The Lost (?) Pedestal from Madanapäla's Reign, Year 14

CLAUD INE BAUT ZE-P I CRON

In the long appendix which she devotes to the 'dated'images carved during the 'Päla-Sena' period in Biharand Bengal (Bangladesh and West Bengal), Susan L.Huntington introduced under number 54 Gg84,p. 46)a 'Pedestal of a Buddhist statue'. No reference ofpublication is given since it does not seem to have beenso far published although it has been photographed byJoseph Beglar, probably during the winter of r87z-r 873 (Beglar, r 878, p. r: 'Over and hundred and twentyphotographs have been taken to illustrate the ancientremains visited ...'). This photograph is reproducedhere as Fig. r.' The pedestal is seen on our right, at theside of a representation of Simhanäda Avalokite6varawhich was till 1945 preserved at the Museum fürVölkerkunde in Berlin, in the department which hassince become the Museum für Indische Kunst Berlin(inv. IC 337c2) (Waddell, r894, pl. I.A; Foucher, r9o5,

fig. z; B. Bhattacharyya, 1924, pl. XIX-(C) and 1958,fig. ror). As already mentioned by Susan L. Hunt-ington (t984, pp. 7r, 236), Alexander Cunninghampublished in his report for r87r-r872 the inscription ofthe pedestal, as well indeed as the one of the SimhanädaAvalokitesvara (r873, pl. XLV, ins. no r7 (pedestalinscription) and no 34 (Avalokite6vara inscription) andp. 125 where the Roman transliteration is given and thetranslation of the last line of no r7). Cunningham readthe date as being 'r9', which R. C. Majumdar correctedas '14' G94r, p. z16).

The image was photographed at 'Monghyr, Jayna-gar/Hasanpur' (Bloch, r9oo, photo serial no r69). Jay-nagar is located lat. 25"9' N. and long. 86o5' E. (Patil,r963, p. 6zz) while Hasanpur is 'a hill... situated closeto the village of Jaynagar a little to the south-east ofLakhisarai'(Roy Chaudhury, r96o, p. 469, quoting the

Fig. r. Two images at 'Monghyr, Jaynagar/Hasanpur'.(Photograph: J. Beglar)

Fig. z. Detail of Fig. r: the dated pedestal

16 CLAUDINE BAUTZE-PICRON

Gazetteer of 19z6). Cunningham locates the image at'Jaynagar, near Lakhisarai' (1873, p. rz5l see alsoBeglar, r878, p. rr8; Patil, 1963, pp. zz8-9; RoyChaudhury, 196o, p. 5or (Lakhisarai) and Cunn-ingham, 1873, pp. 159-6o; Beglar, 1878, pp. rr7-8;Patil, r963, pp. r85-7; Roy Chaudhury, r960, pp.48o-r (Jaynagar)). This location is important since a largernumber of images, most of them belonging to the lastperiod of Buddhist sculpture in India, and ascribable tothe eleventh and twelfth centuries, have been recoveredfrom Lakhisarai (lat. 25"ro' N., long. 86"6' E'., Patil,t963,p.624) and its area in the Monghyr district. Apartfrom the image of Sirphanäda Avalokite6vara men-tioned above (Fig. r, left), mention must still be madeof another representation of AvalokiteSvara (IndianMuseum, Calcutta, inv. 6549, Annual Report, 19z5-26,p. 296 and pl. LX-d), of Jambhala (Museum fürIndische Kunst Berlin inv. I 379, Tantrische Kunst,r98r, no z5; Picron, 1978,II, fig. 6r, Härtel and Lobo,1984, no 53), of Mahäkäla (till 1945, kept at theMuseum für Völkerkunde in the department which hassince become the Museum für Indische Kunst Berlininv. IC T6%) (Fig. 3),'of the Buddha descending fromthe heaven of the Trayastrirgr6a (Patna Museum inv. 23,Gupta, 1965, pl. XII (top) and p. 58 no zo; Sinha, 1958,ill. 89 and r974, pl. 58; The Way of the Buddha, r956, $

