Mevissen_2009_Dikpalas and Grahas at Paharpur

PRAJÑÅDHARA ESSAYS ON ASIAN ART, HISTORY, EPIGRAPHY AND CULTURE in Honour of Gouriswar Bhattacharya Edited by Gerd J.R. Mevissen and Arundhati Banerji 2009 Kaveri Books New Delhi - 110 002 Våyu (Northwest).3). especially since “the courtyard of the monastery.] and waterlogging inside the monuments causes a lot of damage to the walls”. Thus. the King of gods and regent of the East (Plate 39. the Wind-god and regent of the Northwest (Plate 39. with its buried structures.1).10 an image of Soma is described on the north instead of Kubera. above all.1 Whereas some of the sculpture panels exposed during the excavation had been removed from the structure and are now kept in the nearby site museum. 29). Yama (South). ill. were combined in a single group and regarded as guardians of the four cardinal and four intermediate directions of mundane space: Indra (East). is now under water most of the year [. in the Mañju¸rïbhå¹ita-Våstuvidyå¸åstra.Dikpålas and Grahas at Paharpur in Context of Contemporaneous Pan-Indian Temple Imagery 39 GERD J. Bangladesh.. MEVISSEN Since their discovery in the 1920s and 30s.4 and Våyu (no.11 Regarding the Dikpålas at Paharpur it may be worthwhile to quote the remarks made by Corinna Wessels-Mevissen (2001: 72) on the subject: “The so-called Somapura Vihåra at Påhårpur (District Rajshahi.6 Another Dikpåla. Bangladesh. in different passages of the Manusm¡ti (between c.. they lost their high status. 34). viz.5). the majority of them – after having been numbered. 39). the Fire-god and regent of the Southeast (Plate 39. are two images of Dikpålas (guardians of the directions). The original positions of the sculptures are indicated in Fig.R. 200 BC and 200 AD) a list of Lokapålas is mentioned. The Eight Dikpålas (a¹¶adikpåla) are a group of ancient vedic gods connected with certain phenomena of nature. 29) has provided an extremely important evidence regarding the representation of directional guardians in North-eastern . a Mahåyånic ˜ilpa¸åstra of uncertain date. Indra (no. Kubera (North) ϸåna (Northeast).5 as well as an image of the Moon-god Candra or Soma (no. the sixty-three stone sculptures fixed in niches at the base of the lowermost platform of the central temple in the Somapura mahåvihåra at Paharpur.3 Among the sculptures that were removed and are now on display in the Paharpur Museum. comprising the traditional (and later) A¹¶adikpålas. with the exception of Nair¡ta and ϸåna who are replaced by Arka (Sun) and Soma (Moon). the Sun-god S÷rya and the Moon-god Candra or Soma do also function as directional guardian deities. Agni (no. 1. Varu½a (West).2 Remaining beneath the soil. as had been their fate for centuries. Nair¡ta (Southwest). Agni (Southeast). 60) (Plate 39. In the well-developed mythology of the Purå½as.7 had unfortunately not been removed and (hopefully) still resides in the watery subsoil region.8 In certain cases. has puzzled scholars because of their irregular placement and. documented and photographed – were buried again when the excavation campaign was over. their present state and condition is only a matter of speculation. their subjects (except one) being exclusively Bråhma½ical.2).9 Furthermore. 1]). but that cannot be conclusively proven. Numbering after Dikshit 1938. 1: Paharpur. 237.3 in Hossain/Alam 2004: 6. fig. [Plate 39.3]).2]) belong to a series of 63 surviving stone panels on the basement of the cruciform central structure at the Buddhist site. 34. Adapted from plan A. 60. 236 [Plate 39. 29. Images of ϸåna? (no. some of their features point to an earlier source. Agni (no. location of Dikpåla and Graha images. The dikpåla function of these deities is rather doubtful. In fact. Central Temple of Somapura vihåra. India in the late 8th century. and Våyu (no. 235 [Plate 39. 234 [Plate 39. 40 [Plate 39. fig. 39.12 The images of Indra (no. since the relief panels are not placed in the .5]) may have been associated with this group. fig.4]) and Soma/Candra (no.394 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya Fig. fig. It is likely that while the other figures being in excellent preservation were refixed in the Paharpur temple. black basalt.N. male and female.16 The original Agni plaque as well as more than 900 other plaques from the bottom of the lower platform at Paharpur17 have recently been removed from the monument and were replaced by replicas. According to K.N. who likewise hold pieces of cloth. It is a general feature of Eastern Indian Agni images that the left hand does not extend below the elbow. which probably belonged to the same series of the ‘Lord of the Quarters’ as the Indra. He is pot-bellied. He has an ornamented halo and holds a fruit in each hand. The image of Candra on the (north-)west slightly differs from the others. It was detected at the back of stone sculpture no..). XVIc). since it is made of different material. XXXIa [Plate 39. Moreover. the set seems to have remained incomplete. Keeping the three described Våyu images in mind.3] has boldly incised flames behind his body. although an image of Kubera has also been found at Paharpur. 235 [Plate 39.e. 239).) and waterpot (l. Våyu] figures. a tiny antelope is visible beside the god (fig.” . RAMACHANDRAN 1936-37: pl. There is a doubtful image of ϸåna (DIKSHIT 1938: pl. The positioning of Indra and Agni was correct (ill. 236 [Plate 39. it is significant to note that these are the only known representations of the Wind God holding a billowing cloth in Eastern India.5) at Paharpur may have indeed been associated with the group as guardian of the northern direction.J. and some of the images are irregularly placed. Moreover. and holds rosary (r.G. is very probable. corresponds to the Påhårpur plaque in many details. The image of Våyu (fig.e. The flowing vastra is beautifully draped over his head. His smiling face with the horizontal eye on the forehead. wears a broad necklace and a vastropavïta (broad bråhma½ical cord) like Candra. also from Påhårpur. udarabandha (‘belly band’) and chain girdle have all been delicately modelled.4])13 next to the Våyu image. 234 [Plate 39. Agni and Yama [i. On one of the pieces.15 In the case of Påhårpur. and the arms of Våyu are also not positioned in a symmetrical manner. the left hand being held much lower than the right one. The ‘cloth type’ of Våyu must have been popular in this region. square shape. It has a similar. ‘canonical’ directions. 59 (Plate 39. Dikshit (1938: 53). two terracotta images of a seated Agni can be seen above the stone sculptures. He was probably originally flanked by two attendants. the Kubera figure being damaged was rejected and the stone utilized for a fresh figure.. however. The other example from Mahåsthån.” 395 As regards the last-mentioned images. 59] is a defaced figure of Kubera. no. as suggested by Wessels-Mevissen.14 has clearcut symmetrical features and wears individually conceived ornaments. it may be remarked that a terracotta plaque depicting Agni is located almost in the centre of the lower platform on the eastern side of the monument. only Indra is accompanied by his vehicle (fig. His hair is done in a neat ÷rdhvake¸a (demonic hairstyle) coiffure. Agni (fig.6).18 That the Candra/Soma sculpture (Plate 39. The large elephant behind him leaves no space for any attendants. Agni is shown without a vehicle. “It is noteworthy that at the back of this [i. Bogra district/Bangladesh (T.2]). on the south-east. 1]. Only the antelope is missing. Its lower ends almost touch the two attendants. he stands in samapåda (feet together). 29 [here Fig. Like Agni and Soma. starting at hip level. Mevissen: Dikpålas and Grahas at Paharpur . He stands without his vehicle. since two fine terracotta plaques of seated Wind Gods with a flowing scarf above the head have been found. the group of dikpålas seems to have remained incomplete.1]). his pearl necklace.R. the god of wealth and Lord of the North (Plate XXXVI b). Among the securely identifiable dikpålas. which had been earlier identified as Yama. thus replacing Kubera who is not represented.22 Fig. however.20 Nevertheless. 2.396 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya It would seem.8. 3: Chittaurgarh. where Candra/Soma and S÷rya are associated with the group of Dikpålas: (1) On the early 7th-century Para¸uråme¸vara temple at Bhubaneswar. the slab containing the (older) Kubera figure is of oblong (horizontal) shape and had been rotated before it was re-used and recarved with a vertical image on the reverse. however. the Kubera image cannot be regarded as having belonged to the set of Dikpålas. another sculpture occupying a nearby niche (no. Rajasthan. as visible on Plate 39. Kålikåmåtå temple. Its height would. 