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early images. The sapta-ratha pedestal and the stele decoration appear to represent the fully developed format of the Pala schools. The cauribearers are squat and robust in formation but their fattened legs and flat feet-palms remind the Orissan type of the Circa 10th Century A.D. Besides, their straightened gait also reflect the posture of alasa-kanyā in the Orissan temples.77 The late date is corroborated also by the intricate pattern of aureole and a certain clumsy ornamentation of the stele. The colossal Padmaprabha (No. 2, pl. 9) image is, perhaps, the outstanding example of the Jain aesthetic ideal of the period. It is through this image, that we find the expression of spiritual ideal. The body without any back support, stands aloft like the mount Sammeta with half closed eyes in a perfect poise. The figure, with a broad frame of the breast and a bulging hip and thigh has been delineated within the unswerving curves, which tend to form opposite folds of body planes. The angle formed on the waist has a certain jolt and a tension which is counter balanced by the softly modelled voluptous body planes. The flesh has been distributed in different planes. The neck is short holding a fully bloomed placid face. The Jain aesthetic ideal as seen in its height at this Pakbirra image in the 10th Century A.D. has preferred a subdued emotion and relatively soft modelling while the general rhythmic modulation and the spreading out of body limbs of the period has been attenuated through the side curves and body planes. This formal approach has attained a more accurate poise and measure in the image of Rsabhanatha (No 5, Pl. 11). The balanced posture, the measured flowering of the body limbs and the perfect stance represent the final satiation of the Pakbirra style. The surplus flesh is gone, the curves have a soft modulation. A soft smile shines on the placid face, whereas the neck is raised to present a perfect frontal look. The broad and round shoulder, clearly modelled breast gradually tapering to a slightly modelled flesh of navel base. The legs are slightly tapering, but flabby.
The style has its counterpart in the bejewelled standing Visnu images of Bengal in the 10th Century A.D.78 It has some association with the Rajgir-Vaibhara hill standing Neminatha images of Circa 8th Century A.D.79 though in a more evolved form and workmanship.
77 Cf., Kanwar Lal, op. cit., pls. 47, 60. 78 Cf., Visnu Torso, basalt, from Sunderbans, West Bengal, 10th Century A.D.,
Asutosh Museum of Indian Art, University of Calcutta (No. 74). Description, Sir Leigh Ashton (edited), The Art of India and Pakistan, A Commemorative Catalogue of the Exhibition held at the Royal Academy of Arts, London, 1947-8, London, 1949, No. 251, p. 57; Reproduction, Asutosh Museum of Indian Art, University of
Calcutta, Twelve Pictorial Cards of Bengal Sculptures, Set II, No. 7. 78 Asher, op. cit., pl. 184.
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