III, pl. 33 p. 94, of another image of the Buddhaprobably in the same situation (Patna Museum inv. 22,Huntington, 1984, fig. r+g).All these images originatefrom Lakhisarai. The following images were found atJaynagar: the Buddha displaying the bhttmisparlamudrd(Burgess, 1892, II, pl. zz4; India Office Library andRecords, inv. G.38, I, photo r8r; Bloch, r9oo, photoserial no r8r; Cunningham, r873, p. r54and pl. XLV,inv. no r32), three examples of a seated goddess with achild on her lap (ro Burgess, r892, pl. zz5; IOLR, inv.G.38, I, photo r8z; Bloch, r9oo, photo serial no r8z1 zo

San Francisco Museum of Art, The Avery BrundageCollection inv. 867 52, Tse Bartholomew, r98o, fig. 6;IOLR, inv. G.38, I, photo r7o; Bloch, r9oo, photoserial no r7o;3" Victoria and Albert Museum, Londoninv. IS 7r-r88o, Huntington, 1984, fig. 8o; Sircar,r955, first plate; Indian Sculpture, rg7r, io r r; IOLR,inv. G.38, I, photo 168; Bloch, r9oo, photo serial no168). The abundance of the material shows that thevillages of Lakhisarai-Jaynagar constituted an import-ant Buddhist centre in the eleventh and twelfth cen-turies. Not far away from there, in the direction ofMonghyr, Uren (lat. 25oro'N., long. 86or3'E., Patil,1963, p. 63o) was also a Buddhist place (Waddell,r89z). And at Armä, located near Kiul (lat. z5oro'N.,long. 86"6' E., Patil, 1963, p. 623), East of Lakhisarai,

an inscription dated c. rr57 A.D., year 14 of Madana-päla's reign was found, which records the donation of a

village to a monastery named Dhavalasangha (Sircar,1965, pp.4z-3)"

The Pedestal

Exact measurements of the fragment cannot bedrawn from the photograph. However, it can beapproximately deduced from a comparison with theSimhanäda, the height of which is around 8o cm. Thepedestal could thus be around 45 cm high and 45 cmwide. The image has been broken below the level of thenavel of the main deity and at the level of the hips of thetwo attending characters. These three deities, seated inztajraparyaitkäsana (Mallmann, r975, p.9), wear longskirts and anklets. Each of them sits on a full-blossomeddouble lotus (two symmetric bands of superimposedrows of petals) above which a thin line of stamens isvisible (formed like a row of beads). The stalk of thecentral lotus is straight and arises from a large footformed by three thick volutes; two lateral stalks,slightly thinner, surround the central stalk, bowing in a

gentle curve. The stalks of the lateral lotuses are undu-lating, and they are also accompanied by thinner lateralstalks completed by bud-like shapes, whereas the lateralstalks of the main padma probably form a (hidden)curve behind the two nägas and come back towards themiddle, ending in padmas with only one row of uprisingpetals which support two small attending characters.The character on our left is kneeling, he wears a jaträ,heholds the hands in the afrjalimudra and appears to holda manuscript under the left armpit. The character onour right has a grimacing face and the hair uprisenin a halo; he sits, the left hand on the conespondingknee presenting a club and the right hand showingthe namaskaramudrä (Mallmann, 1975, p. 34, s.v.hommage (namaskaramudrä), p. 35, s.v. offrande(aftjalimudr-a)). Two large ndgas half kneeling are seenon either side, they face each another, their raised handssustaining the padma of the main deity; a snake-hood ofapparently three nagas adorns each of them. A 'plain'and high pedestal sustains this complex decoration. Itbears in the central panel the four-lined inscription andin the two receding panels two groups of two devotees.From their size, it can be deduced that the maindonator is the first one turned towards the middle, inthe right group.

