jinas are usually seated in padmösana ona padma in front of a throne (back supporting animbus). In rare cases, they are "flying" on a cloud(73,76, 114) or on the padma and in front of a tinyslab (75): the feature is late (periods 3 and 4) andessentially seen in Gayä district. Five Jinas at the topof the image constitute the more common pattern,but it is late (would appear in the course of period 2)and succeeds to a different pattern, where one, two orthree Jinas are depicted. One single image (4) wouldshow three Jinas (bhümim, dhyanam, varadam, froml. to r. ) with a fourth one in front of the j atrö displayingthe dharmacakram. Single representations of a Jinaare found on images 46 and 47 where the Jina inbhümim is seen above the bodhisattva, on images 48,58 and 57, where the Jina in abhayam or dhyanamisdepicted at our left.8 Two Jinas are equally found,seated on either side of the bodhisattva's head, whosemudras may differ: bhümim and dhyanam (I5.35),dhyanam and dhydnam (32), bhümim?(Mallmann 1947, p. 299 sees the dhyanam) andabhayam (\7), bhümim? and bhümim (I4), bhümimand varadam (11, ? L6). One, two or three Jinas

JJZ EARLY HISTORIC AND BUDDHIST

would thus appear on images from periods 1 and 2.The dharmacakram is not included among therepresented mudras; abhayam and dhyanam excludeeach other in the pairs.e The group of five Jinasappears in the course of period 2 and is generalized inthe next two periods. The sequence of the Jinas is notfixed, it varies around the permanent central positionof Amitäbha displaying the dhydnam. The four otherJinas are variously distributed, a major criterion fortheir position seems to be the effect of symmetry, i.e.the bhümim and the varadam (right hand directeddownwards) on the one hand, the abhayam and thedharmacakram (right or both hands directedupwards) on the other hand, are on the same level.Few exceptions are here found. The following is themost common pattern:

dhyanam

varadqm <-----> bhümim

dharmacqkram abhayam

The reduced size of the representations prevents usoften from differentiating the bhümim from thevaradam (the double arrow indicates the doubt)(images 68-73,75-9, 8L,83, 85, 87,96,99-102, 105,109-12, L14, I'J.6,'J.19, 121.: in all,29 images). Twoimages (66, 92) reverse the two lower levels and someother present peculiar dispositions of the Jinas:bhümim, varadam, dhyanam, dharmacakram,abhayam (with always a possible confusion betweenthe bhAmim and the varadam, 67, 93); bhümim,abhayam, dhyanam, varadam, dharmacakra(ibidem), 84, 94); abhayam, varadam, dhyanam,dharmacakram, bhümim (ibidem, 88); in all2 and 5images, out of which 5 originate from Bengal (North:84, 88, South East: 92-4). One may ask whether themost common pattern responds to a specific logic, orwhether the wish for symmetry did not impose it. Thesystem of five Jinas was most probably fixed inperiods 3 and 4 and we can rely therefore on literarysources written during this epoch which give thefollowing distribution of the five Jinas in the space(mentioned with their respective mudras) (Mallmann1975, pp. 129-31, s.v. Buddha):

NORTHAmoghasiddhi

abhayam

WEST CENTRE EASTAmitäbha Vairocana Akgobhyadhydnam dharmacakram bhümim

SOUTHRatnasambhava

varadam

Amitäbha predominates here and the other Jinas will

surround him - he exchanges thus his location withVairocana, as seen in the next diagram (the imagefaces traditionally East, for easier understanding, thefour directions have been turned one quarter):

WESTVairocana

dharmacakram

SOUTH CENTRE NORTHRatnasambhava Amitäbha Amoghasiddhi

varadam dhyanam 1 abhayamrtEAST /A.kqobhyabhümim

The arrows help to indicate how the Jinas aredistributed on the images (see diagram above). Asimilar manner of grouping together two characterslocated on neighbouring directions of the space isseen in the distribution of the four assistants (seebelow).

3. Stapas. One, or more often, two stüpas orcaityas are introduced at the level ofthe bodhisattva'shead in the course of period 2 - examples comemainly from Nälanda (37,39, 4I, 50, 51, 54,63) orfrom other parts of Bihar (59, 62, 66,67, 80). Twosmaller stüpas are generally found below the litany ofthe Jinas in the later "Nälandä style" (68,70-72,79,100, 101 , 106, 107 , r09 , lr2 , 1,t3) .

4. Flying figures. Rarely met with, two malecharacters presenting a garland fly on a cloud oneither sides of the bodhisattva's head from period 1

and onwards (26, 34, 35, 43, 45, 89, 11,1, 113). Inperiods 3 and 4, they can be accompanied by a femalecompanion (87, lI0, 122).

5 . Harpsas (musicians) . Rarely met with, the motifbelongs to the theme of the "royal throne" (Auboyer1949: 122-23 and passim) of which it usually composesthe upper part. Its study must therefore be linked tothe one of the makara, leogryph and elephant seen inzone B (see below). However, the images with acompletely represented theme are rare: 84, 86, 87 , allof them found in North Bengal, in a prevailing Hindusurrounding (the complete theme is generalized onimages of Viglu e.g.). More often, isolated elementsof the theme are integrated into the ornamentation ofthe back-slab in the images of the bodhisattva. Thus,the harysas (musicians) are found alone on images 83,LLO and LL3, with the makara on images 82,92, 122,with the leogryph and the elephant on image 94. Theleogryph and the elephant are seen on images 56 and58. The harpsas (musicians) are thus observed 8 timesin Bengal and twice only in Bihar (110, 113).

6. Monster face. The monster face is rarelyintegrated. As the "royal throne", it rather belongs tothe Hindu iconography. In Bihar, its representationwould be limited to period 2:34,35 (from Nälandä),56, 58 and62 (Bodh Gayä-Kurkihär), and in Bengal,it is extremely rare (87).to

BAUTZE-PICRON JJJ

7. Foliated scrolls. They cover, in period 4, theempty space between the nimbus and the Jinas whomthey often support (99-102,105-7, 110-13, ll7, I20,122).They can be seen on images 94, butreduced,92,behind the head, or 87, where they form a part of themusicians' tail or belong to the monster face.

2. Zone B

l. Leogryph and elephanf. Together they are met inthe Bodh Gayä-Kurkihär style of period 2 (56, 58).The presence of warriors is late (periods 3 and 4) andhere found on images already quoted for theircomplete representation of the "royal throne" (84,86,87).

2. Drapery. The drapery is seen on rare imagesfrom Bihar (36. lll .l12).

3. Architectural structure of the throne. Leogryphand elephant or drapery are turning their backs orattached to the architectural structure of the throne.The makara appears as an integral part of the lintel ofthe throne (84, 86, 87: complete representation of the"royal throne", 82,92,I22). This structure, withoutany external element, is mainly introduced in periods3 and 4 (68, 7 0, 72, 100, LOL, 1 1 1, L L7 : from Bihar, 85,

88, 123,125: from Bengal) though already seen inBihar in the course of period 2 (45 and 48: in a

schematic way). The presence of the structurecoincides otherwise with the representation, partialor complete, of the "royal throne" (56, 58, 82,83,92,1 10, 1 13, 122) or with the drapery (36, 112, 113).

3. Zone C

A limited number of "divine" characters (thedevotee(s) is (are) here excluded) to attend to thebodhisattva: the Tärä, Bhlkuli, Hayagrtva.Sudhanakum ära, the preta Sücimukha. Their numberchanges in course of time and they are not exclusivelyintegrated in zone C but may appear in zone D.Various levels in the classification are here required:(1) one can broadly distinguish the images where thebodhisattva is alone (2, 9 , l0 , 23-5 ,29 , 30 , 4'1. , 42, 62,63, Ll9: type 1; 64,65,12: type2;60,69,73,75,76,78,79,105, 115: type 3) from the images where he isaccompanied;(2) in this second category, various types can belisted, each defined by the presence of specificcharacters. A distinction may be made from achronological point of view: in periods 1' and 2, l0types are listed (1 to 10) whereas in periods 3 and 4,two only are found (Il,l2):1 TheTärä: L.2 HayagrTva: 48,56.3 TheTäräandHayagriva: 8.4 Hayagriva andthe preta: 12, 54.5 The Tärä and Bhlkulr : 3, 4, 7,'1.4-16, I8, 2O-2, 26-

8,32,39,55,57,58,61.6 The Tärä, Bhtkuti and Hayagriva:33-5 , 45 , 53 .

