Mevissen_2009_Dikpalas and Grahas at Paharpur

PRAJÑÅDHARAESSAYS ON

ASIAN ART, HISTORY, EPIGRAPHY AND CULTUREin Honour of

Gouriswar Bhattacharya

Edited by

Gerd J.R. Mevissenand

Arundhati Banerji

2009Kaveri Books

New Delhi - 110 002

Dikpålas and Grahas at Paharpur 39in Context of Contemporaneous Pan-Indian Temple Imagery

GERD J.R. MEVISSEN

Since their discovery in the 1920s and 30s, the sixty-three stone sculptures fixed in niches at the base of thelowermost platform of the central temple in the Somapura mahåvihåra at Paharpur, Bangladesh, has puzzledscholars because of their irregular placement and, above all, their subjects (except one) being exclusivelyBråhma½ical.1 Whereas some of the sculpture panels exposed during the excavation had been removed fromthe structure and are now kept in the nearby site museum, the majority of them – after having been numbered,documented and photographed – were buried again when the excavation campaign was over.2 Remainingbeneath the soil, as had been their fate for centuries, their present state and condition is only a matter ofspeculation, especially since “the courtyard of the monastery, with its buried structures, is now under watermost of the year [...] and waterlogging inside the monuments causes a lot of damage to the walls”.3

Among the sculptures that were removed and are now on display in the Paharpur Museum, are twoimages of Dikpålas (guardians of the directions), viz. Indra (no. 29), the King of gods and regent of the East(Plate 39.1),4 and Våyu (no. 39), the Wind-god and regent of the Northwest (Plate 39.2),5 as well as animage of the Moon-god Candra or Soma (no. 60) (Plate 39.5).6 Another Dikpåla, Agni (no. 34), the Fire-godand regent of the Southeast (Plate 39.3),7 had unfortunately not been removed and (hopefully) still residesin the watery subsoil region. The original positions of the sculptures are indicated in Fig. 1.

The Eight Dikpålas (a¹¶adikpåla) are a group of ancient vedic gods connected with certain phenomenaof nature. In the well-developed mythology of the Purå½as, they lost their high status, were combined in asingle group and regarded as guardians of the four cardinal and four intermediate directions of mundanespace: Indra (East), Agni (Southeast), Yama (South), Nair¡ta (Southwest), Varu½a (West), Våyu (North-west), Kubera (North) Ï¸åna (Northeast).8 In certain cases, the Sun-god S÷rya and the Moon-god Candra orSoma do also function as directional guardian deities. Thus, in different passages of the Manusm¡ti (betweenc. 200 BC and 200 AD) a list of Lokapålas is mentioned, comprising the traditional (and later) A¹¶adikpålas,with the exception of Nair¡ta and Ï¸åna who are replaced by Arka (Sun) and Soma (Moon).9 Furthermore,in the Mañju¸rïbhå¹ita-Våstuvidyå¸åstra, a Mahåyånic ̃ ilpa¸åstra of uncertain date,10 an image of Soma isdescribed on the north instead of Kubera.11

Regarding the Dikpålas at Paharpur it may be worthwhile to quote the remarks made by CorinnaWessels-Mevissen (2001: 72) on the subject:

“The so-called Somapura Vihåra at Påhårpur (District Rajshahi, Bangladesh; ill. 29) has provided anextremely important evidence regarding the representation of directional guardians in North-eastern

394 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya

Fig. 1: Paharpur, Central Temple of Somapura vihåra, location of Dikpåla and Graha images. Numbering after Dikshit 1938. Adapted from plan A.3 in Hossain/Alam 2004: 6.

India in the late 8th century. In fact, some of their features point to an earlier source.12 The images ofIndra (no. 29; fig. 234 [Plate 39.1]), Agni (no. 34; fig. 235 [Plate 39.3]), and Våyu (no. 39; fig. 236[Plate 39.2]) belong to a series of 63 surviving stone panels on the basement of the cruciform centralstructure at the Buddhist site. Images of Ï¸åna? (no. 40 [Plate 39.4]) and Soma/Candra (no. 60; fig. 237;[Plate 39.5]) may have been associated with this group, but that cannot be conclusively proven.The dikpåla function of these deities is rather doubtful, since the relief panels are not placed in the

G.J.R. Mevissen: Dikpålas and Grahas at Paharpur ... 395

‘canonical’ directions. Moreover, the set seems to have remained incomplete. The image of Candra onthe (north-)west slightly differs from the others, since it is made of different material, black basalt.

There is a doubtful image of Ï¸åna (DIKSHIT 1938: pl. XXXIa [Plate 39.4])13 next to the Våyuimage. He stands without his vehicle. Among the securely identifiable dikpålas, only Indra is accom-panied by his vehicle (fig. 234 [Plate 39.1]). He has an ornamented halo and holds a fruit in each hand.His smiling face with the horizontal eye on the forehead, his pearl necklace, udarabandha (‘bellyband’) and chain girdle have all been delicately modelled. The large elephant behind him leaves nospace for any attendants. Agni (fig. 235 [Plate 39.3] has boldly incised flames behind his body, startingat hip level. He is pot-bellied, wears a broad necklace and a vastropavïta (broad bråhma½ical cord) likeCandra, and holds rosary (r.) and waterpot (l.). It is a general feature of Eastern Indian Agni images thatthe left hand does not extend below the elbow. Agni is shown without a vehicle. He was probably ori-ginally flanked by two attendants.

The image of Våyu (fig. 236 [Plate 39.2]), which had been earlier identified as Yama,14 has clear-cut symmetrical features and wears individually conceived ornaments. Like Agni and Soma, he standsin samapåda (feet together). The flowing vastra is beautifully draped over his head. Its lower endsalmost touch the two attendants, male and female, who likewise hold pieces of cloth. His hair is donein a neat ÷rdhvake¸a (demonic hairstyle) coiffure. The ‘cloth type’ of Våyu must have been popular inthis region, since two fine terracotta plaques of seated Wind Gods with a flowing scarf above the headhave been found. On one of the pieces, also from Påhårpur, a tiny antelope is visible beside the god (fig.239). The other example from Mahåsthån, Bogra district/Bangladesh (T.N. RAMACHANDRAN 1936-37:pl. XVIc), corresponds to the Påhårpur plaque in many details. It has a similar, square shape, and thearms of Våyu are also not positioned in a symmetrical manner, the left hand being held much lowerthan the right one. Only the antelope is missing. Keeping the three described Våyu images in mind, itis significant to note that these are the only known representations of the Wind God holding a billowingcloth in Eastern India.15

In the case of Påhårpur, the group of dikpålas seems to have remained incomplete, and some of theimages are irregularly placed. The positioning of Indra and Agni was correct (ill. 29 [here Fig. 1], how-ever. Moreover, on the south-east, two terracotta images of a seated Agni can be seen above the stonesculptures.”

As regards the last-mentioned images, it may be remarked that a terracotta plaque depicting Agni is locatedalmost in the centre of the lower platform on the eastern side of the monument.16 The original Agni plaqueas well as more than 900 other plaques from the bottom of the lower platform at Paharpur17 have recentlybeen removed from the monument and were replaced by replicas.18

That the Candra/Soma sculpture (Plate 39.5) at Paharpur may have indeed been associated with thegroup as guardian of the northern direction, as suggested by Wessels-Mevissen, is very probable, althoughan image of Kubera has also been found at Paharpur. It was detected at the back of stone sculpture no. 59(Plate 39.6). According to K.N. Dikshit (1938: 53),

“It is noteworthy that at the back of this [i.e. no. 59] is a defaced figure of Kubera, the god of wealthand Lord of the North (Plate XXXVI b), which probably belonged to the same series of the ‘Lord of theQuarters’ as the Indra, Agni and Yama [i.e. Våyu] figures. It is likely that while the other figures beingin excellent preservation were refixed in the Paharpur temple, the Kubera figure being damaged wasrejected and the stone utilized for a fresh figure.”


