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[Full title: Images of 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 (1): Single depiction of 笔腻谤艣惫补苍腻迟丑补 sculptures]

I recorded eight specimens of this type of 笔腻谤艣惫补苍腻迟丑补 sculptures from the present study area. Among these images three are from Purulia and four from Bankura (zone I) and one is from Murshidabad (zone III).

A seated variety of 笔腻谤艣惫补苍腻迟丑补 image (measures 69 x 37cm) was reported from Pakbirra, but at present this image is not traceable. According to the earlier report 鈥渢he nude 罢墨谤迟丑补峁卥补谤补 sits in 辫补诲尘腻蝉补苍补 with his hands in 诲丑测腻苍补-尘耻诲谤腻 under the shelter of a seven of seven-hooded Naga. On either side are male 肠补耻谤墨-bearers wearing loin cloth and simple jewellery including armlets, wristlets and 别办腻惫补濒颈. The back of the throne is plain barring a few lightly incised flowers and floral designs palced at random. Above is tri-linear parasol, on its either side pair of disembodied hands playoing on the heavenly instruments. On both sides is a flying 惫颈诲测腻诲丑补谤补 carved against could form. The Jina has elongated ear-lobes and his hair is arranged in schematic curls with an 耻峁ａ箛颈峁�a.

A full blown lotus with flower occupies the cenre of the pedestal below, which also reveals sensitively modelled figures of a naga couple and kneeling devotes in a帽jali-尘耻诲谤腻 in its upper portion. On the lower portion enclosed within small sunken panels are two figures of courching lion鈥� (Bhattacharyya, Mitra and Bhowmick 1986: 147-8).

An image of 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 is plaque in the temple wall of Dharmaraj Mandir of Chharra. The image is measures 62 x 37 cm. and the Jina stands in 办腻测辞迟蝉补谤驳补 posture under the canopy of a seven-hooded serpent. The pedestal portion is not visible. The Jina is attended by two male 肠补耻谤墨-bearers wearing succinct lower garments and different ornaments. They stand in 腻产丑补峁単补 posture on pedestals and their left hands are in 办补峁瓂腻惫补濒补尘产颈迟补 posture while the right hands hold fly-whisks. The Jina鈥檚 face is more or less damaged. The upper part of the back-slab contains the usual 惫颈诲测腻诲丑补谤补s and a projected tiered chatra surmounting the snakehood.

I have documented a badly damaged image of 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 from Karcha (Majumder 2015: 27-8). The image is presently kept in the house of a doctor in the village. The image measures 70 x 38 x 10 cm and is made of chlorite stone. The left hand and the head of the 罢墨谤迟丑补峁卥补谤补 are lost and on the basis of the snake coil I can identify this image as 笔腻谤艣惫补苍腻迟丑补. The Jina figure is flanked by two attendants and their head is missing. The pedestal of the image is also badly damaged.

Among the four images of 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 of this variety from Bankura, two are in seated type. Of the two seated images of 笔腻谤艣惫补苍腻迟丑补, one is from Deulbhira (Pl.XXX.A) and the other from Ramnagar (Pl.XXX.B). The specimen of Deulbhira is now kept in the Indian Museum. 鈥淭he deity shown seated in the usual yoga posture, with the seven hoods of a snake spread over his head, and his characteristic 濒腻帽肠丑补苍补 beneath the lotus seat; the 肠补耻谤墨-bearing figures on both sides are present, but no other Jinas are represented by his side鈥� (Saraswati 1943: 465). The image probably belongs to the tenth century CE. The other specimen is a highly damaged piece of sculpture. The lower part is cemented with the ground. It is made of chlorite stone and measures 62 x 57 cm. The deity sits under a canopy of seven snakehoods in 辫补诲尘腻蝉补苍补, with his hands in 诲丑测腻苍补-尘耻诲谤腻, on a full-blown doublepetalled lotus. He has elongated ears and his hair is arranged in schematic curves with an 耻峁ａ箙墨峁�a which is slightly damaged. The specimen is assignable to eleventh -twelfth centuries CE.

An extensively damaged 笔腻谤艣惫补苍腻迟丑补 image was reported from Joypur and presently in the collection of the Vishnupur Sahitya Parishad Museum, Vishnupur. It measures 84 x 43 cm and is made of greenish stone. The outline of this Jina conforms to the Rajgir style. The Jain is in 办腻测辞迟蝉补谤驳补 and 蝉补尘补辫腻诲补蝉迟丑腻苍补办补 postures and most probably stands on a lotus-pedestal. The pedestal part is missing. Close to the feet of the Jina is a 苍腻驳补 couple, the male with arms folded in 苍补尘补蝉办腻谤补 尘耻诲谤腻 and the female figure is again damaged. The 尘奴濒补-苍腻测补办补 bears a slender figure and stands under the towering seven-hooded snake canopy. The coil of the snake is shown on both the sides of the Jina. The Jina鈥檚 face is totally damaged. The upper portion of the back-slab has the usual 惫颈诲测腻诲丑补谤补s holding long garlands. It is very difficult to fix the date of this sculpture.