7 The Tärä, Bhlkufi andthe preta: 36-8, 49-51.8 The Tärä, Bhlkulr, Hayagrrva and the preta: 31,

43,44,46,47 (see also Asher 1980, pl. 163, Wad-ell 1894, pl. II-3).

9 The Tärä, Bhlku{i, Hayagrrva, the preta andSudhanakumära (who is represented in zone D):59,66,67.

L0 Two male attendants , apparently two bodhisat-tvas: L7 (at the left ofthe bodhisattva: Siddhaika-vira, at his right ?, he would hold a flower sup-porting a rounded object, a ratna ?, in his lefthand), 19 (at the left of the bodhisattva: Vajra-päniA/ajragarbha (Mallm ann 1975 405-6, 414) , athis right: maybe Maitreya hol dingthe nägakesara) .

40 (indistinct, they hold camaras).11 The Tärä, Bhlkuli, Hayagriva and Sudhana-

kumära (all in zone C-the pretais in zone D): 82,85,92,93, ll2 (the bodhisattva is seated and so

are the two male attendants), 68,70,80, 84, 86,87, 89,97,98, I0I, 102, 104, 120 (all charactersstanding); the two female attendants are in zoneC, the two male attendants are seen seated inzone D: 72, 81,88, 99, 100, 106; vice versa onimages 109 and 112.

12 Sudhanakumära and Hayagnva, seated: 7I,83,110, 111, 1r7,\22-5.

Remarks

(1) seated female attendants are seen in the earlyperiod (1 and 2):3,8,14-16,18,21,28,33-5, 57 (seeälso Asher 1980, pl. 163, Waddell 1894, pl. II-3), attimes in zone D (15,21,33-5,43,57).(2) the preta is seen in zone C at the same period: 12,31, 36, 37, 46, 47, 49,50, 59 (see Asher, ibidem,Waddell. ibidem\.(3) Sudhanakumära (type 9) is depicted in zone D inperiod 2 atthe same level as the donors.( ) the group Hayagnva-Sücimukha around the legsof the bodhisattva is also typical of the early period:12, 3I, 46, 47, 59 (Asher, ibidem, Waddell, ibidem).(5) the presence of a devotee in zone C and the samesize as one of the other characters is found in Bihar inthe early period (48, 52), but already at the sameperiod, this devotee, alone or accompanied, is of asmaller size at the feet of the bodhisattva at the levelof zone D though it is not yet integrated in thestructure of this zone (36, 45-47,5L; see Waddell,ibidem\; the motif seems to have been introduced inBihar. In later periods, it becomes stereotyped.ll(6) the material of periods 1. and 2, mainly found inBihar, betrays regional characteristics:

- the type 5 is more often met with in the BodhGayä-Kurkihär style (1.4-1.6, 18, 20-22, 26-28) .

- the type 6 is essentially found in the Nälandästyle (33-35, 45 and maybe 53).

- the same remark applies to the type 7;a similar remark can be introduced concerning the

334 EARLY HISTORIC AND BUDDHIST

material of later periods, where images are also foundin Bengal:

- the type 12 is mainly found in East Bihar (117)and Bengal (83, 122-125); a transition between thetype 11 and this one may be seen on images 109 and712

- the type 11 with seated male characters is mainlyseen in Bengal (82, 85, 92,93), which brings us closeto the observation made above concerning the type 12where all the characters are also seated.(7) the position of these characters is fixed: onAvalokiteSvara's right side are seen the Tärä, thepreta and Sudhanakumära (exceptions: 60,66);on hisleft side, Bhfkuti and Hayagriva (exception: 53). Thetype 11 constitutes the most complete elaboration ofthe attendance which coincides with the onementioned in some sadhanas (Mallmann t975, p.107): the Tärä and Sudhana (kumära) are located onthe right side, Bhrkuti and Hayagriva on the left sideof the bodhisattva. (sadhanas 13, 16, 24:Bhattacharyya \968, pp. 37, 46, 58); the sadhana 14introduces a more elaborated composition where thefour characters are distributed in the four directions:

I ara Sudhanakumära Bodhisattva Hayagrrva Bhfkuti

The arrows indicate how the characters are shiftedfrom their position in art to their position in thesadhana (Bhattacharyya 1968: 40, Mallmann 1948:51, Bhattacharyya 1958: 128-9).(8) The Tärä and Bhtkuti present, each of them,certain gestures and attributes, the distribution andchoice of which follow certain patterns.

- the Tärä is two-handed; she holds a lotus, utpala,or the stalk of the flower with her left hand; on rareand early images, the right hand can present a floweror a fruit (15,16, 18,33 - see also Asher 1980, pl.1,63).12 Three patterns can be distinguished:(a) v ar adam. and utp ala (4, L4, 15, 20, 32, 33, 36, 43,

44,53),(b) both hands in anjalim. andutpala(1,3,22,26,28,

37, 45-47, 50, 57,58, 61, 66, 67),(c) right hand in front ofthe breast (abhayam ?) and

utp ala (8, 2J., 27, 38, 49, 5 I, 59, 68, 7 0, 7 2, 77, 8'J.,

84-88, 92, 93, 96, 97, 99-101, 104, 106-09, 1"r2,rr3,120).

(a) and (b) are found in Bihar in periods 1and2, (c)also but it becomes generalized afterwards in Bengalas in Bihar;

- Bhrkuti is rarely two-handed (4,7 (?), "16,28,

43), she is generally four-handed with specificmudrös: namaskara, anjaQ, varada, in front of thebreast, and specific attributes: alcSamala, tridaqtQa,kama4Qalu, the distribution of which may change:

(a) varadam., ak;amala, tridaqtQa, kama4Salu (1.4,33 (?), 36, 45) or varadam. and akyamala,nömas karam., tridanda, kamar.tQalu (3, 32)

(b) varada or directed downwards with aksamala,anjalim., kamarySalu (15, 26, 27, 34, 35, 37, 39,39, 49, 51, 55,59, 59, 61)

(c) directed upwards or namaskaram. witheventuallythe akqamdla, anjali and eventually the tridarlSa,kama4Qalu or tridaqtSa (20 , 38, 46, 47 , 50, 67 ,70 ,72 (?),81 (?): afijali, kamarydalu;27,22: anjali,tridaltSa; 66, 100, I02: anjali and tridar.tQa,kamaltQalu)

(d) in front of the breast with the akqamalö, namas-karam., tridar4Qa, kamaryQalu (31, 68, 85-88, 92,93,96-99, 10L, 104, 108, 109, 1.I2, 113, 120), 44(directed upwards with the ak;amdla, in front ofthe breast (abhayam. ?), tridaytQa, kamaqtQalu)like the last three images of (c) (66, 100, 102) aresomehow transitory between (c) stricto sensu and(d) stricto sensu

(b) is mainly found in the Bodh Gayä-Kurkihärgroup, from where it might have been integrated bythe Nälandä style; (a) or (c) are more commonly

E"r, I

found in the Nälandä style before being replaced by(d), almost generalized in periods 3 and 4 (and the"transitory" images belong to the Nälandä style).(9) Sudhanakumära presents the anjalim. with thepustaka under the left armpit; Hayagriva holds aclub.

