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the underlying motif of the iconographic conception. The smile on the face is remarkable. -- Plate LXXIII)..
A somewhat crude figure of Kubera was noticed in a step-well at Bhinmāl (Southern Marwar). It has all the outlines of the contour in high relief. The ekāvuli and the deep navel on the pot-belly arrest our attention. However, the general pose of the sculpture affords a good contrast to the Kāvi image.
Rama from Kadvar Varaha Temple: A loose Sculpture of Rāma, with a bow and arrow in hand is lying at the Varāha temple at Kadvār, four miles from Prabhāsa.(Plate LXX a ).
Balarama from Kavi : The sculpture of Haladhara Balarāma actually shown with a tracter (hula) in the right hand, secured from this site, evinces the self-same postGupta affinities of style and is made from the same green stone. Both these pieces are in Dr. M. R. Majmudar's collection.-( Plate LXX b).
A Music Party Sculpture : in green schist from the Winchester Museum Collection, Surat, has great stylistic affinities with the Kubera from Kāvi. It measures 10" X 12". This is being illustrated through the kind offices of Shri Rajendra Surakatha, the Honorary Curator of the Surat Museum.-( Plate LXXVIII).
Collosal Jaina Images : Round about the end of this period, many Jaina images in stone were produced employing the formula of the Buddha or the cult of the gigantic Yaksa image. Those at Tārangā, Pāțan, Satrunjaya, Ābu and Girnar, to mention the most known, possess undoubted simplicity of form and considerable feeling ; but they are usually marked by a rigidness which make them unimaginative and monotonous. The execution of images of this period, however, seems to be perfect, but gaudy and much stereotyped. The figures are generally beautifully and delicately ornamented, the expression being natural, serene and peaceful. The frame of the body, the garments, the various ornaments and the symbols are faithfully depicted according to the dhyāna prescribed in the Silpa texts; yet they lack something very vital.
Buddhist Sculptures: Tara : In the Pāla period, i.e. especially during the reign of the Pāla king Rāmapāla, people in Bengal knew of the existence of at least three Buddhist temples in Gujarat, containing images of three Buddhist deities: Tārā, Kuru. kullā and Cundā. This is known from the three miniatures of an illustrated Mss of Pancavimśati Sahasrikā Prajñāpāramita (now in Baroda Museum), copied in Circa 1092 A.D., which throw light on the state of Buddhism in Lāțadeśa or Gujarat. These miniatures illustrate the three deities in the three principal Buddhist temples in Gujarat. The legends below them read as follows :
(1) Lāhtadese Tārāpure Tārā (2) Lähtadese Kurukullaśikhare Kurukulla (3) Lähtadeśe V umkaranagare Cundā
As the artists could depict the deities and temples in their miniatures, (Plate LXXIX) it is not nnreasonable to suppose that Bengal Buddhists used to come on pil
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