Fig. 2: Alampur, Svarga Brahmå temple, plan of wall niches.After Wessels-Mevissen 2001: 42, ill. 11.

Fig. 3: Chittaurgarh, Kålikåmåtå temple, garbhag¡ha plan.After Wessels-Mevissen 2001: 49, ill. 17.

It would seem, however, quite unlikely that the Kubera image belonged to the extant series of Dikpålas,since the size of the slab (i.e. of the figure on the front) is given by Dikshit as “1' 7'' in height and 1' inwidth”, corresponding to c. 48.3 x 30.5 cm. Evidently, as visible on Plate 39.6, the slab containing the(older) Kubera figure is of oblong (horizontal) shape and had been rotated before it was re-used and re-carved with a vertical image on the reverse.19 Whereas the height of the extant slabs bearing Dikpåla imagesis approximately 80 cm, the height of the Kubera slab is only c. 30 cm. Its height would, however, roughlycorrespond to the height of the other Dikpålas if we assume that the present slab preserves only the upperhalf of the original slab. In that case the lower half would have possibly been carved with the throne and theoverturned treasure pots, the usual paraphernalia of Kubera, but still the size of the figure and also its seatedposture would diverge considerably from the other Dikpålas. Thus, the Kubera image cannot be regarded ashaving belonged to the set of Dikpålas.20

Nevertheless, another sculpture occupying a nearby niche (no. 63) may have been associated with theDikpåla group (Plate 39.7).21 The deity’s head is encircled by a large halo. He holds a flower blossom in hisright hand, and his hair is embellished with a lotus mark above the forehead. He thus may represent S÷rya.

In this connection it may be relevant to draw attention to some temples in other parts of the Indiansubcontinent dating from the 7th and 8th centuries, the formative stage of embellishing the exterior templewalls with Dikpåla images, where Candra/Soma and S÷rya are associated with the group of Dikpålas:

(1) On the early 7th-century Para¸uråme¸varatemple at Bhubaneswar, Orissa, S÷ryaand Candra/Soma are associated with anincomplete (or disturbed) group of direc-tional deities.22

(2-3) The late 7th-century Svarga Brahmå andVi¸va Brahmå temples at Alampur,Andhra Pradesh, preserve images ofCandra and S÷rya – the latter now miss-ing from the Vi¸va Brahmå – associatedwith a full set of eight Dikpålas (Fig. 2,Plates 39.8, 39.9);23 a similar schemewas most probably also followed in fiveother temples of the Navabrahmå groupat the site.24

(4) On the late 7th-century Kålikåmåtå tem-ple at Chittaurgarh, Rajasthan, originallya S÷rya temple,25 the eight Dikpålas in-clude a figure of Candra on the northernside (Fig. 3), thus replacing Kubera whois not represented.26 S÷rya appears in thethree main niches.27


Fig. 4: Osian, ‘S÷rya temple 1’, plan of wall niches. AfterWessels-Mevissen 2001: 54, ill. 21.

Fig. 5: Osian, ‘Harihara temple 1’, central shrine, plan of wallniches. After Wessels-Mevissen 2001: 55, ill. 22.

(5-6) On the early 8th-century so-called ‘S÷ryatemple 1’ at Osian, Rajasthan, Candraappears among the incomplete group ofDikpålas and S÷rya in the main niche ofthe eastern wall (Fig. 4).28 On the slightlylater ‘Harihara temple 1’ at the same site,S÷rya and Candra occupy wall niches butare not included in the otherwise com-plete Dikpåla scheme (Fig. 5).

(7) The Mahådeva temple at Bithu, Raja-sthan, of the 2nd quarter of the 8th centurypreserves only three Dikpåla images;Soma/Candra again replaces Kubera inthe north.29

(8) The mid-8th-century Telï-kå-mandir atGwalior, Madhya Pradesh, has a standingimage of Candra (Plate 39.10) associatedwith an incomplete set of directionaldeities.30

(9) In the early 8th-century Råjasiºhe¸vara(Kailåsanåtha) temple at Kanchipuram,Tamil Nadu, a seated figure with a largehalo, possibly Soma/Candra, is carved ina niche on the northern pråkåra, associ-ated with an incomplete set of directionaldeities.31

All these temples are roughly contemporaneouswith the sculptures from Paharpur. The generaliconographic features of the Paharpur Candra/Soma figure, viz. the samapåda stance, an upavïta, a rosaryin the raised right hand and a water vessel in the left, and a crescent (or a halo) behind the head, are alsopresent in nos. (2), (3), (4), (7) and (8) of the above list of temples. In these, however, S÷rya appears in hisusual form holding two full-blown lotuses. The association of Candra/Soma with the group of directionaldeities on all these monuments may be regarded as expressions of the pan-Indian development towards theformation of the standardized group of A¹¶adikpålas of later times.

The concept of employing Candra/Soma as the guardian of the northern direction, witnessed at least innos. (4), (7), (9) and perhaps (1) of the above list, was also used in South Indian temples of the Cð®a perioduntil the late 12th century:

(10) The ̧ ikhara of the northern Dikpåla subshrine in the pråkåra of the early 11th-century Råjaråje¸varatemple at Tanjavur, Tamil Nadu, preserves four reliefs of standing Candra/Soma on the grïva,32 indi-cating that this deity was originally enshrined there.


(11-12) The slightly later Råjendracð®ï¸vara temple at Gangaikondacholapuram has two sets of Dikpålaswith Candra/Soma guarding the northern direction. Nothing remains from the northern pråkårasubshrine,33 but the Dikpåla figures on the first upper storey of the vimåna are still extant, includinga standing image of Candra on the north.34

(13) The mid-12th-century Airåvate¸vara temple at Darasuram, Tamil Nadu, has on its upapï¶ha a stonepanel of the A¹¶adikpålas riding on their våhanas in which Candra is shown, but not Kubera.35

From the late 12th century onwards Candra/Soma as the Dikpåla of the northern direction was replacedby Kubera also in South India, as indicated by the gopura sculptures at Chidambaram, where both Kuberaand Candra appear on the northern sides, the latter as a member of the Navagrahas.36

*

Let us now focus our attention on another sculpture in the base of the Paharpur temple, a standing, slightlypot-bellied ascetic with a ja¶åmuku¶a, holding an ak¹amålå in his right hand and a book in his left (no. 61;Plate 39.11).37 Referring to the description in the Vi¹½udharmottara S.K. Saraswati (1962: 73-74) identifiedthe figure as B¡haspati (Jupiter), pointing out that it is perhaps the earliest representation of B¡haspati inart.38 If this identification is correct, it would point to the presence of the group of planetary deities (Grahas)at Paharpur.