48. Evidently. since the size of the slab (i.7).25 the eight Dikpålas include a figure of Candra on the northern side (Fig. ill.23 a similar scheme was most probably also followed in five other temples of the Navabrahmå group at the site. 2: Alampur. He holds a flower blossom in his right hand. In this connection it may be relevant to draw attention to some temples in other parts of the Indian subcontinent dating from the 7th and 8th centuries. the formative stage of embellishing the exterior temple walls with Dikpåla images. and his hair is embellished with a lotus mark above the forehead. Orissa. 11. ill. the usual paraphernalia of Kubera. preserve images of Candra and S÷rya – the latter now missing from the Vi¸va Brahmå – associated with a full set of eight Dikpålas (Fig.6. garbhag¡ha plan. Thus. Svarga Brahmå temple. 17. 63) may have been associated with the Dikpåla group (Plate 39. corresponding to c. He thus may represent S÷rya. roughly correspond to the height of the other Dikpålas if we assume that the present slab preserves only the upper half of the original slab. S÷rya and Candra/Soma are associated with an incomplete (or disturbed) group of directional deities. the height of the Kubera slab is only c.9). quite unlikely that the Kubera image belonged to the extant series of Dikpålas. Andhra Pradesh.24 (4) On the late 7th-century Kålikåmåtå temple at Chittaurgarh. 39. 3). plan of wall niches.27 Fig. . Plates 39. originally a S÷rya temple. After Wessels-Mevissen 2001: 42.26 S÷rya appears in the three main niches.19 Whereas the height of the extant slabs bearing Dikpåla images is approximately 80 cm.21 The deity’s head is encircled by a large halo. (2-3) The late 7th-century Svarga Brahmå and Vi¸va Brahmå temples at Alampur. but still the size of the figure and also its seated posture would diverge considerably from the other Dikpålas. After Wessels-Mevissen 2001: 49. 30 cm.3 x 30. In that case the lower half would have possibly been carved with the throne and the overturned treasure pots.5 cm.e. of the figure on the front) is given by Dikshit as “1' 7'' in height and 1' in width”. (4). associated with an incomplete set of directional deities. S÷rya and Candra occupy wall niches but are not included in the otherwise complete Dikpåla scheme (Fig. however. 21. (4). 5: Osian. the samapåda stance. The general iconographic features of the Paharpur Candra/Soma figure. was also used in South Indian temples of the Cð®a period until the late 12th century: (10) The ¸ikhara of the northern Dikpåla subshrine in the pråkåra of the early 11th-century Råjaråje¸vara temple at Tanjavur. viz. with the sculptures from Paharpur. (9) and perhaps (1) of the above list. 4). ‘S÷rya temple 1’. Tamil Nadu.28 On the slightly later ‘Harihara temple 1’ at the same site. ‘Harihara temple 1’. central shrine. and a crescent (or a halo) behind the head. Tamil Nadu.. The concept of employing Candra/Soma as the guardian of the northern direction.. are also present in nos. of the 2nd quarter of the 8th century preserves only three Dikpåla images. Rajasthan. plan of wall niches. S÷rya appears in his usual form holding two full-blown lotuses. The Mahådeva temple at Bithu. Madhya Pradesh.J.30 In the early 8th-century Råjasiºhe¸vara (Kailåsanåtha) temple at Kanchipuram. 4: Osian. (7). has a standing image of Candra (Plate 39. witnessed at least in nos. an upavïta.R. Fig. preserves four reliefs of standing Candra/Soma on the grïva. a rosary in the raised right hand and a water vessel in the left. ill. (3). Mevissen: Dikpålas and Grahas at Paharpur . possibly Soma/Candra.G. After Wessels-Mevissen 2001: 55. (7) and (8) of the above list of temples. Candra appears among the incomplete group of Dikpålas and S÷rya in the main niche of the eastern wall (Fig. Soma/Candra again replaces Kubera in the north. (8) (9) All these temples are roughly contemporaneous niches. In these. (2). 22. The association of Candra/Soma with the group of directional deities on all these monuments may be regarded as expressions of the pan-Indian development towards the formation of the standardized group of A¹¶adikpålas of later times.32 indicating that this deity was originally enshrined there. After Wessels-Mevissen 2001: 54.10) associated with an incomplete set of directional deities. ill. 397 (5-6) On the early 8th-century so-called ‘S÷rya temple 1’ at Osian. Rajasthan. a seated figure with a large halo.31 (7) Fig. is carved in a niche on the northern pråkåra. 5). plan of wall .29 The mid-8th-century Telï-kå-mandir at Gwalior. and perhaps two more. comparable only to the seven Graha sculptures in the vedïbandha niches around the Lak¹ma½a temple at Khajuraho of the mid-10th century.5) and B¡haspati(?) (Plate 39. 37. 61. Trees are also found on the images of Candra/Soma (Plate 39.11). both identified by S. 63. the latter as a member of the Navagrahas. Våyu and ϸåna(?) in the south .33 but the Dikpåla figures on the first upper storey of the vimåna are still extant.36 * Let us now focus our attention on another sculpture in the base of the Paharpur temple.43 An identification of sculptures no. 60.42 At Paharpur these features are also found with several ˜iva images. in view of what has been said above it becomes clear that the Paharpur scheme of Dikpålas fits in well with the early pan-Indian development of Dikpåla representation on temple walls. jatåmuku¶a. a certain ˜aiva trait is present in these supposed Graha images. as incomplete as that of the Dikpålas. again consisting only of a reduced number of members: S÷rya(?) (no. ak¹amålå in the right hand and kama½∙alu in the left.5). 62 may perhaps represent ˜ukra(?).12)39 and sculpture no. Saraswati (1962: 73-74) identified the figure as B¡haspati (Jupiter). The incompleteness of the set and the irregular placement of some images. where Grahas were depicted as large-scale sculptures47 embellishing and encircling an architectural structure. however. it would point to the presence of the group of planetary deities (Grahas) at Paharpur. This group would appear. Plate 39.49 Be that as it may. 62 as ˜iva can.13)40. B¡haspati(?) (no. No.7). Plate 39. viz. Candra/Soma (no. Both figures have a ja¶åmuku¶a and hold an ak¹amålå in the right hand and a kama½∙alu in the left. the former in a slightly flexed pose between a tree and a seated attendant on his right. 61. slightly pot-bellied ascetic with a ja¶åmuku¶a.g. holding an ak¹amålå in his right hand and a book in his left (no. sculpture no. e. on sculpture no. e. where both Kubera and Candra appear on the northern sides. and the latter is also accompanied by a kneeling attendant figure. including a standing image of Candra on the north.g.38 If this identification is correct. 62 (Plate 39.41 The iconographic features of all these images. Nothing remains from the northern pråkåra subshrine. pointing out that it is perhaps the earliest representation of B¡haspati in art. the latter stands in samapåda.11). has on its upapï¶ha a stone panel of the A¹¶adikpålas riding on their våhanas in which Candra is shown. however.37 Referring to the description in the Vi¹½udharmottara S. Saraswati (1962: 76-77) as representing the future Manu of the Vi¹½udharmottara.11). are the standard features of Candra.46 then the Paharpur temple was one of the very few temples (and in fact the earliest).35 From the late 12th century onwards Candra/Soma as the Dikpåla of the northern direction was replaced by Kubera also in South India. where the head is backed by a large halo. be ruled out since the ˜iva images at Paharpur are generally characterized by ÷rdhvali¼ga and a vertical third eye on the forehead. a standing. ˜ukra and B¡haspati in Navagraha sequences from Bengal in later times.44 Nevertheless.48 and the Navagrahas in the sub-base of the four gopuras of the Na¶aråja temple at Chidambaram and the eastern gopura of the Jambuke¸vara Temple at Tiruvanaikka near Tiruchchirappalli of the late 12th and 13th centuries. as indicated by the gopura sculptures at Chidambaram. 2 and no.45 If the five images were really meant to represent Grahas. Plate 39. Tamil Nadu. Plate 39.34 (13) The mid-12th-century Airåvate¸vara temple at Darasuram. but not Kubera. 