4. Zone D

7. Attending characters. As we have alreadymentioned, they can be introduced in zone D. Thepreta is here generalized, exception being made ofsome early examples (see above).

2. Foliated scrolls. They constitute a "stylisticmotif" the appearance of which is late (periods 3 and4) and is seen below the seated bodhisattva.

3. Lions in an architectural structure. Two animalsare profiled under the seated bodhisattva: noarchitectural structure is seen on images 8 and 15, it isafterwards introduced at Nälandä (39, 40, 42, 45, 54,63). A similar structure is seen on image 30 (Kurkihärstyle) but the disposition of the common element (thelion) and the introduction of other elements (theelephants, the "kuQus") make it typical of Kurkihärand its style where it is mainly seen below images ofthe Buddha.l3 From the collected examples, the

BAUTZE-PICRON 335

"lions cum architectural structure" might be linked tospecific attitudes and gestures of the bodhisattva: 39,40 and 45 show the bodhisattva displaying thedharmacakram., 54 and 63 show him seated inmaharäjalilds.

4. Saptaratna or the "seven jewels". Mallmann1948, pp. 306-7 deals in detail with the representationof the jewels on some late images (its presence on thepedestal of 31 might be a late addition). It is seen onthe next images: 110, 111 and 113 beside the examplesquoted by Mallmann:92,100 and 105 (the basis withthe motif seen below the image 105 is kept at the MIKBerlin, inv. I.580 - the motif in itself seems to havebeen represented independently and used as a

support (?) for an image: see BM, inv. 1880-238 (neg.BM 007580) and inv. 1942, 4-16, 25 (neg. BMPS037035), another representation of the saptaratnois kept at the Patna Museum, without any number).Attention must be paid to the image 66 where twoma4is are depicted on the pedestal; to the image 95,the iconography of which would deserve moreattention than the one given here, where at least fourratnas can be recognized distributed on full-blownflowers attached to a thick stalk, maybe a lotus stalksince the bodhisattva's left hand grasps a thin stalkwith lotus which is apparently attached to the largestalk; one recognizes thus: the elephant, the horse,the cakra, the maqti, and two seated characters whichmight be two of the three human characters of thesaptaratna. The identification of the seventh jewelremains uncertain, it presents the elongated form of afish (?):14 to the image 55 where two ratnas,the cakraand the ratna stricto sensu are presented by two malefigures standing respectively on the left and right (forus) sides of the upper part of the niche.

I . two-handed - standinglseated * alone

Three "subtypes" have been mentioned withoutfurther comment as "types" above (B.2.3). Subtype 1

shows the bodhisattva standing (rarely and early) orseated in a position which may change. It correspondsto similar subtypes with attendants (see below) (2, 9,29,30, 41, 42,62,63,118). Subtype 2 presents thebodhisattva as the main image of a stele whichbelongs to a triad (AvalokiteSvara, the Buddha,Maitreya); apart from images 64, 65 and probablyl2I, image 10 might have been included in a similarcomposition with a Maitreya illustrated by Saraswati1977 ,ill. 18. Hiuan-ts'ang mentions images of the twobodhisattvas at the entrance of the Bodhi temple(Samuel Beal, Si-Yu-Ki, Buddhist Records of theWestern World Translated from the Chinese of HiuenTsiang (A.D. 629), London, 1884, II, p. 1,79;Mallmann 1948: 147) and the triad as such has beenoften reproduced in the "Päla-Sena" period. One canassume that it represents then the Buddha of theBodhi temple in bhümispariamudra accompanied bythe two bodhisattvas mentioned (e.g. Huntington1984, Fig. L03, neg. ASI 1478/55 (Bodh Gayä) and476168 (Nälandä)). Täranätha writes thatJnänaSrimitra had "repeated visions of the three,namely bhagavan Sakyaraja, Maitreyanätha andAvalokiteSvara" (Taranatha's History of Buddhismin India, translated from the Tibetan by LamaChimpa, Alaka Chattopadhyaya, edited byDeviprasad Chattopadhyaya, Calcutta, 1980, p. 302)(concerning Jfläna6nmitra, see Jean Naudou, Lesbouddhistes kafmlriens au Moyen Age, Paris, 1968,pp. 177-8\. Subtype 3 constitutes the "Silnhanädatype": the bodhisattva sits on the lion. As mentioned(B.1.3), he can be then deprived of his ornaments(Mallmann 1975: I07: "par6 ou non"). Image 63 maynot belong to the group: the lions in an architecturalstructure are found below other representations ofthe bodhisattva where one cannot propose anidentification to the Sir.nhanäda of the texts (8.2.4.3).The subtype is seen in Bihar where it would appear atBodh Gayä (60,73).

2. two-handed - standing/seated - accompanied

A wide range of subtypes is here possible, linked tothe 12 groups of attending characters (8.2.3). All thepossibilities are however not met with.

two-handed-standing-group 1

25

8101.r

C. ICONOGRAPHIC TYPES

The image has been analysed in such a way that it has

somehow "split" into its various components. A"reconstruction" of the image is made possible bytaking into consideration the observations madeabove - some remarks made here may eventuallyrepeat what has already been noted. The"iconographic type" is hence defined by a suite ofelements, or rather of forms of elements, studiedabove. To determine the types requires that onedecides in which order the various elements/motifsare listed, i.e. which element(s) prevail(s) on theother(s). One must differentiate between basic orprimary iconographic elements/motifs - the attitudes,the number of hands, the attendants - and secondaryelements/motifs - the stüpas, the Jinas, the "royalthrone" . . . which are more likely to partake of a

local or temporary trend. The use of the three majormotifs/elements permits us therefore to list thefollowing types:-

image 1

484, 18,5846,4717,1968,70,84,86,87,89,101,r04

336 EARLY HISTORIC AND BUDDHIST

Most of the subtypes are thus found in periods 1andZin Bihar. The subtypes with group 11 are generalizedin periods 3 and 4; as to the last subtype, with group12, itis mainly found in North Bengal and East Bihar(the group is similar to the group constituted bySudhanakumära and Yamäntaka/Yamäri on eitherside of some images of MaIiju6ri: M.-Th. deMallmann, Etude iconographique sur Mafiiusrl,P aris, 19 64, p. 24, Mallmann 197 5 : 25 1 -2 - Mallmann1964, pI. I : Bhattacharyya 1958, Fig. 83, p. 169 :Banerji 1933,pt. XXXV-b, Bhattacharyya 1958, Fig.85, p. 169, Majumdar 1943,pl. XXII.57).

3. four-handed - seated - alone

Four images are found here (9, 23-25). They arecontemporary with period L.

4. four-handed - standing - accompanied

One meets the following subtypes:

four-handed - standing - group 4: imagel25: 3,L4,20,

)1 ?)7 : 36,37,38,

49,509: 59

The standing position is more frequent in the Nälandäthan in the Bodh Gayä-Kurkihär style (3,36,37 , 49,50: Nälandä, 20, 27 : Bodh Gayä-Kurkihär).

5. six-handed - standinglseated - accompanied

Six-handed unaccompanied images would not be metwith. One notes the following subtypes:

5: 16,22,26,28,61

78

11

six-handed-seated-group 56

53 (? doubtremains: isitHaya-grrva or adevotee onthe pede-stal ?)513L

102,120

15,21,JJ

The subtypes are found in Bihar in periods 1 and 2.The subtype with group 11 remains isolated withinthe material of period 4. Images show mainly thepradaksiryam a (8.1.I.3.a); the trida1la is only seenon a few examples (31 (?), 51., L02) (B.1.1.3.b). Thesix-handed image has been mainly represented in theBodh Gayä-Kurkihär style ( 15, "J.6, 2'1, 22, 26, 28, 6l),more rarely in the Nälandä style (33, 51, 129).

