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shape with concentric double chord devices on the circumference of the stele wall, the three triangular motifs (leaf branch) on the projected crossbar on the wall of the stele and the successive ratha projection on the pedestal, show a close relationship with the Bengal school of art. The standing Mahavira image (No. 32, Pl. 24), also show the similar motifs and designs on the stele wall. The pañca-ratha pedestal as well as the roundish upper curvature of the stele in the Mahavira image (No. 32, Pl. 24) speak of a closer affinity with the Bengal sculptural art of the early mediaeval period.
The image of Mahavira (No. 32, Pl. 24) has some common characteristics with other figures of the previous groups particularly, with that of the Rsabhanatha (No. 38, Pl. 31) in respect of gradually slendering and closely affixed legs and flat palm of the feet. The stature appears to be short in view of the short neck; while the figure has assumed a straightened and frontal stance, with the flesh spread over the body. There is a deep concave curve at the sides of the chest forming a broader format of the shoulder. The hip curve stretches upward, while a roll of flesh on the navel add to the smooth and soft modelling. The upper portion of the body has a spreading effect due to this side curves of the chest but not in the actual rendering. The posture is stiff and tense as if the breadth is held on. The simple decoration of the panca-ratha stele with the pilasters, crossbar and triangular motifs at the two ends, the parabollic aureole attest the general affiliation with the early Pala sculptures of Bengal and Bihar.64
Tutelary Couple : At least three Tutelary Couple of the Jain pantheon have so far been found from the Pakbirra temple site. In each representation, both the partners are shown seated under a tree on a high plank of the seat with one leg dangling below, while one representation (No. 3, Pl. 10) shows only one child resting on the female partner, in the other (No. 8, Pl. 12) example, each of the partner carries a child on their thighs.
Stylistically, they, indeed, share the traits of transition from the early phase to the later. But, before going into the details of their stylistic traits, the mythological association may briefly, be described. Each of the representations shows a seated Tirthankara image in meditation on the middle juncture of the outspread branches of a tree under which the couple is seated. One of these images (No. 8, Pl. 12) shows a sprouting palm tree holding a future Jina, now as a child, who is supposed to be
64 Cf., R. C. Majumder, op cit., 1963, pl. 10, fig. 28; Asher, op cit., pl. 182 ; Stella
Kramrisch, "Pala and Sena Sculpture", Rupam, Calcutta, October, 1929, figs. 15, 17.
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