The two small characters below the central p adma aremost probably Sudhanakumära, on our left, andHayagriva, on our right: which would permit us toidentify here a new image of Avalokite6vara (Mall-mann) r975, p. ro7; t948, p. 164 although the icono-

The Lost (?) Pedestalfrom Madanapäla's Reign 77

Fig. 3. Mahäkäla, MIK IC y6y (lost) from Lakhisarai.

graphy of Mafrjusrt has developed at a later stage asimilar type where the Bodhisattva is accompanied bySudhanakumära and Yamäri/Yamäntaka (Mallmann,1975, pp. 356, 465-9; 1964, p. z4 and passim). Weshould not be surprised to meet at the level of thepedestal this double represcntation. As a matter of fact,a very characteristic group of characters attend theBodhisattva in the eleventh and twelfth centuries. Theyare, as usually seen on the images, from (our) left to(our) right: the Syämä Tärä, Sudhanakumära (on theproper right of Avalokitesvara), Hayagrrva, theBhrkuti (on the proper left of the Bodhisattva); theprera Sucimukha is then included at the level of thepedestal (Bautze-Picron, r98xr 8.2.3. Group r r, images

82, 85, 92, 93, r r2 (seated deities), 68, 7o,8o, 84, 86,87,97, 98, ror) ro2, ro4) r2o (standing deities)). Thissituation concludes a long development where attend-

ing deities are progressively introduced. Flowever, thislate type separates) in its turn, into two different sub-types, showing either the two female characters above

the pedestal and the two male ones within the pedestal(as it may have been here the case)(Bautze-Picron,r98x, images 72, 8t, 88, 99, roo, 106) or vice-versa(Bautze-Picron, r98x, images ro9, rrz). Theaajraparyahkasana constitutes another variable reduc-ing the possibilities of identification: among the aspects

of the Bodhisattva, the Sadakgarl type sits in thisposition but the position of the accompanying deities,i.e. Mahävidyä and Manidhara, is not always so (Mall-mann, r975, p. ro9 (Avalokitesvara), p. 25o (Manid-hara), p. 33o (Mahävidyä), p. ro s.v. airäsana3). Be-sides, Hayagrrva and Sudhanakumära do not seem tobe integrated within this iconographic type.

The two nägas do not bring any specific informationas to which deity was represented here since theyappear below various mainly Buddhist images found indifferent areas. First, they are observed iust above a

metal pedestal dated in the regnal year z8 of Rajyapäla,

c. 945 A.D. (Huntington, 1984,fig.q4), below a stand-ing Buddha from Bodh Gayä (Indian Museum, Cal-cutta inv. Az4r47) below a seated female deity fromNälandä (Nälandä Museum inv. rr594, neg. ASI 592l68). The lower part of the body of th.e nägas is really thetail of a snake, tt'e nägas close their hands in theafijalimudrä or hold a jar, they are slightly converging'Second, they are seen below a large number of laterimages, found from lJttar Pradesh up to Pagan, and

datable from the eleventh and twelfth centuries. FromBihar and Bengal, we have an image of AvalokiteSvara(British Museum, London inv. t872.7-r.28, Bautze-Picron, r98xJ image rr3), $adaksari Loke6vara (fromHabibpur, Malda district) (Malda Museum inv. BAV-6, Majumdar, 1943, pl. XXII.561 Saraswati, 1977,111.

45; M. Bhattacharyya, rg82' pp. 38-9), MafljuSri (from

Jalkundi, Dacca district) (Dacca Museum inv. 9,B. Bhattacharyya, 1958, fig. 8g; Saraswati, t977,111. z7;B. Bhattacharyya, 1968, pl. VII; Bhattasali, tgzg' pl.VII-b; The Way of the Buddhd, $ V, p|.27 p.zot)'Tarä(from Antichak, Bhagalpur district) (Indian Archae-ology r974-75, pI. VI-A), Vajratärä (San FranciscoMuseum of Art, The Avery Brundage Collection inv.863 Szo+, Lefebvre d'Argenc6 and Tse, 1969,no 35;Picron, 1978,II,frg. lZ; Päla Stone Sculpture, r984, no

r r), Cundä (from NiyamatpurJ Rajshahi district) (Var-endra Research Museum, Rajshahi inv. r59rr vanLohuizen-de Leeuw, r966, pl. XIX; Saraswati, 1977,

ill. t44; Annual Report of the Varendra Research

Society, 1939, fig.6), AvalokiteSvara (from Chengkuri,Porsha, Raishahi district) (Varendra Research