This group would appear, however, as incomplete as that of the Dikpålas, again consisting only of areduced number of members: S÷rya(?) (no. 63; Plate 39.7), Candra/Soma (no. 60; Plate 39.5), B¡haspati(?)(no. 61; Plate 39.11), and perhaps two more, sculpture no. 62 (Plate 39.12)39 and sculpture no. 2 (Plate39.13)40, both identified by S.K. Saraswati (1962: 76-77) as representing the future Manu of the Vi¹½u-dharmottara. Both figures have a ja¶åmuku¶a and hold an ak¹amålå in the right hand and a kama½∙alu in theleft; the latter stands in samapåda, the former in a slightly flexed pose between a tree and a seated attendanton his right. Trees are also found on the images of Candra/Soma (Plate 39.5) and B¡haspati(?) (Plate 39.11),and the latter is also accompanied by a kneeling attendant figure. No. 62 may perhaps represent ˜ukra(?).41

The iconographic features of all these images, viz. jatåmuku¶a, ak¹amålå in the right hand and ka-ma½∙alu in the left, are the standard features of Candra, ˜ukra and B¡haspati in Navagraha sequences fromBengal in later times.42 At Paharpur these features are also found with several ̃ iva images, e.g. on sculptureno. 37, where the head is backed by a large halo.43 An identification of sculptures no. 2 and no. 62 as ˜ivacan, however, be ruled out since the ̃ iva images at Paharpur are generally characterized by ÷rdhvali¼ga anda vertical third eye on the forehead.44 Nevertheless, a certain ãiva trait is present in these supposed Grahaimages.45 If the five images were really meant to represent Grahas,46 then the Paharpur temple was one ofthe very few temples (and in fact the earliest), where Grahas were depicted as large-scale sculptures47 embel-lishing and encircling an architectural structure, comparable only to the seven Graha sculptures in thevedïbandha niches around the Lak¹ma½a temple at Khajuraho of the mid-10th century,48 and the Navagrahasin the sub-base of the four gopuras of the Na¶aråja temple at Chidambaram and the eastern gopura of theJambuke¸vara Temple at Tiruvanaikka near Tiruchchirappalli of the late 12th and 13th centuries.49

Be that as it may, in view of what has been said above it becomes clear that the Paharpur scheme ofDikpålas fits in well with the early pan-Indian development of Dikpåla representation on temple walls. Theincompleteness of the set and the irregular placement of some images, e.g. Våyu and Ï¸åna(?) in the south


(see Fig. 1), in incorrect directions may either be understood as reflecting the incipient, formative stage ofthe A¹¶adikpåla scheme in the 7th and 8th centuries, when the sets often remained incomplete – cf. nos. (6),(7) and (8) of the above list –, or as resulting from the shifting of the images when they were taken from anearlier structure,50 not necessarily a Hindu temple,51 and re-used to embellish the basement of the centraltemple in the Somapura mahåvihåra, as has often been suggested.52 This may also have resulted in the other-wise not explainable concentration of supposed Graha figures in the north-western sector.

Finally, it should be emphasized that some kind of special relation seems to have existed betweenPaharpur and South India. Incidentally, one of the earliest temples where the Dikpålas appeared on theexterior temple walls, the late 7th-century Svarga Brahmå temple at Alampur (temple no. 2 above), has theearliest representation of ˜iva Bhik¹å¶anam÷rti in one of its niches, a subject that is also found at Paharpur(sculpture no. 13)53 but has subsequently remained alien to the art of Bengal.

Notes

1. See e.g. Dikshit 1938: 37-55; Saraswati 1943: 508-509; idem 1957: 153-157; idem 1962: 37-90; idem 1976: 116-121; Asher 1980: 92-93; Huntington 1984: 161-164.

2. According to Ahmed/Sanday 1986: 31, “As the annual waterlogging threatened to damage them [i.e. the 63 sculp-tures], Dikshit decided to bury them again on completion of his excavation. In the following years, a few of thesereliefs were annually re-excavated during the dry season so as to enable visitors to see them. However, morerecently they have all remained underground throughout the year.”

3. Gill 2007: 195; this article gives also a brief summary of the excavations at Paharpur up to 2002. For a thoroughreview of the historical and archaeological background of Paharpur see Bautze-Picron 1986. For a recent, thoughrather speculative, article on the architectural concept and the religious symbolism of the Somapura mahåvihårasee Rashid 2004-05.

4. Size: 76.2 x 55.9 cm; in museum: 75.5 x 43.5 cm. Published: Dikshit 1930: 145 “black basalt”; Vogel 1930: 23,pl. IX.c; Dikshit 1938: 46-47, no. 29 “coarse grey sandstone”, pl. XXVII.d; Lohuizen-de Leeuw 1957: 34, fig. 4;Das Gupta 1961: 27, pl. 9(a); Saraswati 1962: 37, 41, 69-71, pl. VII.22; Mallmann 1963: 126; Majumdar 1971:pl. XXIII.45; Asher 1980: 93, pl. 221; Qadir 1980: 41, no. 2; Alam 1985: 110-112, fig. 35; Bajpai 1997: 293 fig.3, 295; Wessels-Mevissen 2001: 72, 95, fig. 234; Bhattacharya 2002: 66, pl. XXVIII.3; Haque 2007: 80, 82, pl.47; Mevissen 2008c: cat. *331.

5. Size: 81.3 x 40.6 cm; in museum: 83.0 x 39.0 cm. Published: Dikshit 1930: 146 “Yama ... blue basalt”; idem 1938:50, no. 39 “sandstone”, pls. XI.c (left), XXXII.a “Yama”; Banerjea 1956: 525 “Yama or Varu½a”; Das Gupta1961: 27 “Yama”; Saraswati 1962: 37 “Yama(?)”, 71-72 “Yama or Varu½a”, 119, pl. VII.19 “Yama”; Mallmann1963: 133, note 5 “Våyu”; Khan 1969: 182; Majumdar 1971: pl. XXI.41 “Yama”; Michell 1973: 86, note 5 “Yamaor Varu½a”; Asher 1980: 92, pl. 222 “Yåma” (sic); Qadir 1980: 38 “Yama”; Sanday et al. 1983: 70 (ill.); Hunting-ton 1984: 162, fig. 201 “Våyu?”; Alam 1985: 114, fig. 38 “Yama”; Bhattacharya 1987: 64, fig. 2 (= 2000: 206,564, pl. 18.2) “Våyu”; Tanabe 1990: 61, 79, fig. 20 “Våyu”; Bhattacharya 1997: 781, fig. 2 (= 2000: 324, 564, pl.18.2) “Våyu”; Gail 1999: 138-139 “Våyu”; Wessels-Mevissen 2001: 72, fig. 236 “Våyu”; Chakrabarti 2003: 54,fig. 3 (caption corrected and pasted over as “Våyu”); Haque 2004: 116, pl. 16.3 “Våyu”; Hossain/Alam 2004: 21“Yama”; Gill 2007: 179 fig. VII.9 (left), 186 “Yama”; Haque 2007: 80, 87, pl. 59 “Vayu”; Lefèvre 2008: 184-188,cat. 61 “Våyu”; Mevissen 2008c: cat. *333 “Våyu”; Bautze-Picron in press: fig. 1 “Våyu”.

6. Size: 83.8 x 35.6 cm; in museum: 85.0 x 38.5 cm. Published: Banerji 1928: 111 “Siva ... as Somanatha, the Lordof the Moon”; Dikshit 1938: 53-54, no. 60 “black basalt”, pl. XXX.b “˜iva”; Majmudar 1942: 265, pl. II.7


“˜iva”; Banerjea 1943: 459, pl. LVI.138 “Chandra”; Banerjea 1948: 97-98 “Candra”; Saraswati 1962: 74-75, pl.IX.24 “Chandra”; Mallmann 1963: 86 “Candra”, note 11; Asher 1980: 92, pl. 223 “˜iva”; Qadir 1980: 37 “Siva”;Rahman 1981: pl. II; Haque 1992: 200, 371, no. 1099 “Candra”; Bhattacharya 1993: 85-86, fig. 4 (= 2000: 305,592, pl. 29.3) “Soma”; Markel 1995: 38, fig. 11 “Candra”; Wessels-Mevissen 2001: 72, fig. 237 “Candra”;Mevissen 2008c: cat. *336 “Candra”.