Various . aspects of the iconography ofAvalokiteSvara were not considered here, moreparticularly the introduction of attendants likeHayagrrva or Sudhanakumära. We want only tostress that the first representation of the latter isfound below the bodhisattva seated in the Potalamountain (66, 67), where precisely the youngSudhanakumära of the Gandhavyühasütra meetsHim (Jan Fontein, The Pilgrimage of Sudhana,TheHague-Paris , 1967 , p. 10). As to Hayagrrva, he wouldappear, alone or accompanied, in the Nälandä styleand the pair which he forms with the preta on someimages is observed as Ratnagiri (Saraswati 1977,lll.63 and 64:D. Mitra, Ratnagiri (1058-1961), vol.I,Memoirs of the Archaeological Survey of India, No.80, New Delhi, 1981, pl. CIX-B and A). Cross-references with the literary sources were also notintroduced, since they were not the main purpose ofthis study and for the reasons explained in note L.They are nevgrtheless possible; e.g. MallmannI9T5:368-9 mentions, for the Tärä, the various ways ofholding the utpala and the gesture of the right hand:varada and utpala (sadhana 18) - corresponds to ourformula a (B .2.3. Remark 8) , right hand opening theutpala the stalk of which is held by the left hand(sädhana L4) - corresponds in certain cases, to ourformula c (35,70,85, 102), both hands holding theflower (sadhana 15) (e.g. image 1).

D. CATALOGUE (see also Figs. 7-20)

The following information is given, in whole or part,for each piece: findspot, present localization andaccession number (if in a museum), bibliographicalreferences.

two-handed - seated - group z345689

101.r

:56:8:54

12

?q 55 57?4 ?S 45

43,4466,674072,81,82,85,88,92,93,99,',J.00,106, 109,1127L,83,1L0,11L,1.17,t22-25

six-handed - standing - group

Abbreviations

Asutosh Museum, CalcuttaBritishMuseum, LondonBangiya Sahitya Parishad, CalcuttaDacca Museum, today: National Museumof Bangladesh, DhakaIndian Museum, CalcuttaMus6e Guimet, ParisMuseum für Indische Kunst Berlin, Berlin(West)MaldaMuseum, MaldaNational Museum, New DelhiNälandä Museum, NälandäPatnaMuseum, PatnaRoyal Scottish Museum, EdinburghState Archaeological Museum of Bengal,CalcuttaVarendra Research Museum, Rajshahils

337

Fig. 48 : Banerji 1933,pI. XII-a : Mallmann1948, pl. X-b : Asher 1,970, pl. IV (left) :Huntington I984,Fig. I40.Kishangarh, dt Bhagalpur; PM 7573; Gupta1965, p. 60 No. 42; Fig. 9.Kurkihär; PM 11086; Gupta 1965, p. 61No. 47: Saraswati 1977 ,i11.66.

15 Kurkihär; PM 11028; Gupta 1965,p.61No. 48: Saraswati 1977,i11.75: Tantrische Kunst . . .

No.22p.126.16 Kurkihär, IM A24I30; Anderson 1883,pp.72-3,: M. Ghosh 1980, ill. 38 : neg. ASI1899/64.17 "Kurkihär style"; IM 5861; Bloch 1911, p. 58 :

Banerji 1933, pl. IX-b : Mallmann 1948, pl.VIII-c.

18 Dharawat, dt Gayä; PM1129I; Fig. 10.19 Bihar; IMA24145.20 Bodh Gayä; Huntington 1984,Fig.102.2l Kurkihär; IM A25137; Anderson 1883, p. 74 :

Saraswati 1977 ,111.76 : Huntington 1984, Fig.1,r2.

22 Kurkihär; IM 3860 or 5860 (the first number isseen in Banerji 1933, it seems to have been after-wards rewritten and transformed in 5860, whichis read in Bloch 19II, p . 57 with the mention oforigin but Bloch 1911, p. 58 mentions brieflyanother image with the same number and whichwould be close to ourimage No. 53);Bloch 1911,p. 57 : Banerji 1933, pl. VII-a : Mallmann1948,p1.IX-b : M. Gosh 1980, ilI.45 : Hunting-ton 1984, Fig. 115.

23 Kurkihär; IM Kr 10; Anderson 1883, p.76 :Banerji 1933, pl. XIV-a stylistically and icono-graphically, identical to image 24.

24 Bihar Sharif but "Kurkihär-Bodh Gavä stvle"(the images from "Bihar" or Bihar Shärif weregathered there by Broadley who collected themthrough his journeys in the State of Bihar: seeAsher 1970); PM7 559 ; Saraswati 1977, ill. 70 :Tantrische Kunst . . . No. 21 p.126.

25 "Kurkihär-Bodh Gayä style with elements fromNälandä"; Sotheby's: Catalogue of Tibetan,Nepalese, Indian and South-East Asian Worksof Art,18.4.1983, 10.30 a.m., No. 95 p. 35.

26 "Kurkihär-Bodh Gayä style"; J. Leroy David-son, Art of the Indian Subcontinent from LosAngeles Collections, Los Angeles, 1968, No. 47p.36.

27 "Kurkihär-Bodh Gayä style";NM 60.605;neg.NM3861/71.

28 Särnäth, "Kurkihär-Bodh Gayä stvle,': .45LAR for 1903-4, pl. LXII-2 : ghaitaciraryyä1923, pl. I, Fig. 2 : Mallmann 1948, pl. IX-a.

29 Bihar Sharif but "Kurkihär-Bodh Gayä style";lM 425145/3789; Bloch 1911, p. 54 : Asher1970,p1. II (at the top ofthe stairs).

30 "Kurkihär style"; MG MA 2479; O. Monod-Bruhl, Deux stöles indiennes acquises par leMusde Guimet, Revue du Louvre,II, No. 4/5,1961, pp. 235-7 : Picron 1978,Fig.36.

BAUTZE-PICRON

AMBMBSPDM

IMMGMIK

MMNMNIMPMRSMSAMB

VRM

13

14

aJ4

567

1 Bodh Gayä (?); The Asia Society, New York,1979,10; Handbook. . . p. I0 : Masterpiecesof Indian Sculpture. . . pl. XIV and B&W 109: P. Pal, The ldeal Image, The Gupta SculpturalTradition and lts Influence, The Asia Society,New York, 1978, No. 67 p. 115: Asher 198b,PI.147 .

2 Nälandä; NM 49, 148; ASI, ARfor 1930-34,pI.LXVII-a : Mallmann 1948, pl. VIII-a : 5000Jahre Kunst aus Indien, Five ThousandYears ofArt from India, Villa Hügel, Essen, 1959, No.248 p. 294 : Trösors d'Art de I'Inde, PetitPalais, Paris, 1960, No. 205 and pl. 37 : Inde,Cinq mille Ans d'Art, Petit Palais, Paris,1979,No. 61p. 66 : Asher 1980, pl. 161 : Hunting-ton 1984, Fig. 11."Nälandä style" ; NM; Fig. 7.Nälandä; NIM 6; H. Zimmer, The Art of Indian-4sia, NewYork, 1955, vol.2,pl. 378 : Särasvati1977 , ill.56 : Asher 1980, pl. 162 : M. Ghosh1980, ill.39: Huntington 1984, Fig.I23.Nälandä; NIM 5; Asher 1980,p1. 17 4."Nälandä style" ; MIK 628.Nälandä; M.M.H. Kuraisfti, List of AncientMonuments Protected Under Act VII of 1904 inthe Province of Biltar and Orissa, ASINIS, vol.LI. Calcutta, 1931. Fig. 53, p. g4.Bargaon, Nälandä; IM A251,6113806; Bloch1911. p. 56; Fig.8.

9 Nälandä; NIM; Saraswati 1977, ill. 69 : neg.ASr481/68.

10 Nälandä; NIM 0009; Huntington 1984,Fig.I27: neg.ASI450/68.11 IM; Bloch 1911, pp. 73-4 : Kramrisch 1929,

Fig. 13 (origin located at Kurkihär though noth-ing is said about it in the catalogue by Bloch andthough stylistic features, e.g. the ear-rings,would indicate Nälandä) : Banerji 1933, pl.X-b : Mallmann 1948, pl.IX-c.