78 CLAUDINE BAUTZE-PICRON

Museum, Rajshahi inv. 264, Basak and Bhattacharyya,r9r9, 4; Saraswati, t977, ill. 74; Bautze-Picron, r98x,image rzo). To these seven stone images) must beadded a bronze sculpture of Cundä from Nälandä(National Museum, New Delhi inv. 47.34, Saraswati,1977, ill. r4o; Huntington, r984, fig. r69; Ghosh, r97r,pl. VII; K. Sinha, 1983, pl. XII.48; The Way of theBuddha, $ V, pl. 39 p. 2o7; von Schroeder, r98r, no554; Mitra, r98o, photo 28; van Lohuizen-de Leeuw,1966, pl. XX). A single näga in the 'running' attitude isseen on a bronze image of the Buddha displaying thebhümispariamudra from Fatehpur, district Gayä (Hunt-ington, r984, fig. r9r; Huntington, 1979, fi9. r;Sharma, rg7g, frg. r; Bandyopadhyay, r98r, pl. 56).Finally, the motif of the rwo nägas appears below aseated Visnu (probably) (from Itähär, West Dinajpurdistrict) (Varendra Research Museum, Rajshahi inv.r533, Annual Report of the Varendra Research Societg,r936,p.r5; Saraswati,1936,pl. I,fig. r andpp. ro-rr).Outside Bihar and Bengal, the theme is observed inKashmiz (Pal, r975, no 59), at Sirpur (Raipur district,Madhya Pradesh) (Barrett and Dikshit ) 196c) pl. 56;Ffeeramaneck, 1979, no 53), at Mahoba (Hamirpurdistrict, Uttar Pradesh) below a Buddha (JhansiMuseum inv. 8o.ro, Trivedi, r983, fig. roo), below anAvalokite6vara (Lucknow Museum inv. o.zz5, Mall-mann) 1948, pl. XII-b; B. Bhattacharyya, 1958, fig.ro5; B. Bhattacharyya, r968, pl. Y; Inde, cinq mille ansd'arr, 1978-79, no 65; The Way of the Buddha, $ V, pl.33, p. zo3), below a Tärä (Lucknow Museum inv.o.226, Sastri, ryz5,pl.III-a). A similar pair is seen on asilk tapestry from Kara Khoto (Dieux et Dömons de

I'Himälaya, rg77,no z7) and, in a much reduced size, atAlchi (Pal and Fournier, 1982, no S 69). Finally, it isobserved at the candi Mendut (Java) (Vogel, t926, pl.XI and pp. r r4-5) and below the Buddha displaying thebhümispariamudra on numerous images from Burma.aApart from the examples from Kashmir or Alchi, whichare close to the earlier images from Bihar, these variousrepresentations show humanized nägas protected bytheir hood, who converge, and apart from the Sirpurbronze, kneel on one leg sustaining the padma on whichsits the deity.

Thus, the n-agas, generally in pairs, are often seen inthe late period of Buddhist art in India and the themeextends to Java and Burma at the same period and toCentral Asia, though much more rarely. Ttre nägas arementioned in a similar position in the sädhaaa describ-ing Nilakanlha LokeSvara (Mallmann, rg52; r948, pp.55, r8r; r975, p. ro8) though they are placed on eithersides of the Bodhisattva and not below hir-:^. Tlr'e nägaKulika appears in the sädhana of Hälähala Loke6vara