7. Size: 83.8 x 33.0 cm. Published: Dikshit 1930: 145, pl. XXXII.d; Dikshit 1938: 48-49, no. 34 “greyish buffsandstone”, pl. XXXII.b; Saraswati 1962: 71, pl. VII.18; Majumdar 1971: pl. XX.40; Alam 1985: 114, fig. 39;Gail 1999: 137, pl. 9.11; Wessels-Mevissen 2001: 72-73, fig. 235; Bhattacharya 2002: 65, pl. XXVIII.2; Haque2007: 80, 83, pl. 51.

8. For the origin and development of the Dikpålas up to 1000 AD see Wessels-Mevissen 2001. For a table listing themain characteristics of all members of the group see ibid.: 1.

9. See Wessels-Mevissen 2001: 11-17, 89, ill. 31. Interestingly, in the 8th and 9th centuries the ‘Manu Lokapålas’became quite popular in Bihar, where a number of separate friezes of this group were carved (see Bhattacharya1987: passim, figs. 1, 4 [= 2000: 205-214, 564-565, pls. 18.1, 18.4]; idem 1993: 85, figs. 2-3 [= 2000: 304-305,564-565, pls. 18.1, 29.2]; Bautze-Picron 1998: 85-86, pl. 238; Wessels-Mevissen 2001: figs. 311-313; idem 2002:112, 120, Abb. 15; Mevissen 2008a: figs. 6-8), and where the group is also depicted as subsidiary deities abovemajor gods (see Bhattacharya 1987: 68, fig. 5 [= 2000: 206, 565, pl. 18.5]; Mevissen 2002: 105-108, pls. 8.5-8.8;idem 2008a: figs. 1, 3, 5, 9). For images with ‘Manu Lokapålas’ as subsidiary deities from the western part ofnorthern India, see Wessels-Mevissen 2001: 83-84, figs. 301-305.

10. The text, which is preserved only in Sri Lanka, can so far not be safely dated; according to Bechert (2005: 160),the suggested dates range from the 5th to the 12th century AD. For editions of the text cf. ibid.: note 10.

11. Cf. Wessels-Mevissen 2001: 81, note 427.

12. “The fact that Indra holds only fruits but no thunderbolt is reminiscent of the impressive Indra image from Gayåof c. 7th century (SAHAI 1975: fig. 2; PAUL 1985: 133, n. 75) who holds a fruit in exactly the same manner in hisextended right hand. In the latter case, the god is seated on an elephant throne in dak¹i½åpralambapåda (right legpendent).” (Wessels-Mevissen 2001: 72, n. 365).

13. Size: 76.2 x 53.3 cm. Published: Dikshit 1930: 146 “˜iva” (not ill.); idem 1938: 50 “buff grey sandstone”, pl.XXXI.a “˜iva”; Saraswati 1962: 119 “˜iva”, pl. X.25; Majumdar 1971: pl. XXIV.48 “˜iva”; Wessels-Mevissen2001: 72 (not ill.). Cf. also Mallmann 1963: 137, note 2, and infra, note 44.

14. Cf. supra, note 5.

15. The latter remark by Wessels-Mevissen holds true, of course, only for independent images of Våyu. A uniquebronze image of Våyu from Bangladesh, now in the Sackler Gallery, Washington, has to be added to the list ofindependent Våyus from Bengal; see Bhattacharya 1997: 780, fig. 1 (= 2000: pl. 32.1). For some of the numeroussubsidiary Våyu figures from Bengal holding a billowing cloth, see Mevissen 2008c: figs. 4-11, 13-14. For suchfigures from Bihar, see Bhattacharya 2000: pls. 18.1, 18.4-5, 19.3-4, 22.4, 29.2; Mevissen 2002: pls. 8.5- 8.8;idem 2008a: figs. 1, 5-7, 9.

16. For the location of the panel see Mevissen 2008c: fig. 1, position ‘x’. For a photograph of the original plaque seeWessels-Mevissen 2001: 207, fig. 238; Mevissen 2008c: fig. 2. For the new plaque see ibid.: fig. 3. Peculiarly,this plaque has neither been mentioned nor illustrated by Dikshit 1938.

17. Presently the lowermost frieze of terracotta plaques is located at the very bottom of the monument touching theground, but originally this frieze was at a height of about 150 cm above ground level; cf. Breuil/Gill 2005: 482and figs. 3, 5, 6-7; Gill 2007: figs. VII.8-9, VII.13.


18. On the “disastrous conservation and restoration campaign” carried out at Paharpur between 1991 and 2002, seeBreuil/Gill 2005 and 2007; Gill 2007.

19. The image on the reverse (now front) represents a fight between two Asuras; see Dikshit 1938: pls. XXVI.d,XXXVI.e (erroneously labelled “No. 58”); Ray 1943: 526, pl. XLVII.116. Saraswati (1962: 84-85, pl. XIII.33)describes the scene as a fight between a monkey and a råk¹asa, regarding it as “some minor theme of the Råmå-ya½a war”.

20. Another image of Kubera has been found at Paharpur, carved on a loose slab (Dikshit 1938: 55, pl. XXXVIII.b;Saraswati 1962: 72-73, pl. VIII.20). Its stylistic features do certainly point to a later date. Also its size and formatare different and thus it cannot be regarded as belonging to the original Dikpåla set of the basement sculptures.

21. Size: 81.3 x 27.9 cm. Published: Banerji 1928: 111, pl. LIII.[a] “probably a form of Siva”; Dikshit 1938: 54 “buffgrey sandstone”, pl. XXX.a “˜iva”; Saraswati 1962: 77, 120, pl. XI.27 “˜iva ?”; Mallmann 1963: 86 “Teja¸ca½∙a,Ravi ou Arka, le Soleil?”, notes 12-13; Alam 1985: 113, fig. 37 “Siva”; Gail 1999: 138 “S÷rya ?”; Haque 2007:80, 83, pl. 50 “Shiva”.

22. Cf. Donaldson 1985: fig. 79 (Candra); Wessels-Mevissen 2001: 33-34, fig. 43, left (Soma or Agni); Gail 2001:76, Abb. 113 (S÷rya).

23. Cf. Michell 1973: passim; Wessels-Mevissen 2001: 42-43, ills. 11-12 (plans), figs. 77 (Candra), 79 (S÷rya), 82(Candra). The size of the images, approximately 80 x 42 cm, roughly coincides with the size of the Paharpurimages.

24. Cf. Wessels-Mevissen 2001: 39-41, and Table XII on p. 40 for a sculptural typology of the dikpålas at Alampur.

25. Cf. EITA 1991: 285-291; Gail 2001: 23.

26. Cf. Wessels-Mevissen 1994: 600, 618, pl. 2 (Candra); idem 2001: 49-50, ill. 17 (plan), fig. 109 (Soma).

27. See EITA 1991: pls. 661, 665 (S÷rya in north bhadra); Gail 2001: Abb. 9 (S÷rya in south bhadra).

28. Cf. Wessels-Mevissen 1994: 599-600, 616 fig. 1 (plan), 617 pl. 1 (Candra); idem 2001: 54, ill. 21 (plan), fig. 185(Candra); EITA 1991: pl. 307 (S÷rya); Gail 1999: Abb. 4 (S÷rya).

