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Buddha Amitabha and his two attendant Bodhisattvas, Avalokitesvara and Mahasthamaprapta are depicted in a plaque that was excavated from a site in Kyong-Ju, Korea. This plaque is said to have been made during the Korean Unified Silla Dynasty (8th century).. The whole composition of the plaque is highly artistic. Here the central deity Amitabha sits on a lotus pedestal in padmasana attitude. He exhibits a mudra which is very close to a posture known as dharmacakrapravartana-mudra with his two hands. His eyes are closed in meditation. The top hair knot, the folds of arapery and the designs of the halo remind us of the typical style of the Gupta school of Indian art.

: 80 1 "' As the deity was represented as the Buddha he wears no ornaments. On the other hand his attendants, Avalokitesvara and Mahasthamaprapta are dressed in princely robes and they i wear ornaments since the attendants are regarded as Bodhisattvas. exhibits Each attendant holds a lotus flower in one hand and kind of mudra with other hand. The hair knot of these attendants are well arranged. The attendants wear necklaces, bangles etc. The charming postures' in which they are standing are very close to the tribhanga pose that is frequently found in Indian art. The rhythmic composition of the body and also the plastic quality of those figures are remarkable. The lotus pedestal on which Amitabha sits is beautifully carved. This plaque is now owned by the National Museum of Korea. The height of the figure is 27.0 x 20.5 cm. This figure also bears the mark of a direct influence of the Chinese T'ang art. Painting of Buddha Amitabha and Attendants (Pl.ll. Fig. 2) As a passing reference, we feel inclined to mention about one painting of Amitabha from Korea since the painting has some curious variations as compared to the other images. The image of Amitabha and his attendants under discussion are painted on a hanging silk scroll. Now it is owned by the Atami MAMINKY Museum, Shizuoka prefecture, Japan. This 13th century

: 3. 81, painting measures 102.8 cm in length and 54.2 cm in breadth. This painting belongs to the Korean Koryo period. In this painting Amitabha is seen standing upon two lotus flowers. He rests his two feet on two separate flowers. The attendant deities have also separate lotus pedestals for each of their foot. The plan of separate lotus for each foot is not, however, infrequent in Korean religious art. As an example we may mention about the Maitreya image of Korea illustrated in this work (Cf. Pl.XIVFig. 2). In the painting under discussion, the central figure Amitabha is standing erect. He exhibits two different postures in his two hands. In his right hand he shows Varada-mudra. There is a mark of the wheel of Dharma i.e. 'dharmacakra' on the palm of his right hand. In his left hand he holds one object which is indistinct in the painting and place this hand above the naval region. There appears no decoration in his halo. His dresses are like that of an ascetic and he has no remarkable hair dresses. His clothes have spotted design which is also seen in other Korean figures of Amitabha. The figures of his attendants are, however, clad in princely dresses. They wear clothes in a fashion which is similar to the style of dress of the noblemen of the royal court. The folds of the clothes of these two figures are beautifully painted.

82 The designs of the bangles and necklaces are ornamental. The figure of the left side of the central deity holds a small branch of leaf in his right hand. The attribute in his left hand is, however, quite indistinct. The other figure on the right side of the Buddha exhibits in its right hand some kind of mudra which is done by touching the middle finger with the thumb. On the crown-like head-dress of each of the image of this attendants there appears a small figure, possibly of a Buddha. One perhaps is a small pitcher and other a Buddha, visible in dhyana-mudra. The halos of these two figures are also very simple and circular in shape.