12 Ghosravan; IM A24123/3962;Kramrisch 1929.

338

31

JZ

JJ

EARLY HISTORIC AND

Mahasthan; Mahasthan site museum; Hunting-ton 1984, Fig. 198."North Bengal-East Bihar style"; NM 63.1061;Fig.11.Baragaon, Nälandä; lM 4473; Bloch 1911, pp.72-3 : Kramrisch 1929, Fig.28 Banerji L933,pl. XI-c : M. Gosh 1980, ill. 49 : neg. ASI1898164.Nälandä; NIM 3.54; Gangoly 1929 : Banerji1933, pl. XXXIV-d : A. Ghosh 1971, pl. VI-A: Saraswati 1977,111.61 : M. Ghosh 1980, ill.4z-identical to No. 35."Nälandä style"; RSM 1956.565;' Asiatic Sculp-tures, Royal Scottish Museum, Edinburgh, n.d.(\978?),Fig. 3 p. 5.Nälandä; NIM 12.87; ASI, AR for 1930-34, pl.CXXXVIII-(a) : Mallmann 1948, pl. X-a :A. Ghosh 7971,pl.IV : Saraswatil977,ilI.67: M. Ghosh 1980, il1. 47 : ne9. ASI458i68.Nälandä (Sürya temple); neg. ASI 873/68.Nälandä;NIM00029;M. Ghosh 1980, ill. 43.Nälandä; NIM; Saraswati 1977,i11. 84.Nälandä; NM; Saraswati 1977, 1ll. 112 and p.XL: "Mahä6ri Tärä (?)" (because the authordoes not seem to observe the flat chest).Nälandä; NIM00022; neg. ASI 597/68.Nälandä; NIM 10743; neg. ASI 483/68."Bihari (?) sub-style"; private collection,Switzerland1' Fig. 12.Purulia, Bihari (?) substyle (with influence fromOrissa ???); BSP C(d)UaOO; Ganguly 1922,pl.v."Nälandä style"; MIK IC 35608 (formerly) .

Biswak but "Nälandä style with Bodh Gayäinfluence"; IM 3807; Bloch 1911, p. 58 :Banerji 1933, pl. VIII-b : Asher 1970, pl. VI(and p. 108) : M. Ghosh 1980, ilI. 44-identicaltoNo.47."Nälandä style"; MIK I 1156; inscribed in theyear 2 of the Pratihära ruler Mahendrapäla (seenote 15).Telhära; Rietberg Museum RVI 106; J.E. vanLohuizen-de Leeuw, Indian Sculptures in thevon der Heydt Collection, Descriptive Catalogueby, Zijrich, 1964, No. 11 pp. 54-62."Nälandä style"; Waddell 1894, pl. II-1 :Asher 1970, pl.II (at the top of the stairs, leftside above the gargoyle) (probably at the IM)."Nälandä style"; private collection, Brussels;Fig.13.Bihar Sharif, "Nälandä style"; AM 39; Saras-wati 1977, rll.7l : neg. ASI 66164 (mentionedbyM. Ghosh 1980. p. 160).Nälandä;NlM 10558; neg. ASI 627168."Nälandä style" (?); IM3796; Bloch 1911, pp.57-8 : French 1928, pl. XVIII : Krarnrisch1929, Fig. 23 : Banerji \933,pI. VIII-d : Mall-mann L948, pl. IX-d.Nälandä; NIM; Saraswati 1977, ill. 55 and p.XXVIII: "National Museum" : nes. ASI 482l68.

BUDDHIST

Kurkihär with "Nälandä influence" Qtadma. . .)"; IM A25160/5859; Bloch \911, p. 56 :French 1928,pL. XXIII(II): Kramrisch 1929,Fig. 42: Banerji 1933, pl. XV-d : Mallmann1948, pl. XIV-b : Saraswati 1977 ,i11.83."Kurkihär style"; Dr Ernst Hauswedell: Auk-tion 110 - Am 27. November 1961: IndischePlastik- Persische Bronzen, No. 35 p.37 'Bodh Gayä;Huntington 1984, Fig. 104."Bodh Gayä style" (from Bodh Gayä itself ?:

see Martin 1838, I, pl. X-3); 8l|l41872.7-'l'.97;Chanda 1936, pl. XV : H. Goetz, Päla-SenaPeriode, Enciclopedia Universalle dell'Arte,vol. X, col. 398-416, Fig. 2L4 : Picron 1978,Fig.37 - neg.BMLXVI-6.Bodh Gayä; neg. ASI 1477155 (to be publishedin the article announced in note L1).Bodh Gayä; IM BG 6/5980; Anderson 1883,pp. 27 5 -6 : Banerji 1933, pl. XXXIV-c.Bodh Gayä-Kurkihär style; NM 59.92/1; Saras-wati 1977, ill. 72 : C. Picron, Gopäla II ouGopäla III, Xe ou XIIe siöcle, Datation d'uneimage de Siva, Ärls Asiatiques, XXXIV, 1978,pp. 105-20, Fig.2: neg. NM 960/66.

"Bodh Gayä style" (see Bdnisti 1981,I, pp.25,26 . . .)t Princeton University Art Museum66.40; Archives of Asian Arts XXI, 1967-68,

Fig. 44 p. 88."Bodh Gayä style" with Nälandä influence" orvice-versa? lM A2430916273; F.8. Havell,Indian Sculpture and Painting, London, 1928,

pl. XI : Mällmann 1948, pl. XII-a: Bh{!ach-äryya 1958, Fig. 81 p. tl2: Saraswati 1977,i11'

3O (see Mallmann 1948: 183-4 where the variousidentifications made up to 1948 are listed -Bhattacharyp 1958 mentions "VagrSvara",S araswati t97 7 "Mahäräj alilä Marij uSri (VagiS-vara)".Hasia KolA/is4upur (Huntington 1984: 106);PM1680;Banerji1933,pl' XXXII-a : Gupta 1965,

pl. XI (left) : Saraswati 1977,ill' 54: Hunting-ton 1984, Fig.122.Bodh Gayä (?); Museum of Fine Arts, Boston;Masterpieces of Indian Sculpture. . ., B&W 120'

"Bihari substyle" (Nälandä ?); NM 59.16; neg.

NM694/67."Bihari substyle" ; London, private collection.Nälandä; NlM45.3847;A. Ghosh 1971, pl. V :M. Ghosh 1980, ilI. 50: Huntington 1984, Fig'137.Särnäth; NM 59.92719; M'M. Mukhopadhyay,Sculptures of Ganga-YamunaValley' New Delhi,1984, fig. 90 - compare with No. 75 for a similarlion."Nälandä style"; RSM 1887.160; Fig. 14"Nälandä or East Bihar style"; Sotheby's:Indian, Tibetan, Nepalese, Thai, Khmer andJavanese Art including Indian Miniatures, 20

and21, .9 .1985 , No. 265 (lett) .

"Nälandä style"; The Asia Society, New York,

55

56

5758

59

60

61

62

63

34

35

36

37383940

41.

42+J

44

64

65

66

6768

69

47

48

49

50

51

5253

4546

707T

5472

BAUTZE-PICRON 339

1979.39; Handbook . . . p.21.73 Bodh Gayä; Foucher 1900, I, Fig. 16 p. 116 :

Mallmann 1948, pl. XIII.74 BodhGayä;MIKL663.75 Chilor, Gauspur, dt Gayä; PM; Fig.15 - com-

parewithNo.69.76 "Bihari substyle"; MIK 576; MIK Katalog,

Berlin, 197 6, ill. p. 178.77 Bihar (Bihar Sharif ?); PM 1582; Gupta 1965,

pl. XIII (left).78 "Bihari substyle" (Nalanda ?); Sotheby's Egypt-

ian, Middle Eastern, Greek, Etruscan .,12.7 .1976 and13.7 .1976, No. 181pp.76-7 .

