Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)

RENNER Zsuzsanna: A Pála-korszak szobrászatának emlékei a Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum indiai gyűjteményében

mic figure in the Central Indian Harihara representation differs from our example only in small details: the facial features are different, the necklace and the vanamâlâ (which by the way reconfirms the figure's association with Visnu) are simple strings of pearls; the dhoti features no pattern; there is no belt or bracelet; and the coiffure is simpler (there are no curls). Therefore, in spite of the fundamental similarities, it can be concluded that the Central Indian sculpture is a less elaborate version of our example. Nevertheless, the definite analogy between the two representations can once again prove that, for reasons described earlier, the Hindu sculpture of the Päla period had very close links with the Central Indian schools of sculpture. At the same time, the more elaborate character of our fragment and the facial features already indicate the emergence of Päla style. The date of our fragment is problematic, especially if we take the dating (eleventh-twelfth century) of the Central Indian sculpture as a starting point. From the stylistic differences between the two sculptures we would conclude that the fragment in our collection followed in time the Central Indian Harihara representation, while the curly locks of the former, along with the personification of the weapons, suggest an earlier origin for it. The Buddha representation (plate 5), which is a relief in stone, was probably cut off from a small-sized stupa.

16 Whe know that smallsized stupas,

17 votive stupas and souvenir stupas were produced in large numbers in the vicinity of large stupas, notably around the famous holy places of Buddhism and near monastic centres. Small-sized and votive stupas have been uncovered in large numbers in Bodh Gaya, Nalanda and Sarnath, in many cases in completely preserved condition. The architectureal features of these small stupas always follow those of contemporary large stupas, thus making it possible to reconstruct the architectural development of the stupas in the Päla period, even when no large stupas have survived from the era. The stupa fragment in our collection represents the Buddha in dharmacakra mudrä, which symbolizes the Buddha's first sermon, following his englightenment in Sarnath. The relief shows the Buddha as a monarch wearing crown and bodhisattva jewellery. This type of Buddha representations, which is in contrast with the familiar representation of the enlightened Buddha as a monk with shaven head and with no jewellery at all, is peculiar to the Päla period. The crowned Buddha as an iconographical type serves to emphasize the Buddha's sovereignity, obviously understood on a spiritual, transcendental level. His body is wrapped in the robe of the monks, here transparent, covering both his shoulders and indicated merely by the hems and the folds on the pedestal. Of the Buddha's laksanas, the cakras on the feet and the palms, the ürnä, the elongated earlobes and the folds of skin under the chin appear in this representation. In the middle of the pedestal, between leaves and foliate scrolls, the dharmacakra is depicted, with a kneeling deer on each side; these symbols, again, refer to the Buddha's first sermon in the Deer Park at Sarnath. On each side of the Buddha's head, a stupa is shown, with a tall pedestal, a flat dome and tapering chattras, together tracing out a triangular silhouette. The Buddha is seated under a three-lobed arch supported by columns, with akirttimukha shown over the middle arch, the largest of the three. From the mouth of the kirttimukha, foliate scrolls are piercing out, together with the bodies of a nâga pair, which follow the curving line of the niche. The snakes are shown with human upper bodies, with their hands in ahjali mudrä and with three-headed cobra hoods over their heads. The ornaments over the Buddha's niche are incorporated in a triangular frame resembling a tympanon. On each side of the tympanon, fragmented details of architectural elements are seen, suggesting that originally this niche was crowned by a sikhara carved out in relief, which was a frequently used arrangement in the case of votive stupas produced at every above mentioned holy place of Buddhism.

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