29. Cf. Wessels-Mevissen 2001: 52-53; Meister 1982: fig. 10.

30. Cf. Wessels-Mevissen 2001: 47-48, ill. 16 (plan), fig. 103 (Candra).

31. Cf. ibid.: 77, fig. 285 (Soma?).

32. Cf. ibid.: 80, fig. 300 (devakulikå of Soma). On the architectural elevation of the subshrine published by Pichard(1995: 152, pl. 28) the griva reliefs have not been drawn, but Soma’s lion våhanas are well visible.

33. For a reconstruction of the pråkåra subshrines see Pichard et al. 1994, I: 144, fig. 40.

34. Cf. Pichard et al. 1994, I: 135, fig. 38; II: ph. 135; Wessels-Mevissen 2001: 80-81.

35. Cf. Mevissen 1994: 418-419, 433, pl. 4 (Dikpålas accompanying Tripuråntaka).

36. Cf. Mevissen 2004: 88-89 and fig. 5 on p. 86 (plan of the images in the lower tier of the four gopuras).

37. Size: 88.9 x 35.6 cm. Published: Banerji 1928: 111 “Brahma”; Dikshit 1938: 54 “dark basalt”, pl. XXX.c“Brahmå”; Banerjea 1943: 459, pl. LVI.139 “B¡ihaspati”; idem 1948: 97-98 “B¡haspati”; Saraswati 1962: 73-74,pl. IX.23 “B¡ihaspati”; Weiner 1962: 182, fig. 39 “Brahmå”; Mallmann 1963: 86 “B¡haspati”, note 11; Majumdar1971: pl. XXI.42 “B¡ihaspati”; Rahman 1981: pl. II; Alam 1985: 115, fig. 40 “Brihaspati”; Haque 1992: 200, 371,no. 1096 “B¡haspati”; Gail 1999: 138 “Brahmå”; Vacherot 1999: 22, fig. 7 “B¡haspati”; Bhattacharya 2002: 65-66, pl. XXVIII.1 “B¡haspati”; Haque 2007: 80, 82, pl. 49 “Brihaspati”. A recently published colour photograph


of the image in situ (Hossain/Alam 2004: 20, pl. B.11) seems to have been taken during one of the annual re-excavations after Dikshit’s re-burying of the sculpture (cf. supra, note 2).

38. Independent images of B¡haspati are quite rare. A headless image from Kandaran, Malda district, now in theMalda Museum (RBR 1) has tentatively been identified as B¡haspati (see Bhattacharyya 1982: 8-9, pl. IV.1;Bhattacharya 2002: 65-67, pl. XXIX.1). The figure holds an ak¹amålå in the right hand and a kama½∙alu in thelowered left. The figure is flanked by two plantain trees on either side. However, in view of the absence of a pot-belly it is more likely to represent Candra or ˜ukra rather than B¡haspati.

39. Size: 81.3 x 33.0 cm. Published: Banerji 1928: 111 “corpulent ascetic” (side view on pl. LIII.[a] = Plate 39.7);Dikshit 1938: 54 “purple sandstone”, pl. XXX.d “˜iva”; Saraswati 1962: 76-77, 119, pl. X.26 “Bhavishya Manu”;Alam 1985: 114 “Siva or Manu” (not ill.); Gail 1999: 138 “˜iva” (not ill.); Bhattacharya 2002: 66 (not ill.).

40. Size: 61.0 x 20.3 cm. Published: Dikshit 1938: 38-39 “grey sandstone”, pl. XXXVII.d “Brahmå”; Saraswati 1962:76-77 “future Manu”; Alam 1985: 96, fig. 30; Gail 1999: 138 “Brahmå”.

41. The figure stands beneath an arch, similar to the one seen above sculpture no. 61 (Plate 39.11). While the latterarch seems to be original, the former has certainly been added only during the conservation camapign: It is notpresent on the side view of the figure visible on Plate 39.7 (published in 1928) but makes its first appearance onthe photos published in 1938 (compare Dikshit 1938: pl. XXX.a with Plates 39.7 and 39.12).

42. See e.g. Mevissen 2008b: figs. 1, 6-11, 13-15, and cats. *55, *103, *104, *272, *312 (only Candra), *321, *400(only B¡haspati and ˜ukra), *445 (only B¡haspati), *478, *507.

43. See Dikshit 1930: 147; Ray 1943: 530, pl. LVII.141; Dikshit 1938: 49, pl. XXXI.d; Saraswati 1962: 58-59, pl.IV.12; Weiner 1962: 182, fig. 40; Alam 1985: 112, fig. 36.

44. See e.g. Ï¸åna(?) in sculpture no. 40 (Plate 39.4) or sculpture no. 4 (size: 47.0 x 38.1 cm; publ.: Dikshit 1930:146; idem 1938: 39 “buff sandstone”, pl. XXXI.b; Saraswati 1962: 75-76). The latter image, in which ˜iva isaccompanied by his bull (v¡¹abha), has been treated by Mallmann (1963: 137) as another possible candidate forÏ¸åna at Paharpur. However, its small size does not match well with the size of the other Dikpåla images.

45. A similar case of ‘ãivization’ occurs with the Dikpålas on the garbhag¡ha wall of the early 8th-century Kumbha-¸yåma temple at Chittaurgarh, Rajasthan, where five members of the Dikpåla group have been rendered as ˜iva(Ï¸åna) images; see Wessels-Mevissen 2001: 50-52, 81, figs. 111, 112.

46. Another sculpture (no. 6, size: 50.8 x 22.9 cm; publ.: Dikshit 1938: 40 “grey sandstone”, pl. XXXV.a “Standingfigure”; Saraswati 1962: 89 “boyish figure”) could be regarded as a Graha. The figure stands in a peculiar posewith his left leg bent up in an unnatural way, thus reminding of ãni, the planetary god Saturn, whose lamenessis usually depicted in eastern India in such a way (cf. Mevissen 1997: pls. 10.5-10.7, 10.11-10.13; idem 2000:passim, figs. 2, 4, 5, 20). However, there seems to be a smile on the face of the figure, a feature not matching wellwith the concept of this dreadful Graha. Also the small size of the figure differs considerably from the others.

47. There may have been also small-scale images of the Grahas at Paharpur. A seated figure of S÷rya is found amongthe terracotta plaques; cf. Dikshit 1938: 60 (not ill.). Another plaque shows a large demonic head backed by aflame-like halo with hands joined underneath in the manner known from representations of Råhu (ibid.: pl. XL.d,centre).

48. See Mitra 1965: 24; Desai 1996: 135-143, fig. 12, phs. 139, 142-148; Vacherot 1999: 74-77, figs. 117-125.

49. For Chidambaram see Harle 1963: 112-113, 116-117, 121-122, 125, 127-128, 134-137, figs. 21-22, pls. 147, 153,154, 159, 162, 165; Mevissen 2004: 86, 89, figs. 5, 8. For the Jambuke¸vara see Harle 1963: 137, fig. 22; L’Her-nault 1987: 119, fig. 5. — Another case of similarity between Paharpur and the late Cð®a temples at Darasuramand Chidambaram is the rare depiction of large-scale images representing the solar A¸vins, horse-headed at


Paharpur and human-headed at Darasuram and Chidambaram. For Paharpur see Dikshit 1938: 43-44, no. 21, pl.XXXVII.c “Kinnara pair”; Saraswati 1962: 89 “kinnaras”; Biswas 1981: 269, fig. 571 “Two horse-faced Kin-naras”. For Darasuram see L’Hernault 1987: 120, no. 26 & pl.ico IV, no. 26 (the sculpture was missing in 1987but has since been found and re-installed in the original niche); for Chidambaram see Harle 1963: 110, pl. 144.