79 "Bihari substyle" (Nälandä ?); Lempertz:Auktion 598-30. November und 1. Dezember1983: Ostasiatische Kunst, No. 732 p. 100 andpl. 26 (right).

80 Monghyr; BM 1895.1-17.1; Foucher 1900, I, Fig.13 p. 104 : Chanda 1936, p.57 : Mallmann1948,p.I72: neg. BM CXLIX-23.

81 "Bihari substyle (?)"; The Asia Society, NewYork, 1979.401, Handbook . . .,p. 22.

82 Jhiruja, dt Rajshahi; DM76398; Fig. 16.83 Malda; MMBAV-3; M. Bhattacharyya 1982,p.

37; Fig.17.84 Narayampur, dt Rajshahi; DM 80361.85 Majhipara, Siribpur, dt Rajashahi; DM 67.60;

Saraswati 1977, ill. 58.86 Nachole, dt Rajashahi;DM72.760; Fig. 18.87 Caurapura, dt Rajshahi; lM A25200/9015; AS{

ARfor 1930-4, pl. CXXXI-b :Majumdar 1943,pl. XX-51 :Mallmann 1948, pl. XIV-d: Hunt-ington 1984,Fig.343.

88 Malda; MM BAV-4; M. Bhattacharwa 1982.pl. VII, Fig. 1andp.38.

89 NorthBengal;DM77.636.90 NorthBengal;DM76.1339.91 Belasa, dt Tippera; DM 1.A. (ä)al2; Bhattasali

1929,pt.Y[-a.92 Mahakali, Munshiganj, dt Dacca; DM 68.66/

I.A. (ii)a/(a); Bhattasali 1929, pl. VII-a :Banerji 1933, pl. XXXIX-d : Majumdar 1943,pl. XX, Fig. 50 : Mallmann 1948, pl. XIV-c:Bhattacharyya 1958, Fig. 103 p.257 (with un-broken jaya) : Saraswati 1977, ill. 59 (withbroken jaträ).

93 Mulchar, Vikrampur, dt Dacca; VRM A(b)3/122 ; B asak-Bhattacharyya 19 19, p . 3 : S araswati1977 ,in.60.

94 Sonarang, Vikrampur, dt Dacca; VRM (AXb)4/93 ; Basak-Bhattacharyya 1919, p. 3.

95 Bhadrakali, dt Hoogly; AM; Saraswati1,977 ,111.91 : Huntington 1984, Fig. 22f : neg. ASI1427/62.

96 Surajpur, Nälandä; Huntington 1984, Fig. 138.97 Nälandä; N1M 05668; neg. ASI596/68.98 Bihar (Sharif ?), "Nälandä style"; pM 1600;

Gupta 1965, p. 61No. 46.99 Bihar (Sharif ?); AM; neg. ASI 1905/65 .

100 "Bihari substyle" (Nälandä ?); BM 1872.7-1..29Chanda 1936,p.47 : Mallmann 1948, pl. XV:

neg. BMLXVI-3.101 "Nälandä style"; MG MA 4803; J. Auboyer,

Deux sculptures de I'Inde au Musde Guimet,Revue de Louvre et des Musöes de France, 4-197 9, pp. 298-304, Fig. 8.

I02 "Nälandä style"; Museo Nationale d'Arte Orien-tale, Roma 206; M. Taddei, Tre stele medioevalidell' India di Nord-Est,Museo Nazionale d'ArteOrientale, Schede 1, Roma, 1967, p.23 : M.Taddei, Indien,Archaeologia Mundi, (Geneva,1970) Münich, 1978, Fig. 166 : Picron 1978,Fig.71."Nälandä style (?)"; MIK I668."Bihari sub-style" ; NM; Fig. 19.Lakhi Sarai, dt Monghry; MIK IC 33702 (tor-merly); Waddell 1894,pl.I : Foucher 1905, II,Fig. 2 p. 33 : Bhattacharyya 1958, Fig. 101p.176.Lakhi Sarai, dt Monghyr; IM6549; ASI, ARfor1925-26,pt. LX-d.Candimau; IM NS 76; inscribed intheyear of 42of Rämapäla's reign (Huntington 1984: 233-234) ;ASI, AR for 1911-12, pl. LXXII-I : Banerji1933,pl. V-b : Bhattacharyya 1958, Fig. 104 p.259: Huntington 1984, Fig.75.Giryek; PM;Huntington 1984, Fig. 84.Giryek; IM3794; Bloch 1911, p. 55 : Banerji

103104105

106

t07

108109

1933,p|. XVII-c.110 Rohoi; IM 4251,5913804; Bloch 1911, p. 55 :

Kramrisch 1929, Fig. 44 : Banerji 1933, pl.XXXIII-a : Asher 1970, pl. VI : Saraswati1977 ,ilJ.62.

1,11, "Nälandä style (?)"; Museum of Fine Arts,Boston, 61.129; Bulletin of the Museum of FineArfs, Boston ,LX,I962,p.107 .

112 "Bihari substyle" (Nälandä ?); RSM 1956.564;Fig. 20.

113 "Bihari substyle" (Nälandä ?); BM 1872.7-1.28;neg. BMCXLIII-62.

114 "Bihari substyle" (Nälandä ?); Museum of FineArts, Boston, 22.381; A.K. Coomaraswamy,Catalogue of the Indian Collections in theMuseumof Fine Arts, Boston, Part II, Sculpture,Boston, 1923, pl. XXXVI.

115 Sultanganj (?) (according to Wladimir Zwalf,no definite proof exists that the image wasactually found at this place - personal com-munication); Birmingham Museum and ArtGallery, Birmingham, 1472.85; Huntington1984, Fig. 155.

116 Kiul, dt Monghyr; AM T.1804; Huntington1984, Fig. 76 : Susan L. Huntington, Epigraphyfrom Art History: Studies in the Art of the PälaPeriod, in: Indian Epigraphy, Its Bearing on theHistory of Art, Edited by Frederick M. Asherand G.S. Gai, New Delhi . . ., 1985, pp. 177-83,pI.196.

117 Antichak; Indian Archaeology 1977-8 - AReview,pl. X-4.

118 Antichak; Indian Archaeology 1974-5 - AReview,pl. V-D.

340 EARLY HISTORIC AND BUDDHIST

t19

120

Antichak; Indian Archaeology 1973-4 - AReview,pl. XVIII-A (right).Chengkuri, Porsha, dt Rajshahi; VRM A(b)12l264 ; B asak-Bhattacharyya 19 19, p . 4 : Saraswati1977,111.74.Habibpur, dt Malda; MM BAV-5; M. Bhatta-charyya 1982,pl.X-2.Tapandighi, dt West Dinajpur; SAMB 5.207;'Huntington 1984, Fig. 237 : neg. ASI737l70West Bengal; SAMB ; neg. ASI 682/70.West Bengal ; SAMB 295 ; neg. ASI 659/70.

"North Bengal style"; Lempertz: Auktion 580-Ostasiatische Kunst, 28. und 29. November

126

t27

128

r29130

131

1980, No. 599, pl. 2a$ight).Bodh Gayä; Martin 1838, Vol. I, pl. X-4: Saras-wati" (sic!).Antichak; Indian Archaeology 1976-7 - AReview,pl. V-C.Antichak; Indian Archaeology 1976-7 - AReview,pl. V-D.Nälandä; N1M; neg. ASI 469168.

Antichak; Indian Archaeology 1977-8 - AReview,pl. XI-4."Bihari substyle"; Ashmolean Museum, Oxford,os61.

r21

t22

r23L24125

BAUTZE.PICRON 341

Fig. 7. Image 3.

