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141
the motif, the lion looked to be conventionalized in execution, as
its mane are schematically arranged and more often it appeared
as a hybrid figure while it is not naturalized but imagined one in
execution. Explaining the reason behind this conventional
execution R. D. Banerjee had put forwarded a view that the
inhabitant of Assam were not familiar with the kings of the beast.
However, this was not only the case of the people of Assam,
everywhere in India there was the paucity of lion which restrict
the animal to stand in association of any godhead of early Indian
religion; the influx of the animal in companyment of the concept
of mother goddess is only a later incorporation, borrowed a fresh
in a row, first by the Mahayana Buddhist as the Vahana of
Simhananda Avalokitesvera and then only to the Tantric
goddesses of both Hindu and Buddhist pantheon. 169 With all these
inception in mind, the sculptor tried to impose super natural power
to the lion with opened moth, exposed jaw and flaming eyes in its
face resembling a kiritamukha musk rather than a lion. Probably,
with this intention of imposing a super natural qualities, the
sculptor here tried to give a bold exposure to the lion with all
possible flesh and abnormalities (like the long tail) which in its
turn made the elephant less attractive one.
168. Banerjee, R.D. ARASI, 1924-25, p. 98.
169. The paucity of the lion on Indian soil was really a disadvantage for
the artist in carving or painting fine figures like those of other animals
which frequently attracted their attention.
Sen, A. : Animal Motif in Ancient Indian Art, 1972, pp. 73-74,111.