2 (Plate 39.K.398 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya (11-12) The slightly later Råjendracð®ï¸vara temple at Gangaikondacholapuram has two sets of Dikpålas with Candra/Soma guarding the northern direction.K. 29 “coarse grey sandstone”.5 cm. fig. pl.41 “Yama”. Qadir 1980: 38 “Yama”.22. XI.19 “Yama”. pl. 119. pl. VII.. pl. fig. 2. 295. Tanabe 1990: 61. 61 “Våyu”. Dikshit 1938: 46-47. 20 “Våyu”. note 5 “Yama or Varu½a”.. 2 (= 2000: 206. (7) and (8) of the above list –.9 cm. Mevissen 2008c: cat. Incidentally. 18. Mevissen: Dikpålas and Grahas at Paharpur . 564. blue basalt”.9 (left). However.5 x 43.8 x 35. 4.50 not necessarily a Hindu temple.2) “Våyu”.a “Yama”. Saraswati 1962: 37. fig.c (left). the Lord of the Moon”. Banerjea 1956: 525 “Yama or Varu½a”. this article gives also a brief summary of the excavations at Paharpur up to 2002. 2 (= 2000: 324. Size: 76. Majumdar 1971: pl. Asher 1980: 92-93. 71-72 “Yama or Varu½a”. cat.G.. 82. 60 “black basalt”. Alam 1985: 110-112.6 cm. idem 1957: 153-157.b “˜iva”. Size: 81. when the sets often remained incomplete – cf. Wessels-Mevissen 2001: 72. in museum: 85. it should be emphasized that some kind of special relation seems to have existed between Paharpur and South India. article on the architectural concept and the religious symbolism of the Somapura mahåvihåra see Rashid 2004-05. According to Ahmed/Sanday 1986: 31. VII. idem 1976: 116121. idem 1938: 50. formative stage of the A¹¶adikpåla scheme in the 7th and 8th centuries. 13)53 but has subsequently remained alien to the art of Bengal. II. 564. 41.5 cm. Saraswati 1943: 508-509. no.. pl. XXX. 39 “sandstone”. For a thorough review of the historical and archaeological background of Paharpur see Bautze-Picron 1986.d. Chakrabarti 2003: 54. Bajpai 1997: 293 fig. *333 “Våyu”. Alam 1985: 114. idem 1962: 37-90. 186 “Yama”.J.2 x 55. 47. Bhattacharya 2002: 66. Vogel 1930: 23.52 This may also have resulted in the otherwise not explainable concentration of supposed Graha figures in the north-western sector. fig. Notes 1. though rather speculative. Mevissen 2008c: cat. 1 “Våyu”. 9(a). Lohuizen-de Leeuw 1957: 34. Qadir 1980: 41. XXXII.45. as has often been suggested. pl. Das Gupta 1961: 27 “Yama”. or as resulting from the shifting of the images when they were taken from an earlier structure. fig. pl. pl.g. pl. nos. 38 “Yama”. Haque 2004: 116. Haque 2007: 80. pl. pl. Gill 2007: 179 fig. Published: Dikshit 1930: 146 “Yama . 3. Gail 1999: 138-139 “Våyu”. 222 “Yåma” (sic).e.7 3.). 87. .51 and re-used to embellish the basement of the central temple in the Somapura mahåvihåra. Bhattacharya 1997: 781. 2 above). Published: Banerji 1928: 111 “Siva . Huntington 1984: 161-164. “As the annual waterlogging threatened to damage them [i. note 5 “Våyu”. the 63 sculptures]. IX. Bhattacharya 1987: 64. 5. fig. Asher 1980: 92. Sanday et al. pl. 1983: 70 (ill. one of the earliest temples where the Dikpålas appeared on the exterior temple walls. pl. 6. fig.2) “Våyu”. *331. 2. the late 7th-century Svarga Brahmå temple at Alampur (temple no. Dikshit decided to bury them again on completion of his excavation. Wessels-Mevissen 2001: 72. Majumdar 1971: pl. Mallmann 1963: 133. no. Hossain/Alam 2004: 21 “Yama”. Size: 83. 1). in museum: 83. has the earliest representation of ˜iva Bhik¹å¶anam÷rti in one of its niches. 234. more recently they have all remained underground throughout the year. 4.. pl. 59 “Vayu”. XXVII.6 cm.” Gill 2007: 195. (6). For a recent. a subject that is also found at Paharpur (sculpture no. 201 “Våyu?”. Mallmann 1963: 126. fig. XXI.0 cm.. 236 “Våyu”. 3 (caption corrected and pasted over as “Våyu”). 69-71. pl. no. in incorrect directions may either be understood as reflecting the incipient. fig.3.0 x 38. Asher 1980: 93. 79. Finally. Das Gupta 1961: 27. Bautze-Picron in press: fig. Dikshit 1938: 53-54. 221. as Somanatha. 16. no. Haque 2007: 80. Huntington 1984: 162. VII. See e. Published: Dikshit 1930: 145 “black basalt”.R. 35. XXVIII. Khan 1969: 182. In the following years. Saraswati 1962: 37 “Yama(?)”. in museum: 75.3 x 40. XXIII.0 x 39. Majmudar 1942: 265.3 “Våyu”. a few of these reliefs were annually re-excavated during the dry season so as to enable visitors to see them. Lefèvre 2008: 184-188. fig. 399 (see Fig. Michell 1973: 86. 18.c. Dikshit 1938: 37-55. 95. pls. 9. note 44.1). 75) who holds a fruit in exactly the same manner in his extended right hand.40.1. the suggested dates range from the 5th to the 12th century AD. Mevissen 2002: pls.0 cm.2 x 53. idem 2008a: figs. 15. note 5. XXVIII.8-9. Bhattacharya 1993: 85-86. “The fact that Indra holds only fruits but no thunderbolt is reminiscent of the impressive Indra image from Gayå of c. fig. 565. VII. position ‘x’. fig. Banerjea 1948: 97-98 “Candra”. VII. see Bhattacharya 2000: pls. 5 [= 2000: 206. fig. and where the group is also depicted as subsidiary deities above major gods (see Bhattacharya 1987: 68.5]. For images with ‘Manu Lokapålas’ as subsidiary deities from the western part of northern India. idem 2008a: figs.48 “˜iva”. See Wessels-Mevissen 2001: 11-17. 120. 11 “Candra”. Peculiarly. 11. Haque 2007: 80. For editions of the text cf. Published: Dikshit 1930: 146 “˜iva” (not ill. 1 (= 2000: pl. where a number of separate friezes of this group were carved (see Bhattacharya 1987: passim. pls. figs. Wessels-Mevissen 2001: 72-73. Cf. Saraswati 1962: 119 “˜iva”. Saraswati 1962: 71. Banerjea 1943: 459. 235. Majumdar 1971: pl. this plaque has neither been mentioned nor illustrated by Dikshit 1938.138 “Chandra”.1. Breuil/Gill 2005: 482 and figs. only for independent images of Våyu.25. XXXI. 3. 238. pl.” (Wessels-Mevissen 2001: 72. 3. 83. pl. 13.a “˜iva”. 2-3 [= 2000: 304-305. fig. 564-565. 18. For a photograph of the original plaque see Wessels-Mevissen 2001: 207. see Bhattacharya 1997: 780. 6-8). fig. Wessels-Mevissen 2001: 72 (not ill.b. no.5-8.24 “Chandra”.4-5.8. 4 [= 2000: 205-214. 34 “greyish buff sandstone”. 371. 9). IX. Haque 1992: 200. 29. pls. PAUL 1985: 133. 8. 365). 51. 29. II. fig.8 x 33. Alam 1985: 114. 238. Published: Dikshit 1930: 145. pl. and infra. figs. note 2. For some of the numerous subsidiary Våyu figures from Bengal holding a billowing cloth. 15. 564-565. 301-305. Presently the lowermost frieze of terracotta plaques is located at the very bottom of the monument touching the ground. .1. Bautze-Picron 1998: 85-86. 14. Cf. pl. 9.2.4. Abb. Washington. but originally this frieze was at a height of about 150 cm above ground level. 18. note 11. Cf.).11. *336 “Candra”. of course. 4 (= 2000: 305. Dikshit 1938: 48-49. idem 1938: 50 “buff grey sandstone”.d.18. pl. 22. 89.). 592. Gail 1999: 137. Mevissen 2008c: fig.3-4. now in the Sackler Gallery. 1. which is preserved only in Sri Lanka. see Wessels-Mevissen 2001: 83-84. see Mevissen 2008c: figs. pl. no. Mallmann 1963: 86 “Candra”. Majumdar 1971: pl.: 1. supra. cf. pls. 5. In the latter case. Interestingly. in the 8th and 9th centuries the ‘Manu Lokapålas’ became quite popular in Bihar. 9. 8. 1. pl. XX.8. 1. can so far not be safely dated. Mevissen 2008c: cat. 5-7. For the location of the panel see Mevissen 2008c: fig. 13-14. 4-11. The text.: fig. Qadir 1980: 37 “Siva”. 18. 3. For such figures from Bihar.13. note 427. 237 “Candra”. fig. 7th century (SAHAI 1975: fig. 1099 “Candra”. pl. The latter remark by Wessels-Mevissen holds true. Gill 2007: figs. fig.5. Size: 83. Size: 76. has to be added to the list of independent Våyus from Bengal. pl. Wessels-Mevissen 2001: 72. 39. Wessels-Mevissen 2001: figs. For the new plaque see ibid. Mevissen 2002: 105-108. 19. 29. Wessels-Mevissen 2001: 81. 5.4]. pl.2. n. pl. 1. 16. For a table listing the main characteristics of all members of the group see ibid. XXXII. n. Mevissen 2008a: figs. idem 2002: 112.: note 10. 6-7. XXXII. idem 1993: 85.400 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya “˜iva”. 7. 10.3 cm. Markel 1995: 38. Asher 1980: 92. 18. 18. figs. pl. also Mallmann 1963: 137. 17. VII. LVI. 311-313. For the origin and development of the Dikpålas up to 1000 AD see Wessels-Mevissen 2001.8. X. 223 “˜iva”. pl. Saraswati 1962: 74-75. 31. 2.3) “Soma”. 18. 2. Bhattacharya 2002: 65.2]. 8. A unique bronze image of Våyu from Bangladesh. XXIV. 12. according to Bechert (2005: 160). ill. pl. Rahman 1981: pl. 32. the god is seated on an elephant throne in dak¹i½åpralambapåda (right leg pendent). ibid. fig. Wessels-Mevissen 2001: 47-48. EITA 1991: 285-291. regarding it as “some minor theme of the Råmåya½a war”. left (Soma or Agni). For a reconstruction of the pråkåra subshrines see Pichard et al. Cf. 40. 