Fig. 8. Image 8.

342 E,ARLY HISTORIC AND BUDDHIST

Fig.9.Image 13.

Fig. 10. Image 18.

BAUTZE-PICRON J+J

1i':)!

Fig. 11.Image32.

Fig. 12.Image 43.

344 EARLY HISTORIC AND BUDDHIST

Fig. 13. Image 50.

Fig. 14. Image 70

BAUTZE-PICRON 345

F'ig. 15. Image75.

Fig. 16. Image 82.

346 EARLY HISTORIC AND BUDDHIST

Fig. 17. Image 83.

Fig. 18. Image 86

BAU"TZE-PICRON 347

Fig. 19. Image 104

Fig.20.Image 112.

348 EARLY HISTORIC AND BUDDHIST

NOTES

For example, she considers, pp. 168-70' the "Formesd'Avalokilegvara ä six bras" which she proposes to call

"Amoghapäga" since the images catry the paSa ot,forone imägelour No. 53), "sugatisapqdarEana T 'okeEvara"since it öan be compared to a södhana mentioning this

name (quoted pp. 55 and 168) - though she observes

that theiext is Äo.e recent than the image (p. 168)' On

p. 55, she also quotes the sadhana of "PretasamtarpitaLokeEvara", another six-handed LokeSvara' In her

more iecent "Introduction ä I'iconographie du täntrismebouddhique" (1975), pp. 110 and 113, she refers forSugatisalndardana Lokä3vara to the same image ("15"')unä fo. Pretasamtarpita Lokesvara to a Nepalese

drawing reproduced by B. Bhattacharyya 1958' Fig'IIS p. t$7"14-).Out of the six images collected in194ti and out of the 17 listed hereafter (including the six

previous ones), only three (51, 53, and maybe 102)

äould be tentatively identified as an aspect evoked insadhana 42.'fhe identification with AmoghapäSa can-

not stand any longer since the name is given to an eight-armed Avalbkit6svara (Mallmann t975:1'L0, Pal 1966

and 1967). As to a third mentioned six-handed form,it is absolutely impossible to apply its name, Hari-hariharivähanödbhava Avalokitesvara, to our material(Mallmann 1975:. 109). As a result, apart from three

i-ug"t - but, the stylistic stage of evolution of the firsttwolmages bring them to an earlier date than the one

of tlrre Sädhanamala and the "abhayam." of the thirdone is not evident - no other can be named. Examples

related to other forms could be selected but this wouldtake us far away from our present analysis '

. The "$a{akgaii LokeSvara" type Presents a list offeatures which isolate it from the other iconographictypes under study here, such as the vairäsana attitude,tne anialimudrd, the two female assistants seated in the

same position and displaying the same mudrd, ' ' ' orsuch äs the absence of characters (Sudhanakumära'Hayagrrva, the preta) found elsewhere. The type does

nofseäm to havö undergone profound changes' Images

are mainly found in East Bihar and North Bengal and

can be asiribed to the 11th and l2lh centuries: fromAntichak (Indian Archaeology 1974-1- A Review, pl'Y-B; Indiin Archaeology 1976-7 -A Review.pl' V-B);from Colgong, Bhagalpur district (Kramrisch 1929,

Fig.37 :-C,tptu 1965, No. 49 p.62: Saraswati 1977,

lll: 44 : Huntington 1984, Fig. L57) from Bihar(Waddell 1894, pl. II-2 : Banerii1933, pl' XVII-a :ühattacharyya fgSS, Fig. 95); from Niyamatpur, Raj-shahi distriöi (,4 nnual Report of the Varendra Research

Society for 1936-7 & 1937-8, Fig' 5 : Saraswati 1977,

1ll. 42-: Huntington 1984, Fig. 234); from Habibpur'Malda district (Majumdar 1943, pl. XXII.56 : M'Bhattacharyy a 1982, pp. 38-9); from Birbhum district(Banerji LSZZ, pt. XXXIV-b : Mallmann 1948' pp'ilq-S : Bhattacharyya 1958' Fig. 96); from unknownorigin (Christie's Amsterdam, Sale of Fine AsianWirks of Art . . .23.5.1985 ar'd24-5.1985, No' 61 p'

14: we aie grateful to Dr Hugo Kreyger, from Christie's

Amsterdam, for sending us a photograph of the

sculpture).: fr4.

'Se"itti, Le mödaillon lotiforme dans la sculpture

indienne du iü siöcle avant J"C' au vü siäcle aprds

l.-C., paris,1952, pl.II shows precise drawings of the

lotus and its different Parts.

See Mallmann7975'.8 and A. Tagore, Some Notes on

Indian Artistic Anatomy and Sadanga or the six Limbsof Painting, (19\4, l92l), Calcutta, 7968" 12-13 and

Fig. 2-3 wliere the difference between the two attitudes

is explained.eJso WadOetl 1894, pl. II-3 (from Telhära: see AsherL970, pl.VII, fourth figure from left and p' 109)'

.

Sürya (Huntington 1984, Fig.2aq' Bhairava (ibidem'fig. fiO;, Naiasir.nha (Banerji 1933, pl. XLVI-d),Agni (ibidem, Pl. KXI-b).Ai early example of the motif in Bihar is seen on the

edge ofä slab 6ehind a standing Buddha from-Sultän-gaij (Zwatt 1985, No. 139 p. 1 105 : Das Bild des"n"äatto,Mit

einem Vorwort von Professor Dr' HerbertHärtel. Berlin-Tempelhof , 1979, No. 39 p' 107)'

At this place is seen a Jina in dhyänam. in Mi!1a.1878'pt. XXXft-f (stylistically similar to our No' 58) (here': No. 132).Other pairs of Jinas are seen on the following images:

Waadelt 1894. pl. II-c (quoted by Mallmann 1948' p'

299), Banerji tl::, pt. XXXIV-a, Asher 1980, pl' 163

(Avalokitesvara with respectively twelve, sixteen and

twelve arms).Since the upper part is occupied by the representatlon

of a Jina, the face is seen below it (as it is abovea Tärä:

Huntingion 1984, Fig. 233: also from Rajshahi district)'llhe m6tit of the devotee(s) is studied in Bautze-

Picron,1985.-lhe sädhana 1'6 (Sadhanamäla, Yol. I, edited by

B. Bhattacharyya, Baroda, 1968, (GOS 26' p' a6)

replaces the Taiä by Vasudhärä (Mallmann.1975.: 10'7 n'

7) to whom the fruit does not seem to be given in liter-

^iy so.tr."t (Mallmann t975: 44t-2). The question of

thä fruit or of any other round object has been dealt

with in an article published in the Annali del IstitutoOrientale del Univirsita di Napoli - Ghosh 1980, p' l7 4,

n. 2, mentions an inscription from Särnäth where

Vasudhärä is called Tärini.A typical pedestal of Kurkihär or of the Kurkihär style

pr"iäntt, iuperimposed from bottom to top: a series ofniches where lions änd elephants are represented frontal-

ly and not in profile; a row of kü{us, a double padma or a

cushion on which sits the Buddha' Following seated

imases of the Buddh a in bhümisparSamudra are to be

conJidered: State Chadradhari Museum, Darbhanga,No. AY/39 (postcard from the museum), LucknowMuseum (J. Ph. Vogel, De Buddhistische Kunst van

Voor-Indi'ö, Amsterdam, 1932, Afb.37)' IM L24136(Anderson 1883: 73, "Kr. 2"),IM (Anderson 1883:

iz-q, *Kt 3") : Banerji 1933, pl. VIII-c), rM-a24137(unpublished), IM A24122 (Bhattacharyvl 1?19'

rig'+O i. es); Bl.llg42.4-15.1 is similar tol]|iI A24137 and

might originate from the same place;. . . . The same

peäestal il here observed under two images of Ava-lokiteSvara: 30,56.