50. For a recently exposed structure predating the first level of the central temple at Paharpur, see Breuil/Gill 2007:128-128, fig. 3.

51. Cf. Gail 1999: 139.

52. Cf. Dikshit 1938: 5, 38; Saraswati 1943: 509; Lohuizen-de Leeuw 1957: 34; Saraswati 1962: 44-45; Mitra 1971:242; Saraswati 1976: 120-121; Huntington 1984: 162-163; Alam 1985: 98-99; Bautze-Picron 1986: 24. For acontrary view see Asher 1980: 93 and Lefèvre 2008: 188.

53. See Dikshit 1930: 141, 146, pl. XXXIII.b “Offering of poison to ˜iva”; Fábri 1932: 29, pl. IV.b; Dikshit 1938:41-42, pl. XXXI.c; Thomas n.d.: pl. XXIV.72; Lohuizen-de Leeuw 1957: 36-38, fig. 6 “scene from the Devadåru-vanamåhåtmya”; Das Gupta 1961: 24, pl. VII.a; Saraswati 1962: 59-62 “the true impact ... is still to be investi-gated”, pl. V.14; Ahmed 1984: pl. 18; Ahmed 1984a: 60; Alam 1985: 108-109, fig. 34; Haque 2007: 80, 83, pl.52. For a fresh study of the sculpture see Bhattacharya 2006.

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Plate 39.1: Paharpur,sculpture no. 29:Indra.

A: in situ;after Dikshit 1938:pl. XXVII.d.

B: PaharpurMuseum;photo © G.J.R.Mevissen 2004.

Plate 39.2: Paharpur, sculpture no. 39: Våyu.

A: in situ;after Dikshit 1938: pl. XXXII.a.

B: Paharpur Museum; photo © G.J.R. Mevissen 2004.

Plate 39.3: Paharpur, sculpture no. 34:Agni. After Dikshit 1938: pl. XXXII.b.

Plate 39.4: Paharpur, sculpture no. 40: Ï¸åna(?).After Dikshit 1938: pl. XXXI.a.

Plate 39.5: Paharpur, sculpture no. 60: Candra/Soma. A: in situ; after Dikshit 1938: pl. XXX.b. B and C: Pahar-pur Museum; photos © G.J.R. Mevissen 2004. The side view (C) is also visible on Plate 39.11.

Plate 39.6: Paharpur, back of sculpture no. 59: Kubera.After Dikshit 1938: pl. XXXVI.b.

Plate 39.7: Paharpur, sculpture no. 63: S÷rya(?). After Banerji 1928: pl. LIII.[a]. On the right: side view of ˜ukra(?) in Plate 39.12 before ‘conservation’.

Plate 39.8: Alampur, Svarga Brahmå temple, eastwall: S÷rya. After Wessels-Mevissen 2001: fig. 79.

Plate 39.9: Alampur, Svarga Brahmå temple, northwall: Candra. After Wessels-Mevissen 2001: fig. 77.

Plate 39.10: Gwalior, Telï-kå-mandir, east wall:Candra. Photo © Klaus Bruhn.

Plate 39.11: Paharpur, sculpture no. 61: B¡haspati(?).After Dikshit 1938: pl. XXX.c.

Plate 39.12: Paharpur, sculpture no. 62: ˜ukra(?). After Dikshit 1938: pl. XXX.d. For a side view see Plate 39.7.

Plate 39.13: Paharpur, sculpture no. 2: Graha(?). After Dikshit 1938: pl. XXXVII.d.

Contents

VOLUME I

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiEditorial Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiiBibliography of Gouriswar Bhattacharya’s Publications (1971-2008) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvList of Plates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxviiList of Figures, Illustrations, Tables and Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xliiList of Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xlv

Section I: Gandhåra

1. Ya¸odharå’s Dreams ANNA MARIA QUAGLIOTTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2. The Water Tank from Gandhara MONIKA ZIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. The Pious Donation of Wells in Gandhara HARRY FALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

4. Two Stamps with the Bodhigarbhålaºkåralak¹a Dhåra½ï from Afghanistan and Some Further Remarks on the Classification of Objects with the ye dharmå Formula

INGO STRAUCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Section II: Northern India, Central India, Nepal

5. S÷rya Worship in Vraja in Ancient Times with Special Reference to a Rare Ku¹å½a Lintel of a S÷rya Temple

VINAY KUMAR GUPTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

6. The Formation of Temple Ritual in the Gupta Period: p÷jå and pañcamahåyajñaMICHAEL WILLIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

7. Mapping Masrur’s Iconography MICHAEL W. MEISTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

8. The Kashmir Connection of the Vaiku½¶ha Image of Khajuraho DEVANGANA DESAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

9. Va¶uke¸vara – A Våma-Bhairava Sculpture in the Lucknow MuseumR. NAGASWAMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

viii Prajñådhara – Essays in Honour of Gouriswar Bhattacharya

10. The Identification of a Sculpture of M¡tyuºjaya/Am¡te¸a and Am¡talak¹mï in the ‘Royal Bath’ in Patan (Nepal)

GUDRUN BÜHNEMANN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

11. Almora Copper Plate of Abhaya Candra, ãka 1296 (AD 1374)MAHESHWAR P. JOSHI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

12. Omkareshvar Mandhata and Transplantation of Temples AMAR NATH KHANNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

13. Recasting the Architectural Landscape: The Late 12th– Early 13th-Century Ghurid Annexations of Northern India

ALKA PATEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

14. Umrao Jan Ada: Her carte-de-visite JOACHIM K. BAUTZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Section III: Western India

15. Coins of the City-State of Måhi¹matï DEVENDRA HANDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

16. Buddhism in Rajasthan – Its Evolution and Devolution NAYAN ANANDA CHAKRABORTY & SANGEETA CHAKRABORTY . . . . . . . . . . . . . . . . . . . . . . . . . 158

17. Some Early tora½a Representations from the Maharashtra Caves PARUL PANDYA DHAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

18. To What God Shall We Render Homage in the Temple at Modhera?K. MANKODI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Section IV: Southern India

19. Råk¹asas and puru¹am¡gas in the South-Western Corner of the Airåvate¸vara Temple at DarasuramCORINNA WESSELS-MEVISSEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

20. A Rare ãiva Icon at Lepåk¹i PIERRE-SYLVAIN FILLIOZAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

21. Two Kålåmukha Temples in Haveri District (Jakka½åcårigu∙i in Karnå¶aka) VASUNDHARA FILLIOZAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

22. Girijå-kalyå½a Friezes in the Temple Art of the Gow∙as of Yelaha¼ka ANILA VERGHESE & ANNA L. DALLAPICCOLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

23. Genealogical History of the Nåyakas of Vël÷r, South India, and their Patronage to Art and Architecture (c. AD 1500-1604)

U.S. MOORTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Plates (Sections I-IV)

Contents ix

VOLUME II

Section V: Eastern India and Bangladesh

24. Mahåmåy÷rï and Jå¼gulï as Attendants of Prajñåpåramitå. Investigation of an unusual iconographicfeature based on Bihari A¹¶asåhasrikå Prajñåpåramitå manuscripts from the 11th century