11-12 (plans). The image on the reverse (now front) represents a fight between two Asuras. Cf. Size: 88. 28. 82 (Candra). Saraswati 1962: 72-73. Michell 1973: passim.20). 616 fig. Cf. 16 (plan). Wessels-Mevissen 1994: 600.9 x 35.1 “B¡haspati”. 665 (S÷rya in north bhadra). LVI.3 x 27. IX. Abb. Gail 2001: 23. Haque 2007: 80.[a] “probably a form of Siva”.R. le Soleil?”.G. idem 2001: 54. Haque 1992: 200. Saraswati 1962: 77. 26. Published: Banerji 1928: 111 “Brahma”. 285 (Soma?). 22. 77 (Candra). XXX. pl. ill. 31. ill. 82. I: 135. Mevissen: Dikpålas and Grahas at Paharpur . Its stylistic features do certainly point to a later date. pl. Gail 1999: 138 “S÷rya ?”. 1 (Candra). 1994. Ray 1943: 526. Mevissen 1994: 418-419. Cf. 20. On the “disastrous conservation and restoration campaign” carried out at Paharpur between 1991 and 2002. 1 (plan). 33. XXX. Banerjea 1943: 459. Donaldson 1985: fig. pl. 307 (S÷rya). 10. fig.: 80. XI. ill. 28) the griva reliefs have not been drawn. 21 (plan).c “Brahmå”. 9 (S÷rya in south bhadra).J. VIII. 113 (S÷rya). 29. Gill 2007. I: 144. pl.. Wessels-Mevissen 2001: 42-43.: 77. Published: Banerji 1928: 111. idem 1948: 97-98 “B¡haspati”. 58”). 618. pl. 401 18. no. XXI. Wessels-Mevissen 1994: 599-600. pl. pl. approximately 80 x 42 cm. 86 (plan of the images in the lower tier of the four gopuras). Wessels-Mevissen 2001: 52-53. On the architectural elevation of the subshrine published by Pichard (1995: 152. 23. Wessels-Mevissen 2001: 39-41. XXVI.6 cm. Rahman 1981: pl. XXXVIII. II: ph. Mallmann 1963: 86 “B¡haspati”. XXXVI. Cf.d. Alam 1985: 113. 4 (S÷rya). Cf. Gail 2001: Abb. see Breuil/Gill 2005 and 2007.116. 25. note 11. Also its size and format are different and thus it cannot be regarded as belonging to the original Dikpåla set of the basement sculptures. 38. Size: 81. 36. Meister 1982: fig. 79 (S÷rya). See EITA 1991: pls. Cf. Dikshit 1938: 54 “buff grey sandstone”. carved on a loose slab (Dikshit 1938: 55. 1994. ibid. see Dikshit 1938: pls. Cf. idem 2001: 49-50. Gail 1999: 138 “Brahmå”. 4 (Dikpålas accompanying Tripuråntaka).42 “B¡ihaspati”. LIII. Alam 1985: 115. pl. 2 (Candra). Cf. Wessels-Mevissen 2001: 80-81. Saraswati (1962: 84-85. Cf. XXVIII. Majumdar 1971: pl. 40 for a sculptural typology of the dikpålas at Alampur. 17 (plan). 135. 1096 “B¡haspati”. Gail 2001: 76. 661. EITA 1991: pl. 185 (Candra). ibid. 103 (Candra). pl.9 cm. figs. fig. 371. 83. 24. 49 “Brihaspati”. pl. fig. fig.23 “B¡ihaspati”. 27. but Soma’s lion våhanas are well visible. 617 pl. 32. Wessels-Mevissen 2001: 33-34. 120. pl. 5 on p. Cf. 109 (Soma). Cf. fig. 30. pl. 39 “Brahmå”. Ravi ou Arka. 34.b. 433.e (erroneously labelled “No. Vacherot 1999: 22.33) describes the scene as a fight between a monkey and a råk¹asa. Weiner 1962: 182. XIII. 35. pl. 37. and Table XII on p. fig. 300 (devakulikå of Soma). fig.27 “˜iva ?”. Pichard et al. roughly coincides with the size of the Paharpur images.139 “B¡ihaspati”.a “˜iva”. 50 “Shiva”. A recently published colour photograph . 40 “Brihaspati”. Saraswati 1962: 73-74. Mallmann 1963: 86 “Teja¸ca½∙a. 21. Cf. Bhattacharya 2002: 6566. XLVII. Haque 2007: 80. II. Gail 1999: Abb. pl. 43. Dikshit 1938: 54 “dark basalt”. notes 12-13. fig. fig. 19.. fig. 79 (Candra). pl. Mevissen 2004: 88-89 and fig. 7 “B¡haspati”. fig. Another image of Kubera has been found at Paharpur. pl. The size of the images. 37 “Siva”. ills. 45. Size: 81. phs. cf. See Mitra 1965: 24. 12.7). figs. 21-22. 5.12). 127-128. fig.3 cm.d “˜iva”. Weiner 1962: 182. pl. 36. Published: Dikshit 1938: 38-39 “grey sandstone”. There may have been also small-scale images of the Grahas at Paharpur. However. similar to the one seen above sculpture no.). Bhattacharya 2002: 65-67. 10. XXXI.0 x 20.).11-10. 41.: pl. Size: 61. *55. Desai 1996: 135-143. 61 (Plate 39. pl. Saraswati 1962: 76-77 “future Manu”. 2. 153. 4.d. 117-125. ϸåna(?) in sculpture no. *507. Mevissen 2004: 86. pl. idem 2000: passim. horse-headed at .11) seems to have been taken during one of the annual reexcavations after Dikshit’s re-burying of the sculpture (cf.7 (published in 1928) but makes its first appearance on the photos published in 1938 (compare Dikshit 1938: pl.1 cm. whose lameness is usually depicted in eastern India in such a way (cf.8 x 22. LVII. fig. publ. IV.5-10. pl. pl. Another sculpture (no. Alam 1985: 112. now in the Malda Museum (RBR 1) has tentatively been identified as B¡haspati (see Bhattacharyya 1982: 8-9. A seated figure of S÷rya is found among the terracotta plaques.1.g. 116-117. 139. fig.13.: Dikshit 1930: 146. fig.402 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya of the image in situ (Hossain/Alam 2004: 20.7 and 39.3 x 33.g. 6-11. Alam 1985: 96. *103. IV. The figure is flanked by two plantain trees on either side.). 165. XXIX. *400 (only B¡haspati and ˜ukra). Independent images of B¡haspati are quite rare.0 cm. has been treated by Mallmann (1963: 137) as another possible candidate for ϸåna at Paharpur. The figure stands in a peculiar pose with his left leg bent up in an unnatural way. 154. 20). *478. 6.0 x 38. XL.1). 121-122. XXX. 22. 13-15. Dikshit 1938: 54 “purple sandstone”. 8. publ. 44. pl.7. Saraswati 1962: 75-76). pls. 112. A headless image from Kandaran. The latter image. pl. See e. figs. Mevissen 1997: pls. Another plaque shows a large demonic head backed by a flame-like halo with hands joined underneath in the manner known from representations of Råhu (ibid. 48. 49. Gail 1999: 138 “Brahmå”.b.9 cm. pl. However. However. See Dikshit 1930: 147. there seems to be a smile on the face of the figure. centre). 39. pl. For the Jambuke¸vara see Harle 1963: 137. 46. 40 (Plate 39. Dikshit 1938: 60 (not ill. size: 50. 125.d. *321.141. 5. XXX.a “Standing figure”. its small size does not match well with the size of the other Dikpåla images.: Dikshit 1938: 40 “grey sandstone”. Mevissen 2008b: figs. 89. *272. see Wessels-Mevissen 2001: 50-52.12. See e. Dikshit 1938: 49. 38. figs. pl. X.4) or sculpture no. Malda district. in view of the absence of a potbelly it is more likely to represent Candra or ˜ukra rather than B¡haspati. B. 30. LIII. XXXI. Bhattacharya 2002: 66 (not ill. 147. figs. Vacherot 1999: 74-77. where five members of the Dikpåla group have been rendered as ˜iva (ϸåna) images. in which ˜iva is accompanied by his bull (v¡¹abha). idem 1938: 39 “buff sandstone”. L’Hernault 1987: 119. the former has certainly been added only during the conservation camapign: It is not present on the side view of the figure visible on Plate 39. While the latter arch seems to be original. and cats. 111. the planetary god Saturn. 134-137.a with Plates 39. a feature not matching well with the concept of this dreadful Graha. 42. Alam 1985: 114 “Siva or Manu” (not ill. XXXV. figs. *104. The figure holds an ak¹amålå in the right hand and a kama½∙alu in the lowered left. fig. note 2). 81. thus reminding of ˜ani. *312 (only Candra). Saraswati 1962: 76-77. XXXVII. supra.26 “Bhavishya Manu”. 119. Rajasthan. 40.d “Brahmå”. For Chidambaram see Harle 1963: 112-113. 47. *445 (only B¡haspati). 162. — Another case of similarity between Paharpur and the late Cð®a temples at Darasuram and Chidambaram is the rare depiction of large-scale images representing the solar A¸vins.). A similar case of ‘˜aivization’ occurs with the Dikpålas on the garbhag¡ha wall of the early 8th-century Kumbha¸yåma temple at Chittaurgarh. 142-148. Saraswati 1962: 58-59. Saraswati 1962: 89 “boyish figure”) could be regarded as a Graha. fig. 1. Gail 1999: 138 “˜iva” (not ill. 43. Also the small size of the figure differs considerably from the others. Published: Banerji 1928: 111 “corpulent ascetic” (side view on pl. Ray 1943: 530. 40. The figure stands beneath an arch. 5. 4 (size: 47.[a] = Plate 39. 159. 10. pl.11). Gail 1999: 139. AD. Philosophisch-Historische Klasse. 26 & pl. Lala Ruck Selim. BC till the 12th c. VII. Lohuizen-de Leeuw 1957: 36-38. see Breuil/Gill 2007: 128-128. Calcutta. 52.R.72. For a contrary view see Asher 1980: 93 and Lefèvre 2008: 188. R. Bibliography Ahmed. Huntington 1984: 162-163. Ahmed 1984: pl. V. Dhaka. pls.c. Saraswati 1962: 59-62 “the true impact . 403 Paharpur and human-headed at Darasuram and Chidambaram. Dhaka. —— (1948) S÷rya. Biswas 1981: 269. See Dikshit 1930: 141. Mevissen: Dikpålas and Grahas at Paharpur . Dikshit 1938: 41-42.J. no. Chapter I and notes 2-34 in Ahmed/Sanday 1986: 22-27. Lohuizen-de Leeuw 1957: 34. pl.d. Bechert. J.M. Dimensions of Indian History and Culture. for Chidambaram see Harle 1963: 110. a Stylistic History from the 2nd c. Annual Report of the Archaeological Survey of India. (1980) The Art of Eastern India. 