10

II

t2

13

14 The image begs interpretation and constitutes perhaps

one of the räre examples where craftsmen actually

followed a specific text, possibly here a passage of the

KäraryQavyihasütrawhere water is said to exude fromall pores of the bodhisattva (Mallmann 1948: 40)' The

pu*iug" is illustrated in a manuscript kept at the

britis-h Library OMPB Or. 13940: Zwalf 1985, No'81, pp. 67 and 69. (We are thanktul to J'P' Losty, fromthe Iiritish Library for having shown us slides of the

painting.) A possible connection with Orissa cannot be

äxcludfü: (lithe tiny figure seated inpadmäsanaintheright part äf ttre peOestal and holding objects (?) in

BAUTZE-PICRON 349

both hands is seen at Ratnagiri in a similar position (D.Mitra, Ratnagiri (1958-61), Vol. II, Memoirs ofthe Archaeological Survey of India, No. 80, NewDelhi, 1983, pl. CCCLI-A; (2) the absence of anyshawl or ajina is also seen at Ratnagiri (ibidem, pi.CCCXXVII-A and B, CCCXXIX-A, CCCXXXI-A,. . .); (3) ashortupavtta adorns there some bodhisattva(ibidem, pl. CCXLVIII-A, CCLV-B, CCCXXXI-B).

15 We want to thank Dr. Enamul Haque, Director Generalof the National Museum of Bangladesh (formerlyDacca Museum); Dr. Mukhlesur Rahman, Directorof the Varendra Research Museum, Rajshahi;Dr. S.p.Asthane, Keeper, National Museum of India, NewDelhi; Dr. Herbert Härtel, Director of the Museumfür Indische Kunst, Berlin; Dr. James C. Harle, KeeperAshmolean Museum, Oxford; Dr. Wladimir Zwalf,Assistant Keeper, The British Museum, London; theauthorities of the Royal Scottish Museum, Edinburgh,and the private collectors who allowed us to work withthe material of their collection. Special thanks are alsodue to Dr. M.S. Nagaraja Rao, Director General of theArchaeological Survey of India, for the promptnesswith which the photographic department of A.S.I.brought ready the photographs used in our research. Iam thankful to Dr. G. Bhattacharva, Museum fürIndische Kunst, Berlin, for havine informed meabout the existence of the inscription oi im age 47 .

Bhattacharyya, Malaysankar. 1982 Art in Stone: A Cata-logue Of Sculptures in Malda Museum. Malda.

Bhattasali, Nalini Kanta. 1929 Iconography of Buddhistand Brahmanical Sculptures in the Dacci Museum.Dacca.

Bloch, Theodor. 1911 Supplementary Catalogue of theArchaeological Collections of the Indian Museum.Calcutta.

Bruhn, Klaus. 1976 Classification in Indian Iconography.In: German Scholars on India,vol.II,pp.26-50. Bombay.

Chanda, Rama Prasad . 1936 Medieval lidian Sculpture inthe British Museum. London.

Foucher, Alfred. 7900-5 Etude sur I'lconographie Boud_dhique de l'Inde, I. Paris, 1900. II. paris. i90S.

French, J.C. \928 The Art of the pal Empire of Bengat.London.

Gangoly, O.C. 1927 A Stone Image of Avalokitesvara inthe Nalanda Museum. Rüpam,XXX, pp. 37-8.

Ganguly, Manmohan. 1922. Handbook io the Sculpturesin the Museum of the Bangiya Sahitya parishad. Caicutta.

Ghosh, A. \971 Nalanda, ASI. New Delhi.Ghosh, Mallar. 1980 Development of Buddhist Iconography

in Eastern India: A Study of Tara, prajnas of Five Talha_gatas and Bhrikutt. New Delhi.

Gupta, Parmeshwari Lal. (Ed.) 1,965 patna Museum Cata-logue of Antiquities. Patna.

Handbook of the Mr. and Mrs. John D. Rockefeller 3rdCollection. n.d. (1981?) The Asia Society. New york.

Huntington, Susan L. 1984 The "pata-Sina" Schools ofSculpture. Leiden.

Kramrisch, Stella. 1929 pala and Sena Sculpture. Rüpam,XL, pp. 107-26.

Majumdar, R.C. Ed. 1943 The History of Bengal, vol. I,The Hindu Period. Dacca.

Mallmann, Marie-Th6röse de. 1948-67 Introduction äI' Etude d' Av alokitegv ara. p arts.

- 1975 Introduction ä I'Iconographie du Täntrisme

Bouddhique. Paris.Martin, Montgomery 1.836-8 The History, Antiquities,

Topography, and Statistics of Eastern India . .., 3 vols.London.

Masterpieces of Indian Sculpture from the former Collec-tions of Nasli M. Heeramaneck, Introduction and Des-criptive Catalogue by Alice N. Heeramaneck. 1979Publisher, n.p.

Pa_1, Pratapadity a. 1966-7'fhe Iconography of Amoghapä(aLoke5vara. Oriental Art, XII, pp. 234-d;XIJI,pp. Zö_S.pp.20-8.

Picron, Claudine. 1978 La stöle päla-sena, Evolution etchronologie. In'. Au service d'une biologie tle I'art,2 vols.,vol. 1, pp. 57-97. Lllle Publications de l,Universit6 deLille III.

Saraswati, S.K. 1977 Tantrayana Art, An Album. Calcutta.Saraswati, S.K. and Sarkar, K.C. 1936 Kurkihar, Gaya and

Bodh Gaya, with "A Note on the Metal Images,, Uy StettaKramrisch. Rajshahi.

Tantrische Kunst des Buddhismus, Eine Ausstelluns.1981 Berlin-Tempelhof.

Waddell, L.A. 1894 The Indian Buddhist Cult of Avalokitaand his Consort Tärä, the "Saviouress,,, illustrated fromthe Remains in Magadha. The Journal of the Royal Asiatic

, Society of Great Britain and lreland, for 1894, pp. 51-g9.Zwalf , W. (Ed.). 1985 Buddhism, Art and Faith-. London:

The British Museum.

REFERENCES

Anderson, John. 1883 Catalogue and Handbook of theArchaeological Collections in the Indian Museum, Part II,Gupta and Inscription Galleries. Calcutta.

Asher, F.M. 1970 The Former Broadley Collection, BiharSharif, Artibus Asiae, XXX[, pp.105-24.

- 1980 The Art of Eastern India, 300-800 A.D. New

Delhi. 1980.Auboyer, Jeannine. 1949 Le tröne et son symbolisme dans

I' Inde ancienne. Paris.Banerji, R.D. 1933 Eastern Indian School of Mediaeval

Sculpture.,4S1N1S, X LV II, Delhi.Basak, Radhagovinda and Bhattacharya, Dinesh Chandra.

1919 A Catalogue of the Relics in the Museum of theVarendra Research Society, Raj shahi. Rajshahi.

Bautze-Picron, Claudine. 1985 Reprdsentation du/desddvot(s) dans la statuaire bouddhique en pierre du Biharä l'6poque "Päla-Sena". Berliner Indologische Studien,Band 1, 1985, pp. 123-34.

B6nisti, Mireille. 1981, Contribution ä I'etude du stüpabouddhique indien: les stüpa mineurs de Bodh-Gaya et deRarnagi ri, 2 vols., Paris.

Bhattacharyya, Benoytosh. 1923 Identification of Avaloki-teSvara Images, Proceedings and Transactions of theSecond Oriental Conference, Calcutta. January 28th toFebruary lst 1922, pp.285-90. Calcutta.

- 1958 The Indian Buddhist lconography Mainly Based

on the Sädhanamala and Other Cognate Tantric Texts ofRituals, 2nd ed. Calcutta.

- 1968 F,d. Sadhanamälö, 2 vols. Baroda. (GOS No.

26 and 4I.\