________________
158
JAIN JOURNAL
tury A.D. and the Nalanda Mahavihara, Great Stupa, Site No. 3,55 datable to early 7th Century A.D. allowing a certain local or evolved variation in forms and traits. Most of the images in this group are either heavy in bodily forms or bear a downward stance while the modelling is tender and delicate. In respect of sensuous modelling and the spreading of limbs in some images they share affinity with the Rajgir-Nalanda stucco figures. On the other hand stocky, squatish stature in some of the figures (No. 38, Pl. 31) though of much slender variation, show a relationship with the older Mathura tradition in evolution outside the spell of the 5th Century A.D. Sarnath style. They have parallel equivalents in some other sites of Sahabad District in Bihar such as the Mundeswari Hill, Deo-Barunark and Deo Markandeya datable to 7th-8th Century A.D. The closely affixed limbs, the slender and tapering legs with flattened and broad palm of the feet, big and round head as evidenced in these sculptures are the features that could be seen in the early images of Bihar as residue of the early tradition of the GuptaMathura style. It is a style that developed in its own way sharply through the Mathura-Gupta and the Sarnath tradition of the 5th Century A.D.
Thus, in respect of formal traits as reflected in this group, they share affinity with other centres, spread over a wide area. As suggested by J. D. Beglar, 56 this part of western Bengal had a long established connection with various parts of Bihar and Orrisa and the region stretching, perhaps, further north and western India.
All the images are carved on the oblong and rectangular stele. The images are, obviously, not free standing and have stele backs of much height. The first three images (Nos. 39, 38, 30, Pl. 32, 31, 23) show incised floral motifs on the stele face. The flower motifs seem to be bell shaped Campa and rosette in shallow relief. The image of Candraprabha (No. 40, Pl. 33) show horizontal tiers of shelves on its stele face. The sculpture representing Yaksi Ambika in this group has, in addition, floral scrolls carved on the borders of stele. These scrolls also remind the pattern, though more intricate, in the basement walls of the Paharpur Stupa.57 Below, on the flanks of the padapitha of the same image two stylised floral rhizomes are incised. This floral decorative motif in square or in parabollic space was a recurrent design in the 6th-7th Century A.D., in sculptures and architectural embellishment in eastern India including Orissa. It is also represented in the Paharpur basement wall, main
55 Ibid., pls. 68, 69, 70, 71. 56 Beglar, op. cit., pp. 48-51. 57 Cf., S. K. Saraswati, op. cit., pl. VIII, fig 22.
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