1925-26. Dhaka. Veröffentlichungen zu den Sprachen und Kulturen Südasiens 37). Cultural Survey of Bangladesh: Fine Arts and Crafts.c “Kinnara pair”. eds. is still to be investigated”. Stone & Terracotta Sculptures. pl.) 1943: 455-464. Jitendra Nath (1943) ‘Images of S÷rya’ and ‘Miscellaneous Divinities’.a.b. Saraswati 1976: 120-121. Alam 1985: 108-109. Nazimuddin & John Sanday (1986) The ruins of Pâhârpur. fig. Bautze-Picron 1986: 24. Banerji. XXXVII. 34-35. Second Revised and Enlarged Edition. Haque 2007: 80..P. Calcutta: 107-113. 52. Das Gupta 1961: 24.b “Offering of poison to ˜iva”. Cf. 50. Shamsul (1985) Sculptural Art of Bangladesh.. IV. Krishna Dutta (1997) Depiction of Indra in Early Indian Art. pl. —— (1984a) Discover the Monuments of Bangladesh.c-LIV. 571 “Two horse-faced Kinnaras”. B. Asher.ico IV. Fábri 1932: 29.K. 18. XXXIII. Ahmed 1984a: 60. In: Majumdar (ed. Roy & Jayashri Mishra. —— (in press) The Sculpture of Bengal. pl. Cf.. XXIV. . —— (1998) The Art of Eastern India in the Collection of the Museum für Indische Kunst. Thomas n. no. no. 564-565]. Dr. Dikshit 1938: 5. pl. Nazimuddin (1984) An Album of Archaeological Relics in Bangladesh. Minneapolis. pl. Sitzungsberichte 718. fig. Inscriptions read by Gouriswar Bhattacharya. XXXI. pl. Frederick M. 34. 21. Mitra 1971: 242. Bajpai. New Delhi: 290-296. Arts Asiatiques (Paris) XLI: 22-35. Berlin. 300-800. A. XLIX. 144. Claudine (1986) Historical and archaeological background [of Påhårpaur]. Alam. Alam 1985: 98-99. Saraswati 1962: 44-45. Pre-Muslim Period. 83. 53. Blakiston.G. Ahmed. Saraswati 1962: 89 “kinnaras”. For Darasuram see L’Hernault 1987: 120. For a fresh study of the sculpture see Bhattacharya 2006. Bhattacharya. ed. Heinz (2005) Eine regionale hochsprachliche Tradition in Südasien: Sanskrit-Literatur bei den Buddhistischen Singhalesen.14. Dhaka. Wien (Österreichische Akademie der Wissenschaften.D. pl. Saraswati 1943: 509. Berlin. Bautze-Picron. fig.F. Ådityas and the Navagrahas. South Asian Studies (London) 3: 63-70 [= 2000: 205-214. fig. —— (1956) The Development of Hindu Iconography. ed.d.: pl. Subimal Chandra Sarkar Birth Centenary Commemoration Volume. (1928) Paharpur. Gouriswar (1987) A Solitary Illustration of Eight Lokapålas from South Bihar. 3. For a recently exposed structure predating the first level of the central temple at Paharpur.. 26 (the sculpture was missing in 1987 but has since been found and re-installed in the original niche). Journal of the Indian Society of Oriental Art (Calcutta) XVI: 47-102. 38. 146. 6 “scene from the Devadåruvanamåhåtmya”. Banerjea. 51. For Paharpur see Dikshit 1938: 43-44. The Temple in South Asia. Thomas Eugene (1985) Hindu Temple Art of Orissa. Dhaka. New Delhi. Journal of Bengal Art (Dhaka) 4 (Gouriswar Bhattacharya Volume): 131-139.A. 55). Bonn). Orientations (Hong Kong) 24/10: 84-87 [= 2000: 303-307.C. Bhattacharyya. Proceedings of the Seventeenth International Conference of the European Association of South Asian Archaeologists (7-11 July 2003. Pratapaditya Pal & Enamul Haque. Adalbert J. Bengal. Sacred Landscapes in Asia: Shared Traditions. Proceedings of the 13th Conference of the European Association of South Asian Archaeologists. 700-900. 1995. Interaction Between Bråhma½ical and Buddhist Art. eds. 1250 A. Devangana (1996) The Religious Imagery of Khajuraho. Chirapat Prapandvidya. Calcutta: 779-788 [= 2000: 323-327. Annual Bibliography of Indian Archaeology for the year 1932 (Leiden): 26-31 & pl. 564. Kolkata. Misra & Devendra Handa. . Sir John Marshall. Hindu Iconography upto c. Dhaka (Studies in Bengal Art Series 7). R. R. Aachen: 479-489. Sandrine (2007) Spatial Organization of Paharpur Buddhist Establishment. Period of Early Maturity. 561-574.A. Gail.W. James C. Varanasi. Chennai: 295. (2003) Paharpur: Buddhist Complex of Early Bengal. Jean-Yves & Sandrine Gill (2005) Påhårpur in the 20s-30s: a Påla Period Buddhist Shrine and Monastery Documented by a Collection of Photographic Plates. 5-9 [3-7] July. Oxford. Bhattacharya.318. T. Calcutta. Adam Hardy. IV. Lucknow. Desai. A. —— (2001) Sonnenkult in Indien. Sah¡daya . Chhavi-2. eds.. figs. Chakrabarti.L. eds. —— (1938) Excavations at Paharpur. 599-601]. Malaysankar (2002) Art of Bengal. ed. Banaras: 266-269. ed. Rai Krishnadasa Felicitation Volume. South Asian Archaeology 2003. Dikshit. Donaldson. The Architecture and Iconography of the Cidambaram Gopuras. (1999) On the Ma½∙alaic Structure of the Paharpur Temple. Cambridge.Studies in Indian and South East Asian Art in Honour of Dr.N. —— (2004) Interaction between Buddhist and Bråhma½ical Art – Evidence from Bengal. c. I.D. New Delhi. London. —— (2000) Essays on Buddhist Hindu Jain Iconography & Epigraphy. eds. XXXII-XXXIV. Pranati Ghosal.1-17. Dhaka. Charu Chandra (1961) Paharpur and Its Monuments. 2005. eds. Part 2: North India. Sharma. Humanshu Prabha Ray. Haque. Vol. Breuil. Leiden (Studies in South Asian Culture XII). Bettina Baumer. II. Das Gupta. (1934) Further Excavations at Paharpur. Mumbai. Anand Krishna & Kamal Giri. (1981) Kinnara-Kinnarï. Berlin. Malda. Bengal Sites and Sights. Bengal. —— (2007) New Research on Paharpur Buddhist Monastery (North Bengal). eds. Mumbai: 50-63 (Mårg Publications 54/3). Calcutta: 140-149. Tempel und Skulpturen von den Anfängen bis zur Gegenwart. Fábri. C. London: 127-138. ed.D.404 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya —— (1993) Soma – the Hindu Moon God. Gill. Delhi: 169-197. —— (1997) A Unique Bronze Image from Bangladesh. Kashinath Narayan (1930) Excavations at Paharpur. 1926-27. Volume 2 of the proceedings of the 18th conference of the European Association of South Asian Archaeologists. Annual Report of the Archaeological Survey of India. Malaysankar (1982) Art in Stone: A catalogue of Sculptures in Malda Museum. Enamul (1992) Bengal Sculptures. Vol. The Sculptures Of the Mahånandå-Karatoyå Valley. M. U. South Asian Archaeology 1995. Nagaswamy.S. Dhaky. Ute Franke-Vogt & Hans-Joachim Weisshaar. R. (1963) Temple Gateways in South India. ed. 16. —— (2007) The Art Heritage of Bangladesh. Harle. 591-593].K. Raymond Allchin & Bridget Allchin. Biswas. New Delhi: 113-120. pls. EITA (1991) Encyclopaedia of Indian Temple Architecture. —— (2006) Once More Tamilnadu and Bengal? Iconographic affiliation: Bhik¹å¶anam÷rti ˜iva. Enamul Haque. Delhi (Memoirs of the Archaeological Survey of India. Meister & M. Dilip K. pls. Vol – I.b. Multiple Histories. eds. (1982) Bï¶h÷. *400. Mallmann. Paris: 184-188. Meister. Dhaka. Markel. Johanna Engelberta van (1957) The Ancient Buddhist Monastery at Pahå¡pur.R. —— (2004) Chola Architecture and Sculpture at Chidambaram. —— (1997) The Mahisantosh S÷rya Image: Some Iconographic Considerations.C. aarp – Art and Archaeology Research Papers (London) [4]. Michael W. Étude Iconographique. —— (2002) Sculptures from Bengal Bearing A¹¶adikpålas as Subsidiary Figures. Festschrift Klaus Bruhn zur Vollendung des 65. Marie-Thérèse de (1963) Les enseignements iconographiques de l’Agni-Purå½a. Paris (Annales du Musée Guimet. the Guardians of the Directions.A.. (1969) Architecture and Art Treasures in Pakistan. Hossain. *104. (1942) Iconography of Candra and Candra¸ekhara Images. Reprint Patna. 405 Huntington. Volume I: Hindu Period. Karachi. eds. *411. Calcutta.G. Majumdar. Freunden und Kollegen. 7-14 [11] July 1997. Journal of Bengal Art (Dhaka) 7: 101-124.. *373. —— (2000) Ϲat-pa¼gu ˜anai¸cara. *331. —— (2008a) A Solitary Vi¹½u Sculpture from Bihar in the National Museum of Nepal. Debala (1965) A Study of some Graha-images of India and their Possible Bearing on the Nava-devås of Cambodia. Reinbek: 413-435. Susan L. Mevissen: Dikpålas and Grahas at Paharpur .. Lewiston/Queenston/Lampeter. *311. Majmudar. *164. *507).K. Rome. Protohistoric. In: Sculptures in Bangladesh . In: Sculptures in Bangladesh . (1984) The “Påla-Sena” Schools of Sculpture. 61 in:] Art of the Ganges delta. eds. South Asian Archaeology 1997. London. ed. *336. held in the Istituto Italiano per l’Africa e l’Oriente. the Lame Planetary God Saturn and His våhana. London: 125-139 (Volume 1 of the proceedings of the 18th conference of the European Association of South Asian Archaeologists. 1971.