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temple, 58 on the stone temple plinth at the Nalanda Vihara, Site No. 2,59 and in the early Orissan temples (e.g., Vaital, Sisiresvara, Muktesvara etc.).6In respect of stylistic traits the sculptures of Pakbirra belonging to this group, thus, establish in some respects, relationship with that of the Paharpur sculptures as in some other respect with the RajgirNalanda group of stucco figures of the early period. Particular reference may be made of the four-handed figure of standing Balarama under the canopy of seven-hooded serpent with two attendants, found at Paharpur, first group, as reproduced and classified by Sri S. K. Saraswati.61 In both the examples, Paharpur and Pakbirra, images of the first phase, eye-lids are sharply cut below the eye-brows, eye-lids slightly protruding, the upper lips also slightly projected, and the lower lips are thick. With their long and broad nose, the figures appear to look downward and their bodily stance are conspicuously earth bound. In the image of standing Ambika, this downwardness, is accentuated by the thick scarf hanging from the shoulder. The dilating shape of the breast and bulging hip, the soft and fleshy abdomen in a smooth concave curve and the gliding body contour of the Ambika image standing on the comparatively slender legs, all these features remind the sensuous and delicate figure of Nagi of the Maniyar Math, Rajgir, datable to C. 6th Century A.D.62 But the figure of Ambika is more heavy and fleshy than the Maniyar Math image suggesting a closer affinity with the Paharpur figures. The Pakbirra image of the seated Parsvanatha (No. 30, Pl. 23) is more clear in execution and has a flowering body. The spread out and refinement clearly indicate the influence of Sarnath style as evident in the Rajgir and Nalanda stuccos. There is a semblance of massiveness in the figure, showing the different planes of body mingling in smooth curves. It is not a tension but an ecstasy that reverberates through the fully grown bodily formation. The half closed eyes with protruding eye-balls show the sensitive feeling for the world outside coming up to the conscious level from the trance of meditation. The serpent coil, shown at the throne back, is more compact in arrangement than that of the Balarama figure of Paharpur. This compactness and execution are not to be perceived in all images.
68 Ibid., pl. IX, fig. 23 ; pl. XII. fig. 29 ; R. C. Majumder, op. cit., 1963, pl. LVI, fig. 139. 58 Cf., Asher, op cit., pl. 75. 60 Cf., Kim Christen, et all, Designs from Orissan Temples, Calcutta, 1950, pls. 2, 3,
10, 13, 25; Kanwar Lal, Temples and Sculptures of Bhubaneswar, Delhi, 1970, pls.
34, 35, 36. 61 S. K. Saraswati, op. cit., pl. No. III, fig, 11. ** Asher, op cit., pl. 20.
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