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Lalit Kumat
given the convincing reasons for such identification. It may be tecaliga that the stelae from Bastern India show a uniqué phonomona of the evolution and the development of icons. For instance, in tho iconic representation of this particular miracle the sculptors have followed the iconology:10 Similar phenomena may also be observed in the iconic representations of the other seven miracles where the related iconology help us in their proper identificatoin. But in the present case it does not bear any feature pertaining to the story which may help us in its identification, Therefore, it may be concluded that such type of stelao where standing Buddha is shown in similar attitude can not be identified as reprosenting the descent of the Master from Triyastrim sat heaven at Sankisa.
But a possible explaination may be given as to what does it stand for. It has been observed earlier that he holds full-bloomed lotus in both the hands. His right hand is in abhaya and left in vara mudra, The hand gesture of the left hand has also been known as Katakamukhall wbich has been described as to hold a lotus or lily but its actual meaning is not clear. As noted earlier the lotus in the right hand in facing but that of in left hand is seen turned back. This feature possibly can explain the Solar association of Buddha as a god of sun risc ar d dawn or with the opturned fogers of the left hand it appears that the master is inviting those to follow his steps who wants to get emancipation from chains of life and death.
FOOT NOTES
1 Banerji, R.D., Eastern Indian School of Mediaeval Sculputure, (Calcutta, 1933).
p. 44. 2 The auther is thankful to Shri O.P. Tandon, O.S.D., for his kind pormission to
reproduce the photograph. 3 Banerji, R.D., Op. cit., • 4 Ibid., p. 49.
5 Ibid.. p. 76. 6 Ibid. 7 Cf. Ibid., P1. XVI (a) XVIII (c); XIX (b); XX (a) & (c); XXI (a), (b) & (c);
XXII (a) & (b); XXIII (a); XXIV (c), (d) & (e); XXV (c). 8 Ibid., p. 43 9 Ibid., p. 81. 10 It is represented by a standing Buddha figure 'flanked with Indra holding an
umbrella and Brahma holding a fly-wisk or Kamandalu (Ibid. p.80). The proper right hand always shown in an attitude of blessings while the left hand holds the end of the drapery (Ibid., p.81). These iconological feature may be seen in
the icons reprerenting this miracle, see Ibid, pl. XIII (b). XXX (a) & (b). 11 Sivaramamurti, c.. The Art of India, (New York. 1974), p. 535.
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