*478. Mumbai: 82-95 (Mårg Publications 55/4). *445. Prehistoric. Mitra. Masterpieces from Bangladeshi museums. Proceedings of the Fourteenth International Conference of the European Association of South Asian Archaeologists. *272. Bautze.. *321. vol. —— (2008c) Dikpålas. Rome. Stephen (1995) Origins of the Indian Planetary Deities. *312. Calcutta. Leiden (Studies in South Asian Culture X). F. Md. Buddhist and Hindu Periods. Mosharraf & Md. *333. —— (1971) History of Ancient Bengal. *454. Mevissen. Chidambaram: Home of Nataraja. *359. The History of Bengal. Michell. N. avec des collaborations de P. (1943) ed. 3: 1267-1297 (Serie Orientale Roma XC). *454). Gerd J. Ars Orientalis (Ann Arbor) 13: 169-186. Kathmandu. Dhaka (in press). Antiquity and Survival (The Hague) II/1: 29-42. *358. Palazzo Brancaccio. Vivek Nanda with George Michell.R. Vincent (2008) Våyu. . Vincent Lefèvre & Marie-Françoise Boussac. Dhaka (in press). Lefèvre.R. Balbir & J. Journal of the Asiatic Society (Calcutta) VII/1&2: 13-37. Claudine Bautze-Picron. (1994) An Interesting Frieze at Dåråsuram.J. in Bengal Art (& catalogue entries *163. Étude Architecturale. Lebensjahres dargebracht von Schülern..R. ed. Religion and Art: New Issues in Indian Iconography and Iconology. Individuality and Idiom. —— (1971) Buddhist Monuments. December 1973: 60-86. *103. George (1973) The Regents of the Directions of Space: A Set of Sculptural Panels from Alampur. M. Srinivasan et de Jacques Dumarçay (1987) Darasuram: Epigraphical Study. Shafiqul Alam (2004) Paharpur: The World Cultural Heritage. eds. R. Reprint Calcutta. † Maurizio Taddei & Guiseppe De Marco.s. Journal of Bengal Art (Dhaka) 2: 121140. Khan. 2005). [Catalogue no. —— (2008b) Astral Deities in Bengal Art (& catalogue entries *55. Paris (Mémoires archéologiques 16). Bibliothèque d'études 67).. Françoise. Lohuizen-de Leeuw.. Dacca. Annals of the Bhandarkar Oriental Research Institute (Pune) XXIII (Silver Jubilee Volume): 262-270. L’Hernault. 1974. Berlin (Monographien zur Indischen Archäologie. Mizanur (2004-05) The Conception of the Architectural Lay Out of Somapura Mahavihara: An Analysis of Cultural and Religious Symbolism. Weiner. Baessler-Archiv. Silk Road Art and Archaeology (Kamakura) 1: 51-80. Rashid. 2/3: 167-192. An Inventory of Select Hindu. Paris: Université Paris IV. Pichard. —— (1957) A Survey of Indian Sculpture. Sanday. Annual Report of the Archaeological Survey of India. Freunden und Kollegen. Thomas. Preparation of a Master Plan for the Conservation and the Presentation of the Cultural Heritage – Monuments and Sites. Qadir. Bhagwant (1975) Iconography of Minor Hindu and Buddhist Deities. 1000 A. Lebensjahres dargebracht von Schülern.D. Mukhlesur (1981) The Art and Architecture of Ancient Varendrï. pls. Bombay (no date mentioned). Annual Journal of Bangladesh Shilpakala Academy (Dacca) 4: 1-14. Leyden: 20-23. The conservation and presentation of the ruins of the Buddhist Vihara at Paharpur and the historic Mosque-City of Bagerhat. Calcutta (1st edition published in Journal of the Department of Letters [Calcutta] XXX. Ramachandran. Bautze. Enamul Haque & Adalbert J.) Epics. Nalini Balbir & Joachim K.d. Pichard. Niharranjan (1943) ‘Påhårpur’. Festschrift Klaus Bruhn zur Vollendung des 65. 1936-37. Sahai. Magali (1999) Iconographie des Navagraha. Wessels-Mevissen. (1980) A Guide to Paharpur. J.N. Shilpakala. Myths and Legends of India. (n. eds. Sculptures in Bangladesh. (1962) From Gupta to Påla Sculpture. Journal of Bengal Art (Dhaka) 9 & 10: 97-110.) 1943: 493-514. Thyagarajan (1994) Vingt ans après Tanjavur. Sheila L. Delhi 1940: 51-54. Buddhist and Jain Stone and Bronze Images in Museums and Collections of Bangladesh (up to the 13th Century).). 1937).A.1. 2 vols. Pierre. Paris (Mémoires archéologiques 20. —— (2002) Die Hüter der Himmelsrichtungen in der indischen Kunst. M. Katsumi (1990) The Kushan Representation of ANEMOS/OADO and its Relevance to the Central Asian and Far Eastern Wind Gods. Origin and Early Development in Art and Literature (until c. Pierre (1995) Tanjavur B¡hadï¸vara. Sarasi Kumar (1943) ‘Temple Architecture’. Ray. Spécialité: Art de l’Inde.N. Gangaikondacholapuram. Saraswati. John. 2nd edition. Dikshit. M. Corinna (1994) Some Remarks on the Dikpålas of the Early Pratïhåra Temples at Osiåñ. New Delhi. —— (1962) Early Sculpture of Bengal. 2008 (Studies in Bengal Art Series 8). Vacherot. pls. Kunst und Philologie 14). Annual Bibliography of Indian Archaeology for the Year 1928.A. Beiträge zur Völkerkunde (Berlin) 50: 105-120. VIII-IX. Françoise Boudignon & L. Rao Bahadur K. New Delhi & Pondicherry. Françoise L’Hernault. Reinbek: 597-622. Joan van Lohuizen de Leeuw & Roberto Antonio (1983) Bangladesh. Rahman. Ph. Dacca (reprint). East and West (Rome) 35/1: 103-141. Debjani (1985) Antiquity of the Vi¹½upåda at Gaya. (1930) The Brick Temple of Pahå¡pur. . Paris: UNESCO.406 Prajñådhara – Essays in Honour of Gouriswar Bhattacharya Paul. —— (2001) The Gods of the Directions in Ancient India. In: Majumdar (ed. Gail. (1936-37) Excavations at Mahasthan. Maïtrise d’Histoire de l’Art et Archéologie. Sorbonne (unpublished). Calcutta. An Architectural Study. P. In: Majumdar (ed. Dhaka. Tradition and Archaeology. Calcutta. Vogel.2). I-VIII. Tanabe.) 1943: 525-532. eds. Alan Frost. —— (1976) Architecture of Bengal. 20. Artibus Asiae (Ascona) XXV. Book I (Ancient Phase). T. ed. . sculpture no.R. Mevissen 2004. 39: Våyu. A: in situ. sculpture no.1: Paharpur.J.2: Paharpur. photo © G. B: Paharpur Museum. Mevissen 2004. after Dikshit 1938: pl.Plate 39. B: Paharpur Museum. photo © G.J. Plate 39.a. 29: Indra. XXVII. after Dikshit 1938: pl.d.R. XXXII. A: in situ. J. Mevissen 2004. XXX.5: Paharpur. sculpture no. 40: ϸåna(?). sculpture no. XXXII.Plate 39.11. XXXI. The side view (C) is also visible on Plate 39. Plate 39. .b. 60: Candra/Soma. A: in situ.4: Paharpur.3: Paharpur.a. Plate 39. After Dikshit 1938: pl. 34: Agni. B and C: Paharpur Museum. sculpture no. photos © G.b. after Dikshit 1938: pl.R. After Dikshit 1938: pl. east wall: S÷rya. Plate 39. 77.9: Alampur. 63: S÷rya(?). LIII. sculpture no.12 before ‘conservation’.7: Paharpur. 79. Svarga Brahmå temple. After Dikshit 1938: pl.[a].6: Paharpur. Svarga Brahmå temple.Plate 39. After Wessels-Mevissen 2001: fig. On the right: side view of ˜ukra(?) in Plate 39. Plate 39. Plate 39. north wall: Candra.8: Alampur. XXXVI.b. back of sculpture no. After Banerji 1928: pl. 59: Kubera. After Wessels-Mevissen 2001: fig. . 13: Paharpur. For a side view see Plate 39. 61: B¡haspati(?). Plate 39. Plate 39. sculpture no. 62: ˜ukra(?). XXXVII. east wall: Candra.Plate 39.d.7.12: Paharpur. XXX. Telï-kå-mandir. .d. Photo © Klaus Bruhn. After Dikshit 1938: pl.11: Paharpur. XXX. After Dikshit 1938: pl. sculpture no. After Dikshit 1938: pl.c. 2: Graha(?).10: Gwalior. Plate 39. sculpture no. . . . . . . . . . . . . . . . . . 9 The Pious Donation of Wells in Gandhara HARRY FALK . . . . . . . . . . . . . . . . . . . . . . . . . xv List of Plates . . . . . . . . . . . . . . . . . . . . xxvii List of Figures. . . . . . . . . . . . . . 66 Mapping Masrur’s Iconography MICHAEL W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Central India. . Illustrations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Section II: Northern India. . . . . 4. . .Contents VOLUME I Preface . . . . 8. xi Editorial Remarks . . . 95 Va¶uke¸vara – A Våma-Bhairava Sculpture in the Lucknow Museum R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xlii List of Contributors . . . . . 2. . . . . . . . . . . . . . . . . xlv Section I: Gandhåra 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9. . . . . . . . . . . . 23 Two Stamps with the Bodhigarbhålaºkåralak¹a Dhåra½ï from Afghanistan and Some Further Remarks on the Classification of Objects with the ye dharmå Formula INGO STRAUCH . . . . . . . . . . . . . . . . . . S÷rya Worship in Vraja in Ancient Times with Special Reference to a Rare Ku¹å½a Lintel of a S÷rya Temple VINAY KUMAR GUPTA . Ya¸odharå’s Dreams ANNA MARIA QUAGLIOTTI . xii Bibliography of Gouriswar Bhattacharya’s Publications (1971-2008) . . 89 The Kashmir Connection of the Vaiku½¶ha Image of Khajuraho DEVANGANA DESAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 The Formation of Temple Ritual in the Gupta Period: p÷jå and pañcamahåyajña MICHAEL WILLIS . . MEISTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 6. . . . . . . . . . . . . . . . . . . . . . . . NAGASWAMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7. . . Tables and Maps . . . . . . . . . . . . . . . . . . . . . . Nepal 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The Water Tank from Gandhara MONIKA ZIN . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Umrao Jan Ada: Her carte-de-visite JOACHIM K. . . . . . . . 