(Mallmann, r95z; 1948, pp. S2-3t 1975, p. ro9; a

second Hälähala Loke6vara is seen with the two n-agas ofNilakantha Loke6vara: Mallmann, 1975, p. ro8) andthe same single näga is introduced in the sädhana ofSiryrhanäda LbkeSvara (Mallmann, r975, p. ro7; 1948,pp. 5rr, r87). The Mafijuirlmülakalpa gives a detaileddescription of the two great nägas Nanda and Upa-nanda in a worshipping position (Lalou, r93o, p. 3rr556u). As Mallmann (1975, pp. 268-7r) points it out,nägas are introduced in late Buddhist (literary) icono-graphy as worshippers or as doorkeepers, and as suchthey are variously distributed, not attached to a specificdeity. Naga.s refer, in a general sense, to the waterelement (Auboyer, 1949, p. rz4), and are indeed in artintroduced at the level of the image which is generallyrecovered by the scrolls of the lotus. They are similarlyseen there on representations of the Buddha at theGreat Miracle of Srävasti (Banerji, r933, pl. XXVIII-(c)).? In a more general way, nägas hold an importantposition in the Buddhist pantheon (Vogel, 1926, pp.93-r61j Sahai, r975, pp. 73-88). If in the Gupta andpost-Gupta periods the nägas are apparently peculiar tothe image of the Buddha (see note 7), they appear in a

rather unsystematic way on Buddhist images in theninth century, still preserving their animal form belowa human torso, and are commonly found in the eleventhand twelfth centuries completely humanized and pro-tected by the hood which permits their identification.

The pedestal under consideration sustained thusapparently an aspect of Avalokite6vara. The date of theinscription, c. rr57 A.D. (Sircar, quoted by Hunt-ington, 1984, p.37) as well as the place of origin of theimage, contribute to ascertain the existence of a Budd-hist community in this part of the Monghyr district inthe twelfth century, as can also be seen from thenumerous other images, and from the Armä inscriptionmentioned above.

Acknowledgements

I wish to thank Dr G. Bhattacharyya, Museum fürIndische Kunst Berlin, who checked the reading of theinscription made by A. Cunningham and agreed withthe correction of the date introduced bv R. C.Majumdar.

NOTES

r. Reproduced by the courtesy of the India Office Libraryand Records, London, Prints and Drawings Department,inv. G.38, vol. I, photo r69.

z. Reproduced by the courtesy of the Museum für IndischeKunst Berlin. It is reallv a representation of Mahäkäla as

The Lost (?) Pedestal from Madanapala's Reign 79

A

a Buddhist deity belonging to the kula of Aksobhyapresent at the top of the image (Mallmann, r975,PP.234-

5: besides Akgobhya, Amoghasiddhi or Vairocana can

also be mentioned at that place), and accompanied byprobably four of the five Yoginis mentioned by certaintexts (Mallmann, r975, p. 238). Confusion seems to be

often the case when identifying similar images where, it isa fact, the Jina or the Yoginis are not depicted: Mitra,1959, identifies an image as Mahäkäla while similarexamples are named Bhairava by Haque (t973, pp. z6t-z); Huntington (1984, p. r25) writes about a similarimage: '... probably depicting Bhairava ... This late

Buddhist iconographic form seems to have gained some

currency in the twelfth century in India ...', but, if it is

Bhairava, the image is not Buddhist since Bhairava, inliterature, appears trampled by another deity (Mallmann,r975, p. r r6), and if the image is Buddhist, then it mightdepict Mahäkäla but not Bhairava. As a matter of fact, a

Bhairava is introduced in the iconography of some deities(Mallmann, r975, p. r r6), a Mahäkäla appears also in thesame pantheon (Mallmann, r975, PP. 234-6' 238-9) and

another (?) Mahäkäla belongs to the characters surround-ing Siva (Mallmann, t963, pp. 67-8).The airäsana would be observed on the following exam-ples: ro Malda Museum inv. BAV-6 (Maiumdar, 1943,pl. XXII.56; Saraswati, t977, ill.45; M. Bhattacharyya,1982, pp. 38-9), z" Varendra Research Museum, Rai-shahi inv. r59z (Saraswati, 1977, 1ll. 4z; Huntington,1984, fig. 234; Annual Report of the Varendra Research