EVA ALLINGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

25. Illustrating the Perfection of Wisdom: The use of the Vessantara Jåtaka in a manuscript of the A¹¶asåhasrikå Prajñåpåramitå S÷tra

JINAH KIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

26. The Vi¹½u Image from Sarisadah in the Indian Museum, Kolkata CLAUDINE BAUTZE-PICRON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

27. Further Observations on Some Unusual Aspects of a Recently Acquired Påla Masterpiece in the Los Angeles County Museum of Art

STEPHEN MARKEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

28. Some S÷rya Images of the Påla-Sena Period in the National Museum of Pakistan, Karachi IBRAHIM SHAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

29. A Note on Some Interesting Sculptures in the Koch Bihar Palace Museum BIMAL BANDYOPADHYAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

30. Jaina Cult in Ancient Bengal – The Tutelary Couple of Deopara ISABELL JOHNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

31. Dedicatory Inscriptions of the Time of Mahendrapåla: A Fresh Appraisal RAJAT SANYAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

32. Re-Reading Two Copper Plate Inscriptions of Gopåla II, Year 4 RYOSUKE FURUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

33. Re-Visioning the State Apparatus in Samata¶a (Mid-7th to mid-11th Century AD) SHAHNAJ HUSNE JAHAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

34. Economy of Samata¶a in the Early Medieval Period: A Brief Overview SUCHANDRA GHOSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

35. A Note on an Important Coin Collection of the Bengal Sul¶åns in the Bode-Museum, BerlinSUTAPA SINHA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

36. Incarnation Revived: Three Temple Sculptures from Mallabh÷ma SHARMILA SAHA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

37. A Note on the Mañjuvara Mañju¸rï Image at the Khiching Museum, Orissa RAJASRI MUKHOPADHYAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

38. New Light on the Ådi-Bhañjas of Khijji¼gako¶¶a and Other Minor Ruling Families ofTheir Times in Orissa (An Epigraphical Perspective)

SNIGHDA TRIPATHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

x Prajñådhara – Essays in Honour of Gouriswar Bhattacharya

Section VI: Pan-Indian Issues

39. Dikpålas and Grahas at Paharpur in Context of Contemporaneous Pan-Indian Temple ImageryGERD J.R. MEVISSEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

40. Icons of tripåda Deities in Indian ArtARUNDHATI BANERJI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

41. Revisiting the “V¡¹a/Nandi” Issue PRATAPADITYA PAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

42. A Five-headed Wooden Elephant: A Case StudyN.P. JOSHI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

43. Jala Mandirs, Tïrtha-Pa¶as and Cosmic Islands: Creating, Replicating and Representing Landscape in Jaina Art and Architecture

JULIA A.B. HEGEWALD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

44. Hegel and the Trim÷rti ADALBERT J. GAIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

45. Can Guided Tours Make Sense of World Heritage? N. JAMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Section VII: Southeast Asia, Central Asia, Tibet

46. A Recently Discovered S÷rya Image from Thailand PETER SKILLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

47. S÷rya’s Någas, Candra’s Square Seat and the Mounted Bull with Two Guardians – Iconographical notes on two Khmer illustrated stela inscriptions

ARLO GRIFFITHS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

48. Indo-Tibetan Influences in Banners from Dunhuang CHHAYA BHATTACHARYA-HAESNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

49. “Indra’s Visit” TIANSHU ZHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

50. Wall Paintings in the Arhat Chapel of the Monastery at Zhwa lu, Tibet: Notes on Iconography and Style

HELMUT F. NEUMANN & HEIDI A. NEUMANN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

51. Iconographical Suppositions in Connection with a Thangka Series Made in the Qianlong PeriodBÉLA KELÉNYI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515

Plates (Sections V-VII)

List of Contributors

Mag. Eva ALLINGER, Member of the National Research Network, “The cultural History of the Western Himalaya fromthe 8th Century”, Institute of Art History, University of Vienna. Mailing address: A 1090 Wien, Kolingasse13/1/12, Austria, <[email protected]>, <[email protected]>

Dr. Bimal BANDYOPADHYAY, Superintending Archaeologist, Archaeological Survey of India, Kolkata Circle, C.G.O.Complex (4th Floor), Block-DF, Sector-1, Salt Lake City, Kolkata 700 064, India, <[email protected]>

Dr. Arundhati BANERJI, Superintending Archaeologist (Publications), Archaeological Survey of India, Janpath, NewDelhi - 110 011, India, <[email protected]>, <[email protected]>

Priv.-Doz. Dr. habil. Joachim K. BAUTZE, Gastprofessor für Kunstgeschichte Südasiens, Freie Universität Berlin,Kunsthistorisches Institut, Abteilung Südasien, Koenigin-Luise-Str. 34a, D-14195 Berlin, Germany, <[email protected]>

Prof. Dr. Claudine BAUTZE-PICRON, Chargée de recherche, C.N.R.S., Paris; Chargée de cours, Université Libre deBruxelles. Mailing address: Kantstr. 78, D-10627 Berlin, Germany, <[email protected]>

Dr. Chhaya BHATTACHARYA-HAESNER, Independent Researcher, Keithstrasse 15, D-10787 Berlin, Germany, <[email protected]>

Prof. Dr. Gudrun BÜHNEMANN, University of Wisconsin, Department of Languages & Cultures of Asia, 1240 VanHise Hall, 1220 Linden Drive, Madison, Wisconsin 53706, USA, <[email protected]>

Mr. Nayan Ananda CHAKRABORTY & Dr. Sangeeta CHAKRABORTY, Dholavira Excavation (Report Writing)Section, Archaeological Survey of India, Purana Qila, New Delhi 110 001, India, <[email protected]>

Prof. Dr. A.L. DALLAPICCOLA, Honorary Professor, University of Edinburgh, 4, Sydney Terrace, Edinburgh, EH76SL, Scotland, U.K., <[email protected]>

Dr. Devangana DESAI, Former Vice-President, The Asiatic Society of Mumbai. Mailing address: Shanti 1/30, 19Pedder Road, Mumbai 400 026, India, <[email protected]>, <djdesai2001@yahoo. com>

Dr. Parul Pandya DHAR, Assistant Professor (History of Art), National Museum Institute, National Museum, Janpath,New Delhi 110 011, India, <[email protected]>

Prof. Dr. Harry FALK, Freie Universität Berlin, Institut für die Sprachen und Kulturen Südasiens, Königin-Luise-Str.27, D-14195 Berlin, Germany, <[email protected]>

Dr. Pierre-Sylvain FILLIOZAT, Membre de l’Academie des Inscriptions et Belles Lettres, 13, Rue Rambuteau, 75004Paris, France, <[email protected]>, <[email protected]>, <[email protected]>

Dr. Vasundhara FILLIOZAT, Independent Researcher, 125, Vivekananda Road Cross, Yadavagiri, Mysore 570 020,Karnataka, India, <[email protected]>, <[email protected]>

xlvi Prajñådhara – Essays in Honour of Gouriswar Bhattacharya

Dr. Ryosuke FURUI, Associate Professor, Institute of Oriental Culture, University of Tokyo, Hongo 7-3-1, Bunkyo-Ku,Tokyo 113-0033, Japan, <[email protected]>, <[email protected]>

Prof. i.R. Dr. Adalbert J. GAIL, Freie Universität Berlin, Kunsthistorisches Institut, Abteilung Südasien. Mailingaddress: Hagenstr. 35a, D-14193 Berlin, Germany, <[email protected]>