12. . . . . . . . . . . . . . . . . . . . . . . . . DALLAPICCOLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Two Kålåmukha Temples in Haveri District (Jakka½åcårigu∙i in Karnå¶aka) VASUNDHARA FILLIOZAT . . . . . . . . . . . . . . . . . . . . . . . . . . 137 11. . . . . 14. . . . . . . . . . . . . . . . . . . . . . . . . and their Patronage to Art and Architecture (c. . . . . . . . . . . . . . . . . . 177 Section IV: Southern India 19. . . . . . . . 22. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16. . . . . . Råk¹asas and puru¹am¡gas in the South-Western Corner of the Airåvate¸vara Temple at Darasuram CORINNA WESSELS-MEVISSEN . . . . . . . . . . . . . . JOSHI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AD 1500-1604) U. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 To What God Shall We Render Homage in the Temple at Modhera? K. . . . . . . . . . 158 Some Early tora½a Representations from the Maharashtra Caves PARUL PANDYA DHAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13. . . . 119 Recasting the Architectural Landscape: The Late 12th– Early 13th-Century Ghurid Annexations of Northern India ALKA PATEL . . . . . 149 Buddhism in Rajasthan – Its Evolution and Devolution NAYAN ANANDA CHAKRABORTY & SANGEETA CHAKRABORTY . . . . . BAUTZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Omkareshvar Mandhata and Transplantation of Temples AMAR NATH KHANNA . . . . . . . . . . . . . . . . . . 236 Genealogical History of the Nåyakas of Vël÷r. . . . . . . . . . . 18. . . . . . . . . 242 Plates (Sections I-IV) . . . . . . MANKODI . 23. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . South India. . . . . . . . Prajñådhara – Essays in Honour of Gouriswar Bhattacharya The Identification of a Sculpture of M¡tyuºjaya/Am¡te¸a and Am¡talak¹mï in the ‘Royal Bath’ in Patan (Nepal) GUDRUN BÜHNEMANN . . . . . . . . . . . . . Section III: Western India 15. . . . . Coins of the City-State of Måhi¹matï DEVENDRA HANDA . . . . . . . . . 223 Girijå-kalyå½a Friezes in the Temple Art of the Gow∙as of Yelaha¼ka ANILA VERGHESE & ANNA L. . . . ˜aka 1296 (AD 1374) MAHESHWAR P. . . . . . . . . . . . . 107 Almora Copper Plate of Abhaya Candra. . . . . . . . . . . . . . . . .S. . . .viii 10. . . . . . . . . . . 201 A Rare ˜aiva Icon at Lepåk¹i PIERRE-SYLVAIN FILLIOZAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOORTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Incarnation Revived: Three Temple Sculptures from Mallabh÷ma SHARMILA SAHA . . . . . . . . . . . . . . . 281 Some S÷rya Images of the Påla-Sena Period in the National Museum of Pakistan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29. . . . . . . . . . . . . . . . . . Year 4 RYOSUKE FURUI . . . . . 31. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 New Light on the Ådi-Bhañjas of Khijji¼gako¶¶a and Other Minor Ruling Families of Their Times in Orissa (An Epigraphical Perspective) SNIGHDA TRIPATHY . . . . . . . . . . 381 25. . . . . . . . 319 Re-Visioning the State Apparatus in Samata¶a (Mid-7th to mid-11th Century AD) SHAHNAJ HUSNE JAHAN . . . . . . . . 32. . . Kolkata CLAUDINE BAUTZE-PICRON . . . . . . . . . . . . . . . . . . . . . . . 367 A Note on the Mañjuvara Mañju¸rï Image at the Khiching Museum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Re-Reading Two Copper Plate Inscriptions of Gopåla II. . . . . . . . . . . . . . . . . . . . . . . . . . . . Mahåmåy÷rï and Jå¼gulï as Attendants of Prajñåpåramitå. . . . . . . . . 35. . . . . . . . . 352 A Note on an Important Coin Collection of the Bengal Sul¶åns in the Bode-Museum. . . . . . . Orissa RAJASRI MUKHOPADHYAY . . . . 253 Illustrating the Perfection of Wisdom: The use of the Vessantara Jåtaka in a manuscript of the A¹¶asåhasrikå Prajñåpåramitå S÷tra JINAH KIM . . . . . 288 A Note on Some Interesting Sculptures in the Koch Bihar Palace Museum BIMAL BANDYOPADHYAY . . . . . . . . . . . . . . 27. . . . . . 273 Further Observations on Some Unusual Aspects of a Recently Acquired Påla Masterpiece in the Los Angeles County Museum of Art STEPHEN MARKEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Jaina Cult in Ancient Bengal – The Tutelary Couple of Deopara ISABELL JOHNE . . . . . . . . . 33. Berlin SUTAPA SINHA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Dedicatory Inscriptions of the Time of Mahendrapåla: A Fresh Appraisal RAJAT SANYAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Karachi IBRAHIM SHAH . . . . . . . . . . . . . . . . . . 26. . . . . . 36. . . . . . . . . 261 The Vi¹½u Image from Sarisadah in the Indian Museum. . . . . . . . . . . . . . . . . . . . .Contents ix VOLUME II Section V: Eastern India and Bangladesh 24. . . . . . . . . . 331 Economy of Samata¶a in the Early Medieval Period: A Brief Overview SUCHANDRA GHOSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28. . . . . . . . . . . . . . . . . . . . . . Investigation of an unusual iconographic feature based on Bihari A¹¶asåhasrikå Prajñåpåramitå manuscripts from the 11th century EVA ALLINGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 Can Guided Tours Make Sense of World Heritage? N. Candra’s Square Seat and the Mounted Bull with Two Guardians – Iconographical notes on two Khmer illustrated stela inscriptions ARLO GRIFFITHS . . . . 515 48. . . . . . . . . . . 510 Iconographical Suppositions in Connection with a Thangka Series Made in the Qianlong Period BÉLA KELÉNYI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tïrtha-Pa¶as and Cosmic Islands: Creating. . . . . . . . . . . . . . . . . . . . . . . . .R. . . . . . . . 407 Revisiting the “V¡¹a/Nandi” Issue PRATAPADITYA PAL . . . . . . . . . . . . . . . . . . 422 Hegel and the Trim÷rti ADALBERT J. . 43. . . . . . . . . . . . . . . . . . . . . . . . 49. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tibet 46. . . . . . . . . . . . . . NEUMANN . . . . . . . . . JAMES . . . . . . . Central Asia. . 413 A Five-headed Wooden Elephant: A Case Study N. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466 Indo-Tibetan Influences in Banners from Dunhuang CHHAYA BHATTACHARYA-HAESNER . . . . . . . . . . . . . . . 42. . . . . . . . . . . . . . . . . 51. . . . . . . . 41. . Replicating and Representing Landscape in Jaina Art and Architecture JULIA A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Plates (Sections V-VII) . . . . . . . . . . . 491 Wall Paintings in the Arhat Chapel of the Monastery at Zhwa lu. 50. . . . . . . . . . . . . . . . . . . . . . . . . . . HEGEWALD . . . . . . . . . . . . . . 393 Icons of tripåda Deities in Indian Art ARUNDHATI BANERJI . . . .P. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47. . . . . . . . . . . . . . . . . . . JOSHI . . . . A Recently Discovered S÷rya Image from Thailand PETER SKILLING . . . . . . . . . . . . . . . . . . . 418 Jala Mandirs. . . . . . . . . . . . . . . . . . Tibet: Notes on Iconography and Style HELMUT F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 S÷rya’s Någas. . . . . . . . . 40. . . . . . . . . . . . . . . . . . . . . . . . . . . MEVISSEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 “Indra’s Visit” TIANSHU ZHU . . . . Section VII: Southeast Asia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .x Prajñådhara – Essays in Honour of Gouriswar Bhattacharya Section VI: Pan-Indian Issues 39. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NEUMANN & HEIDI A. . . . . .B. . . . . . . . GAIL . . . . . . . 441 44. 45. . . . . . . . . . . . . . . . . . . . . . . . . . Dikpålas and Grahas at Paharpur in Context of Contemporaneous Pan-Indian Temple Imagery GERD J. . . . . Dholavira Excavation (Report Writing) Section.-Doz. New Delhi 110 011. Koenigin-Luise-Str. <eva. Honorary Professor. EH7 6SL. Kolkata Circle. India. Keithstrasse 15. Institute of Art History. habil. 1220 Linden Drive. D-14195 Berlin. Mysore 570 020.L. <asical@vsnl. Kolkata 700 064.110 011. <gbuhnema@facstaff. National Museum.O. <chhaya-berlin@gmx. Complex (4th Floor). <filliozat@dataone. Germany.com> Prof.. Vivekananda Road Cross.in>. Dr. Membre de l’Academie des Inscriptions et Belles Lettres. Nayan Ananda CHAKRABORTY & Dr. Block-DF.S. Paris.de> Dr. Archaeological Survey of India. <cbpicron@gmx. Member of the National Research Network. <filliozat@noos. University of Wisconsin. <vasundhara@filliozat. <Annadallapiccola@aol. Chhaya BHATTACHARYA-HAESNER. 19 Pedder Road. Freie Universität Berlin. Gudrun BÜHNEMANN.N. Dr.de> Prof. Sector-1. <djdesai2001@yahoo. Université Libre de Bruxelles.net. Devangana DESAI. India. Madison. Kunsthistorisches Institut. Janpath. 