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[Full title: Images of 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 (5): 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 with Planetary deities and 顿颈办辫腻濒补蝉 type sculpture]

From zone IV a single image of this Jina showing iconographic variation has been reported from Khansama (Pl.XXXIII.A) (presently housed in the Dinajpur Museum, Bangladesh). The iconographic variation apparent from the former specimen is the portrayal of all the 诲颈办辫腻濒补蝉 in aggressive poses (Mevissen 2001:125). According to the Jain tradition Kamatha accompanied by demons and evil spirit had attacked 笔腻谤艣惫补苍腻迟丑补. This episode has been vividly portrayed by the carvers.

In this image 尘奴濒补-苍腻测补办补 stands in 办腻测辞迟蝉补谤驳补 pose, backed by a canopy of seven snake-hoods, each crowned with a jewel. Garland-bearing 惫颈诲测腻诲丑补谤补蝉 are floating on clouds. The pointed arch of the slab is decorated with a triple parasol, from which issue two stalks of flowers. The umbrellas also cover the heads of two musicians playing a drum and cymbals.

The back-slab of the image is highly decorated with a story i.e. the attack of 碍补尘补峁环补 (Pl.XXXIII.B1). In this sculpture the attacking army exclusively consists of 顿颈办辫腻濒补蝉, all riding their respective 惫腻丑补苍补蝉. On the proper right we see six 顿颈办辫腻濒补蝉, on the left four. The ones on the right are (from top to bottom) 痴补谤耻峁嘺 on a goose, Indra on an elephant, Kubera or 狈补颈谤峁泃补 on a man, 莫艣腻苍补 on a bull, 痴腻测耻 on a deer, and Yama on a buffalo. All 顿颈办辫腻濒补蝉 are portrayed in aggressive poses while accompanying the attacking 碍补尘补峁环补, who is shown on a chariot below, vigorously standing in 腻濒墨岣峢补 pose and aiming his bow at the Jina. A small seated female figure at his back seems to spur him. The chariot is depicted frontally, as is suggested by the horizontal axle visible below; it is thus shown in approaching movement.

On the opposite the scene has changed dramatically. 碍补尘补峁环补, again on his chariot, which is now shown in profile, i.e. departing, is seated, bowing and resting his head in sorrow on his hand; he thus acknowledges his defeat. The lady at his back has got up and is going away. Another female figure kneels in front of him, presenting her dishevelled tresses in despair. Of the formerly six 顿颈办辫腻濒补蝉 only four have survived: 痴补谤耻峁嘺, Indra, 狈补颈谤峁泃补 or Kubera, and 莫艣腻苍补, all moving away from the Jina on their vehicles and greeting with their right hands. The fact that Yama and 痴腻测耻 are absent here is quite significant: It implies that the gods of Death and Storm have been absorbed by the deep and steadfast meditation of 笔腻谤艣惫补. He is attended by two stiff and robust looking cauri-bearers, profusely bejewelled, with their left hands in 办补峁瓂腻惫补濒补尘产颈迟补 posture and the right hands hold fly-whisks. They are wearing short, almost transparent, lower garments and simple ornaments including armlets, wristlets and ekavali. The triple umbrella is slightly tilted to the right, indicating that it is fastened to the shaft that is obliquely held by a small 苍腻驳颈苍墨 figure standing behind the attendant on the proper right. She is 笔补诲尘腻惫补迟墨, the queen of the 苍腻驳补 king 顿丑补谤补峁噀苍诲谤补, who is depicted on the opposite. The sheltering of 笔腻谤艣惫补 by a parasol refers to the upasarga episode during which 笔腻谤艣惫补's enemy 碍补尘补峁环补 conjured up a cloud burst, intending to drown 笔腻谤艣惫补. The 苍腻驳补 顿丑补谤补峁噀苍诲谤补 appeared on the stage to protect 笔腻谤艣惫补 from the torrential rains, and his queen 笔补诲尘腻惫补迟墨 helped him by holding up an umbrella. Both figures have a three-hooded snake canopy above their heads and stand on separate 惫颈艣惫补辫补诲尘补蝉.

The centre of the sapta-ratha pedestal (Pl.XXXIII.B2) of this image is occupied by an eight-armed form of the 驰补办峁Ｄ� 笔补诲尘腻惫补迟墨 having a canopy of five snake-hoods. She is flanked by two female figures; one on her right is dancing and approaching her in a seductive pose, with her garment slipping off. The other one on the left, properly dressed, greets her with the right hand while the left rests on a staff, as if going away.

At the lower most section of the pedestal is the depiction of the navagrahas in a row. The planetary gods too were employed by 碍补尘补峁环补 in the upasargas. Here they are accompanied by Ga峁噀艣膩 at the beginning, as often found in navagraha panels from Bengal. This Jina figure is iconographically most innovative and unparalleled in the entire repertoire of Jain sculptures of ancient Bengal. On either side of the base we see a worshipper, a male holding a garland and a female in adoring pose, possibly representing the donor couple. If so, they deserve to be credited with having commissioned a unique and iconographically most innovative piece of sculpture, unparalleled in the whole array of Jain works of art.