Dr. Suchandra GHOSH, Reader, Department of Ancient Indian History & Culture, University of Calcutta; 1/3, GopalChandra Bose Lane, Kolkata 700 050, India, <[email protected]>

Prof. Dr. Arlo GRIFFITHS, Chair of Sanskrit, Kern Institute, Leiden University; Directeur d’études, Southeast AsianHistory, Ecole française d’Extrême-Orient (Jakarta); Jl. Ampera III no. 26, Kemang, Jakarta Selatan 12550, Indo-nesia, <[email protected]>

Mr. Vinay Kumar GUPTA, M.A., National Museum Institute, New Delhi. Mailing address: H. No. 50, Indrapuri,Dhauli Piyau, Mathura U.P. 281 001, India, <[email protected]>

Dr. Devendra HANDA, # 1401, Pushpac Complex, Sector 49 B, Chandigarh 160 047, India, <[email protected]>

Dr. Julia A.B. HEGEWALD, Art History and Visual Studies, Mansfield Cooper Building, The University of Manchester,Oxford Road, Manchester M13 9PL, Great Britain, <[email protected]>

Dr. Shahnaj Husne JAHAN, Assistant Professor, University of Liberal Arts Bangladesh, House 56, Road 4/ADhanmondi R/A (Satmosjid Road), Dhaka-1209, Bangladesh, <[email protected]>

Dr. Nicholas JAMES, Director, PNL James Management & Interpretation of Historical Resources, 59, Mawson Road,Cambridge, England, <[email protected]>

Mrs. Isabell JOHNE, M.A., Independent Researcher, Gondekerstr. 16, D-12437 Berlin, Germany, <[email protected]>

Prof. Dr. Maheshwar P. Joshi, Professor & Head, Department of History (Retd.), Kumaun University, Nainital.Mailing address: ˜rï Mallikå Kuñja, Malla Joshi Khola, Almora, Uttarakhand, India, <[email protected]>, <[email protected]>

Dr. N.P. JOSHI, Hon. Acharya, Jñåna-Pravåha, Centre for Cultural Studies & Research, South of Samne Ghat, Varanasi- 221 005, India, <[email protected]>

Mr. Béla KELÉNYI, Curator of the Tibetan-Nepalese Collection, Ferenc Hopp Museum of Eastern Asiatic Arts,H-1115, Budapest, Thallóczy L. u. 26, Hungary, <[email protected]>

Mr. Amar Nath KHANNA, Senior Technical Officer (Retired), Indira Gandhi National Centre for the Arts. Mailingaddress: G-26, Sarita Vihar, New Delhi -110 076, India, <[email protected]>

Dr. Jinah KIM, Assistant Professor of South Asian Art, Dept. History of Art, B#351801, Vanderbilt University, Nash-ville, TN 37235-1801, USA, <[email protected]>

Dr. Kirit MANKODI, Project for Indian Cultural Studies, Franco-Indian Pharmaceutical Pvt. Ltd., 20, Dr. E. MosesRoad, Mumbai 400 011, India, <[email protected]>, <[email protected]>

Dr. Stephen MARKEL, The Harry and Yvonne Lenart Curator and Department Head of South and Southeast Asian Art,Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles, CA 90036-4504, USA, <[email protected]>

Prof. Dr. Michael W. MEISTER, W. Norman Brown Professor of South Asian Studies, University of Pennsylvania,Jaffe History of Art Building, 3405 Woodland Walk, Philadelphia PA 19104-6208, USA, <[email protected]>

List of Contributors xlvii

Dipl.-Ing. Gerd J.R. MEVISSEN, M.A., Independent Researcher, Erasmusstr. 17, D-10553 Berlin, Germany, <[email protected]>

Dr. U.S. MOORTI, Joint Director, Center for Art & Archaeology, American Institute of Indian Studies, Plot No. 22,Sector-32, Institutional Area, Gurgaon - 122 001 (Haryana State), India, <[email protected]>

Mrs. Rajasri MUKHOPADHYAY, M.A., Research Fellow, The Asiatic Society, Kolkata, and Guest Lecturer, Departmentof Islamic History and Culture, University of Calcutta. Mailing address: 29, Parasar Road, Kolkata - 700 029,India, < [email protected]>

Dr. R. NAGASWAMY, Tamil Arts Academy, 11, 22nd Cross Street, Besantnagar, Chennai, 600090, India, <[email protected]>

Dr. Helmut F. NEUMANN & Mrs. Heidi A. NEUMANN, Independent Researchers, Spitzackerstrasse 24, CH-4103 Bott-mingen, Switzerland, <[email protected]>, <[email protected]>

Dr. Pratapaditya PAL, General Editor, Marg Publications, Mumbai. Mailing address: 10582 Cheviot Drive, LosAngeles, CA 90064, USA, <[email protected]>

Dr. Alka PATEL, Department of Art History, 85 Humanities Instructional Building, University of California, Irvine,CA 92697-2785, USA, <[email protected]>

Prof. Dr. Anna Maria QUAGLIOTTI, Associate professor for Indian and Southeast Asian Art History and Archaeology,Univeristà di Napoli “L’Orientale”. Mailing address: Via Panama, 124, 00198 Roma, Italy, <[email protected]>

Ms. Sharmila SAHA, M.Sc., Cataloguer, State Archaeological Museum, Government of West Bengal, Kolkata. Mailingaddress: Basak House (Top Floor), 3, Princep Street, Kolkata 700 072, India, <[email protected]>

Mr. Rajat SANYAL, M.Sc., Guest Lecturer, Department of Archaeology, University of Calcutta, Alipur Campus, 1,Refomatory Street (7th Floor), Kolkata 700 027, India, <[email protected]>

Dr. Ibrahim SHAH, Associate Professor & Chairman, Department of Cultural Heritage and Tourism Management,Hazara University, Garden Campus, Mansehra, NWFP, Pakistan, <[email protected]>

Dr. Sutapa SINHA, Reader, Department of Islamic History and Culture, University of Calcutta, Alipur Campus, Kolkata700 027, India, <[email protected]>

Dr. Peter SKILLING, Maître de conférences, Ecole française d’Extrême-Orient, EFEO - Sirindhorn AnthropologyCentre, 20, Boromarachachonani Road, Taling Chan, Banglok 10170, Thailand, <[email protected]>

Dr. Ingo STRAUCH, Research Associate, Institut für die Sprachen und Kulturen Südasiens, Freie Universität Berlin,Königin-Luise-Str. 34 A, D-14195 Berlin, Germany, <[email protected]>

Dr. Snigdha TRIPATHY, Plot No. 1480, Gauda Munda Chhak, Bhubaneswar, Orissa.

Dr. Anila VERGHESE, Principal, Sophia College for Women, Bhulabhai Desai Road, Mumbai 400 026, India, <[email protected]>

Dr. Corinna WESSELS-MEVISSEN, Independent Researcher, Quitzowstr. 126, D-10559 Berlin, Germany, <[email protected]>

Dr. Michael WILLIS, Department of Asia, The British Museum, London WC1B 3DG, Great Britain, <[email protected]>

Dr. Tianshu ZHU, Assistant Professor, Department of Sociology, FSH, University of Macau, Taipa, Macau, China,<[email protected]>

Prof. Dr. Monika ZIN, Ludwig-Maximilians-Universität, Institut für Indologie und Tibetologie, Department fürAsienstudien, Ludwigstr. 31, D-80539 München, Germany, <[email protected]>

Documents

Mevissen_2009_Dikpalas and Grahas at Paharpur