1240 Van Hise Hall. Independent Researcher. Kolingasse 13/1/12. D-14195 Berlin. Independent Researcher. Former Vice-President. BAUTZE.edu> Mr. 4. <djdesai@bom3. Wisconsin 53706. Karnataka.at> Dr.net>.at>. Institut für die Sprachen und Kulturen Südasiens. DALLAPICCOLA. Mailing address: Kantstr. Assistant Professor (History of Art). Archaeological Survey of India. Rue Rambuteau.fr> Dr. USA.net> . Gastprofessor für Kunstgeschichte Südasiens.vsnl. Harry FALK. Germany.net> Dr. India. U. 27.allinger@univie. Salt Lake City.. Claudine BAUTZE-PICRON.G. Dr. Mailing address: A 1090 Wien.com>. <eva. Janpath. “The cultural History of the Western Himalaya from the 8th Century”. com> Dr. <JoachimKB@web. Yadavagiri. Edinburgh. Dr.in>. D-10787 Berlin.de> Dr.in>. A. 125. Department of Languages & Cultures of Asia.ac. Pierre-Sylvain FILLIOZAT.com> Dr. University of Edinburgh. <parulpandyadhar@hotmail. Archaeological Survey of India. <arundhatibanerji. C. University of Vienna. Königin-Luise-Str. <pierre-sylvain@filliozat. 75004 Paris. D-10627 Berlin. C.150@gmail. France. Bimal BANDYOPADHYAY. Chargée de recherche. New Delhi 110 001. National Museum Institute. Sangeeta CHAKRABORTY. Sydney Terrace.List of Contributors Mag.de> Prof. Austria. Parul Pandya DHAR. 34a.fu-berlin. Germany. Vasundhara FILLIOZAT. New Delhi . Chargée de cours.wisc. 78. The Asiatic Society of Mumbai. Germany. Superintending Archaeologist (Publications). <[email protected]@chello. <n_chakravartiasi@yahoo. India. Joachim K. <falk@zedat. Purana Qila. India. Scotland. Dr. Mailing address: Shanti 1/30. <[email protected]. Mumbai 400 026. Freie Universität Berlin. Superintending Archaeologist. India. Arundhati BANERJI.R.com> Prof. Abteilung Südasien.com> Priv. 13. Eva ALLINGER. No. Joshi. Michael W. Senior Technical Officer (Retired). South of Samne Ghat. University of Liberal Arts Bangladesh. CA 90036-4504. Germany.R.com> Dr. Manchester M13 9PL.ac. Julia A. Project for Indian Cultural Studies.com> Dr. M. Stephen MARKEL.B. Oxford Road. 3405 Woodland Walk. Ltd. M. Jinah KIM.com>.ac.Hegewald@manchester. Los Angeles. 1/3. Curator of the Tibetan-Nepalese Collection. Ferenc Hopp Museum of Eastern Asiatic Arts. Malla Joshi Khola. Hongo 7-3-1. Jñåna-Pravåha.). JOSHI. Tokyo 113-0033. <mwmeister@yahoo. 50.org> Prof.xlvi Prajñådhara – Essays in Honour of Gouriswar Bhattacharya Dr. <[email protected]@let. <khannaan@rediffmail. <adalbert. New Delhi. Mailing address: Hagenstr. TN 37235-1801. Franco-Indian Pharmaceutical Pvt. <suchandra64@gmail. Germany. The Harry and Yvonne Lenart Curator and Department Head of South and Southeast Asian Art. England. Indrapuri. Leiden University. USA. B#351801. Assistant Professor of South Asian Art. Dr. 281 001. House 56. Art History and Visual Studies. USA. Mumbai 400 011. <arlo. Ecole française d’Extrême-Orient (Jakarta). USA. Vinay Kumar GUPTA. Shahnaj Husne JAHAN. Béla KELÉNYI. Indira Gandhi National Centre for the Arts. Varanasi . Sarita Vihar. <[email protected]. Kirit MANKODI. Dept. India. Professor & Head.com> .com>. Reader. Mailing address: ˜rï Mallikå Kuñja.com>. <klmankodi@francoindian. India. Dr.221 005. # 1401. Nainital.nl> Mr.. India. Hungary. India. Ryosuke FURUI.com> Prof.bela@gmail. 16. Mawson Road. Budapest. Indonesia. <rfurui@hotmail. Chandigarh 160 047. Mansfield Cooper Building. i. D-12437 Berlin. Centre for Cultural Studies & Research. Moses Road. <kelenyi. Dhaka-1209. New Delhi -110 076. History of Art. 26. India. Nicholas JAMES. Director. 59. Dr. Jakarta Selatan 12550.de> Prof. PNL James Management & Interpretation of Historical Resources. Independent Researcher. Philadelphia PA 19104-6208.com> Dr. India.A. Freie Universität Berlin. Mailing address: G-26. E.leidenuniv. <prajna03@gmail. Ampera III no. <devendrahanda@rediffmail. Mathura U.gail@googlemail. Devendra HANDA. N. Department of Ancient Indian History & Culture.com> Mr. Los Angeles County Museum of Art.uk> Dr. <[email protected]> Prof. Kern Institute. MEISTER.. Maheshwar P. Thallóczy L. D-14193 Berlin. Uttarakhand. Acharya. Pushpac Complex.P. Department of History (Retd. <Julia. Norman Brown Professor of South Asian Studies. Dr.. <mp_joshi20@rediffmail. Road 4/A Dhanmondi R/A (Satmosjid Road). Adalbert J.P. HEGEWALD. Suchandra GHOSH.u-tokyo. Gopal Chandra Bose Lane.com> Dr. University of Pennsylvania. Jaffe History of Art Building. National Museum Institute.uk> Mrs. Abteilung Südasien. Associate Professor. <adri_12002@yahoo. Japan. Dhauli Piyau. 20.net. Southeast Asian History. University of Tokyo. 35a. Bangladesh. Dr. Chair of Sanskrit. Kumaun University. The University of Manchester. Institute of Oriental Culture. Vanderbilt University. Kunsthistorisches Institut. <nj218@cam. Amar Nath KHANNA. GAIL. Isabell JOHNE. <furui@ioc. Kolkata 700 050. 26. Assistant Professor. Bunkyo-Ku. Kemang. Cambridge. Directeur d’études. <isabell.in> Dr.johne@t-online. Gondekerstr. Sector 49 B. 5905 Wilshire Boulevard. u.com> Dr. <klmankodi@rediffmail. H-1115. Almora. India. Arlo GRIFFITHS. <mp_joshi56@yahoo. Mailing address: H. Nashville. Hon. Jl. W.com> Dr.com> Dr. Great Britain.A.in> Mr. University of Calcutta. Department of Archaeology. <sutapasinha@hotmail. Research Fellow. India. Princep Street. Tamil Arts Academy. Tianshu ZHU. India. Dr. General Editor. University of Macau. Ludwigstr. <sanyal10@rediffmail. <[email protected]> Dr. Kolkata.S. Refomatory Street (7th Floor). Assistant Professor. India.de> Dr. Garden Campus. Irvine. Gerd J. Department of Sociology. Institut für die Sprachen und Kulturen Südasiens.strauch@fu-berlin. Rajasri MUKHOPADHYAY. EFEO . M. FSH.. Königin-Luise-Str. Institutional Area. Gurgaon . 126. Freie Universität Berlin. Hazara University. NAGASWAMY. Peter SKILLING. Kolkata . Ludwig-Maximilians-Universität. Sutapa SINHA. Department of Cultural Heritage and Tourism Management. Plot No.ch> Dr.. Besantnagar. Mumbai 400 026.net> Dr.700 029. Department of Islamic History and Culture.neumann@switzerland. Michael WILLIS. 3.com> Dr.com> Mr. 00198 Roma. India. Italy. London WC1B 3DG. Pakistan. Marg Publications. American Institute of Indian Studies. Sophia College for Women.it> Ms. Gauda Munda Chhak.com> xlvii Dr. Parasar Road. <caa. Plot No.Sc.edu> Prof. Dr. M.com> Dr. University of California. D-14195 Berlin.List of Contributors Dipl. Thailand. Cataloguer. 31.A. Guest Lecturer.de> Dr. India. Government of West Bengal.mo> Prof. Mumbai. <quagliottiam@libero. Independent Researcher. Joint Director. Ibrahim SHAH. Department of Art History. Macau. Independent Researchers. MOORTI. D-80539 München. Center for Art & Archaeology. Alipur Campus. <[email protected] 001 (Haryana State). Alka PATEL. Spitzackerstrasse 24. M.com> Dr. D-10553 Berlin. Department of Islamic History and Culture. 20. Mansehra..com> Dr. USA. CA 90064. and Guest Lecturer. <ibrahimshah01@gmail. 600090. Dr.uk> Dr. University of Calcutta. Taling Chan.org>. Univeristà di Napoli “L’Orientale”. Bhulabhai Desai Road. Anna Maria QUAGLIOTTI. Heidi A. Mailing address: Basak House (Top Floor). <ingo.. Taipa. CA 92697-2785. Mailing address: 29. Alipur Campus.com> Dr. The Asiatic Society. <Mwillis@thebritishmuseum. <vararuci@mac. Mailing address: 10582 Cheviot Drive. 124. CH-4103 Bottmingen. MEVISSEN. Helmut F. Monika ZIN.Sirindhorn Anthropology Centre. China. Snigdha TRIPATHY. 11. Institut für Indologie und Tibetologie. Great Britain. <gerdmevissen@hotmail. Principal. Rajat SANYAL. M. 1480. 17. Banglok 10170. D-10559 Berlin. <chitpal@earthlink. India. USA. Orissa. State Archaeological Museum. R. 85 Humanities Instructional Building.ac.org.research@aiis. <m. Corinna WESSELS-MEVISSEN. <alkap@uci. Kolkata 700 072. Pratapaditya PAL. University of Calcutta. Bhubaneswar. Kolkata. Kolkata 700 027. <[email protected]. The British Museum. Quitzowstr. Mailing address: Via Panama. Los Angeles.-Ing. <helmut.in> Mrs. 22. Independent Researcher. Sharmila [email protected]. Ingo STRAUCH. Chennai. Anila VERGHESE. Boromarachachonani Road.com> Dr. U.de> . Ecole française d’Extrême-Orient. Associate professor for Indian and Southeast Asian Art History and Archaeology. Associate Professor & Chairman. 34 A. Kolkata 700 027. <tszhu@umac. Maître de conférences. 1. Research Associate. Germany. India. <arch4life@rediffmail. University of Calcutta.A. Department für Asienstudien. Germany. NEUMANN & Mrs. Sector-32. Switzerland. NEUMANN. Germany. Erasmusstr. NWFP. Germany. < rajasri70@yahoo. Reader. 22nd Cross Street. <tcmevissen@surfeu. Department of Asia.