Society, 1939, fi1. 5),3" Indian Archaeology, r98o, pl. V-B, show (ro and 3') both attending deities inaajraparyaitkäsana, (2") Mahävidyä in this position andManidhara in airäsana (?), 4" Indian Archaeology, 1979,pl. V-B, 5' Indian Museum, Calcutta inv. 38r3 (ü(raddell'

r894, pl. II-z; B. Bhattacharyya, r958' frg.96; B. Bhatta-charyya, r968, pl. III; Banerii, r933, Pl. XXXIV-(b)), 6'Patna Museum inv. 95 (Saraswatl, 1977, ill. 44; Hunt-ington, ry84, fig. r57; Kramrisch, t9zg, fig. 37), showboth attending deities in tt'e ztiräsana (?).

ro Luce, 1969-70, pl. 4oo; Report of the Superintendent,

1923, pl.II, fig. r; Annual Report, rg22-23' pl. XXXIII-(d); z'Luce, 1969-70, pl.4or;3o Luce, 1969-70,pl.4oz-(b); Annual Report, r93v34, pl. C-(c); 4o Luce, 1969-7o,pl. 4o3-(b), Report of the Superintendent, 1923, pl. III,fig. r; 5o Luce, 1969-70, pl. +ol-(b); Annual Report,1928-29,pI. LII-(e); 6o Luce, t969-7o,pl. 4o5-(a,b,c;; 7'Lu.ce, t969-7o, pl. 4oz-(a), Annual Report, r93o-34, pl.

C-(d); 8' Luce, 1969-7o, pl. 4o4; Snellgrove, 1978, pI.

z3z; Griswold, KiÄ and Pott, 1964, fig. z9 p. 53; Härteland Auboyer, r97r, Abb. :ZS;9o Gripekoven, 1948, fig'A and 4; roo Victoria and Albert Museum inv. IM 378-r9r4, Lowry, 1974, pl.7; Ebert, r98o, pl. XVI/8; rr"Archer and Czuma, r975, na 37; r2o The Asia Society,New York inv. r979.3o, Lee, t975' no 13; Handbook'n.d., 43; r3o Museum of Anthropology, IJniversity ofMichigan, Woodward, r98r, fig. z6; 14" Fogg Art

Museum, Harvard inv. 1979.328' Archives of Asian Art,XXXIII/rq8o' fig. rr' P. rr9. I ' "r ' ':

J. '... Deux naga-räja soutiennent cette tige de lotus. Leursregards sont dirigös vers le Tathagata. Avec leur maindroite ils lui rendent hommage (nasasyamäna). Ils sontblancs, ornös de toutes les parures. (Ce sont) Nanda et

IJpananda qui doivent ötre peints sous une forme demi-humaine, (c'est-ä-dire qu'ils ont le bas) du corps d'unserpent. '

6. 'Deux nägaräja, Nanda et lJpananda, le nombril liö,enlacent 6troitement cette tige de lotus d'6meraude. Ces

deux nagaräjd sont de couleur blanche, ils sont orn6s des

sept chaperons, leurs corps (iarira) resplendissent de tousles ornements; ils sont humains iusqu'ä mi-corps(ardhakäya); leurs corps (mürti) sont caracteris6s par les

replis du reptile; ils sortent du grand lac Anavatapta...'

7. And at Aiantä: \üüeiner, 1977, PL.73. The nägas are also

related to the Särnäth Miracle at Kärlr: Weiner, 1977,Pl.

59, and appear, at Kapheri, below a preaching Buddha(Särnäth or Srävasti Miracle): Veiner, 1977, pl. roo.Doubt concerning the proper identification remains also

for a panel from Mainamati where tlte n-agas andtt'e cakraare present: Asher, r98o, p. r r r, Shamsul Alam, 1975, pl.X.B.

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