The 笔腻谤艣惫补苍腻迟丑补 image of Dharapat measures 63 x 40 cm and it is made of greyish stone. The specimen has been converted to an image of snake hooded 痴颈峁ａ箛耻 by subsequent additions (during the early medieval period) of two hands holding 艣补峁卥丑补 and 驳补诲腻. Such forcible transformation of a Jain image into a Brahmanical one suggests the prevalence of Vai峁ａ箛vism and the decline of the Jain order. The deity stands in 办腻测辞迟蝉补谤驳补 posture on a double-petalled lotus-pedestal under a canopy of seven snake hoods. The outline of its towering snake-hood (almost like the outline of an acanthus leaf) has similar counterparts in the 笔腻谤艣惫补苍腻迟丑补 images found from Bahulara and Joypur which are presently in the Vishnupur Sahitya Parishad Museum, Vishnupur. The arms of the 笔腻谤艣惫补苍腻迟丑补 are carved almost parallel to its body. The two male 肠补耻谤墨-bearers have also been transformed into 尝补办峁�m墨 and 厂补谤补蝉惫补迟墨. The pedestal of the image has also been changed and most probably the image has a 辫补帽肠补-ratha pedestal. Stylistically, the original image is assignable to eleventh century CE. This 笔腻谤艣惫补苍腻迟丑补 image is similar to the images of the same Jina found from the Kumari-Kansavati valley.

The 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 image (Pl.XXX.C) from Jiaganj Museum of Murshidabad district is belong to this group though this is a really unique image. The Jina is standing in 办腻测辞迟蝉补谤驳补 pose, under the seven hooded snake canopy, on a double-petalled lotus placed on a sapta-ratha pedestal. The pedestal of this image is un-parallel with the other pedestals of the 笔腻谤艣惫补苍腻迟丑补 images from ancient Bengal as well as eastern India. In the center ratha of the pedestal a wheel with beded decorated is placed which is flanked by two snakes. Two crouching lions facing in opposite direction occupy the facets/projections adjacent to the centre ratha. The remaining projections of the pedestal are decorated with floral motifs.

The coil of the snake is shown on both the sides of the Jina. The image is executed with a high quality of craftsmanship. The 尘奴濒补-苍腻测补办补 obviously devoid of any worldly attire, has elongated ear-lobes and his hair is arranged in schematic curls with prominent 耻峁ａ箛墨峁�a.

The 尘奴濒补-苍腻测补办补 is flanked (right side) by 驰补办峁�a 顿丑补谤补峁噀苍诲谤补 standing in 腻产丑补峁単补 posture with 苍补尘补蝉办腻谤补 mudra. He has a five hooded snake canopy over his head. 驰补办峁�i峁嚹� Padm膩vati is standing in 腻产丑补峁単补 posture on the left side of the 尘奴濒补苍腻测补办补 and holds an umbrella to protect Jina. She has a three hooded snake canopy over her head. Both the 驰补办峁�a and 驰补办峁�i峁嚹� are wearing succinct lower garments and different ornaments like necklaces, 办别测奴谤补, 办耻峁囜笉补濒补, and a conical crown. Two 惫颈诲测腻诲丑补谤补s holding long garlands are depict on the top corners of the back-slab. One musical instrument and drum and cymbals are depict on the both the sides of the snake hood. Above the snake hood 肠补颈迟测补惫峁沰蝉补, the tree associated with the 办别惫补濒补箩帽腻苍补 of the Jina is also present. Another interesting thing of the image is the presence of a male figure just above the head of the Jina and inbetween the snake hood. He is in pran膩m mudra and wearing different ornaments including a conical crown. Most probably this is the representation of the snake god, which is really exceptional in this part of ancient Bengal as well as eastern India. Similar type of a rock cut 笔腻谤艣惫补苍腻迟丑补 image was found in the Kalugumalai area of Tamil Nadu. This area is famous for its unfinished rock-cut architecture which may be constructed during the reign of Pandyan king. Here a 笔腻谤艣惫补苍腻迟丑补 image is engraved very similar to the present image and there is also a figure inbetween the snakehood and the head of the 尘奴濒补-苍腻测补办补, though in this case the figure holds fly-whisk in his both hands. The present image needs more details study.