An impressive image of the twenty-third 罢墨谤迟丑补峁卥补谤补 笔腻谤艣惫补苍腻迟丑补 (Pl.XXXIII.C) is kept in a temporary shed of Suisa village (Chakrabarti 1993: 126). It measures 110 x 60 x 30 cm. The Jina is in the usual 办腻测辞迟蝉补谤驳补 posture on a doublepetalled lotus-pedestal placed on a highly ornamented 辫补帽肠补-ratha pedestal under a canopy of seven snake hoods. The canopy is minutely carved and is of high relief. The Jina is attended by two male 肠补耻谤墨-bearers, unfortunately left one is completely damaged and the head of the right 肠补耻谤墨-bearer is missing. The right one wearing succinct lower garment and different ornaments like necklaces, 办别测奴谤补, and 办耻峁囜笉补濒补. They stand in 腻产丑补峁単补 posture on pedestals and their left hands are in 办补峁瓂腻惫补濒补尘产颈迟补 posture while the right hands hold fly-whisks. The Jina鈥檚 face is more or less damaged. The edge of the back-slab of this image is minutely carved by the mythical story as well as small 罢墨谤迟丑补峁卥补谤补s and eight 诲颈办辫腻濒补蝉. The twenty four miniature 罢墨谤迟丑补峁卥补谤补s are carved at the edge of the back-slab and they standing in 办腻测辞迟蝉补谤驳补 posture with their respective 濒腻帽肠丑补苍补蝉 depicted on their lotus seats. They are arranged in six horizontal lines of two each on either side of the Jina.

In this image the Jina is shown as installed within shrine which is fronted by a trefoil arch and surmounted by a curvilinear 艣颈办丑补谤补 (in a descending order) flowed by a neatly carved 腻尘补濒补办补 above which probably a kalasa was fixed but unfortunately it is missing now. On both the side of the 腻尘补濒补办补 depicts the usual 惫颈诲测腻诲丑补谤补 couple, the 辫谤腻迟颈丑腻谤测补蝉 of heavenly hands playing on musical instruments. The entire composition gives the visual impression of an enshrined Jina, i.e., this elaborate carving looks like a 艣颈办丑补谤补 temple within which the main 罢墨谤迟丑补峁卥补谤补 figure was carved. The pillars of this temple like structure consists the depiction of 驳补箩补艣腻谤诲奴濒补 just above the head of the 肠补耻谤墨-bearers.

In this image Kamatha episode has been vividly portrayed by the carvers on the back slab like the earlier image, however due to weathered condition of this image it is very difficult to study the iconic details of this episode properly.

The back-slab of the image is highly decorated with a story i.e. the attack of 碍补尘补峁环补. Further up on both sides are carved eight figures riding on their vehicles (惫腻丑补苍补), four on the right and four on the left. Although the photo is not very clear, by their vahanas and some other details they can be identified as members of the 诲颈办辫腻濒补-group of gods. The four gods on the right are all shown riding towards 笔腻谤艣惫补 with their right hands raised in threatening or fighting attitude, some of them hurling indistinct attributes, thus joining the attack on 笔腻谤艣惫补. The ones on the right are (from top to bottom) Indra (east) on his elephant (础颈谤腻惫补迟补), 狈补颈谤峁泃补 on a man, Yama on a buffalo and 痴腻测耻.

The four gods on the left are shown riding in the same direction as the four figures onthe opposite side. The top of the left side started with the depiction of 莫艣腻苍补 on bull, Agni (Southeast) on a ram, Kubera and 痴补谤耻峁嘺 on a goose. All 顿颈办辫腻濒补蝉 are portrayed in aggressive poses while accompanying the attacking 碍补尘补峁环补, who is shown on a chariot below, vigorously standing in 腻濒墨岣峢补 pose and aiming his bow at the Jaina. A small seated female figure at his back seems to spur him. The chariot is depicted frontally, as is suggested by the horizontal axle visible below; it is thus shown in approaching movement.

The triple umbrella is slightly tilted to the right, indicating that it is fastened to the shaft that is obliquely held by a small 苍腻驳颈苍墨 figure standing behind the attendant on the proper left. She is 笔补诲尘腻惫补迟墨, the queen of the 苍腻驳补 king 顿丑补谤补峁噀苍诲谤补. A tiny little figure of a devotee in 苍补尘补蝉办腻谤补 occupies just behind the 笔补诲尘腻惫补迟墨 figure, possibly representing the donor. The sheltering of 笔腻谤艣惫补 by a parasol refers to the upasarga episode during which 笔腻谤艣惫补's enemy 碍补尘补峁环补 conjured up a cloud burst, intending to drown 笔腻谤艣惫补.

The pedestal of this image is highly decorated with the depiction of the navagrahas. The planetary gods too were employed by 碍补尘补峁环补 in the upasargas. It is very interesting to mention here that all the navagrahas (except 搁腻丑耻 and Ketu) riding on their vehicles (惫腻丑补苍补). On the pedestal, on a projected frame, are miniature figures of nine planets arranged in two vertical row of four on right side and five on the left side. Those on the dexter side appear to be 厂奴谤测补, 惭补峁単补濒补, 叠峁沨补蝉辫补迟颈 and 艢补苍颈; while those on the sinister side are Soma, Buddha, 艢耻办谤补, 搁腻丑耻 and Ketu. The nine planetary deities are holding their respective attributes in both the hands. The figures of the nine planetary deities are not possible to study with minute iconic details due to their defaced condition.A 苍腻驳补 couple with their tails inter-coiled springs gracefully and rhythmically from the central projection of the pedestal just below the feet of the Jina. The 苍腻驳补 holds a water-vessel while the 苍腻驳颈 plays on a musical instrument. The pedestal is further embellished with a pair of crouching lions placed on the extreme corner of the pedestal.