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

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

In the stylistic development of stupas decorated with Buddha niches during the Päla period, stupas which have niches with threelobed archs supported by columns, and have foliate motifs over the arch, a version of which is tendrils piercing out of a kirttimukha, are typical of the later phase.

19 In view of this, and on the basis of the relatively moderate ornateness, the relief can approximately be dated to the tenth-century. The typical features of the representation - for example, the proportions and the outline of the body, the transparent robe, the half-closed eyes, the high curving eyebrow and the full lips preserved a great deal of the classical traditions of the Sarnath school of sculpture of the Gupta period. Since the continuation of the Gupta traditions is observed primarily in Nalanda,

20 perhaps we are not very much mistaken if we assume that our relief was made in a workshop somewhere in the vicinity of Nalanda. The same is suggested by the lack of architectural elements on the pedestal, a feature which can often serve to distinguish works made in Nalanda from otherwise similar ones manufactured in the nearby Bodh Gaya. The two small-sized stone votive stupas in our collection (plates 6 and 7)

21 have an interesting connection to the relief discussed above, in that the niches here, although much simpler, reveal a close relationship with the one depicted on the relief. The two stupas are nearly of the same size, and are very similar in other respects, too, although the detailing and the ornamentation of the smaller one (plate 7) is somewhat simpler. In both cases, the cylindrical body of the stupa is ribbed; the ribs are engraved with foliate motives, partly framed by geometrical designs: triangles and rhombuses; in the case of the stupa with simpler decoration, hardly anything is seen of the ornamentation, apart from the geometrical forms. The pair of ribs at the top are decorated with single and double rows of lotus petals respectively. The flat dome on the top and the harmikä, the ground plan of which is ixyantra, are joined through a neckpiece, also of ixyantra ground plan. The separately carved conical top parts, consisting of seven and nine chattras respectively, are fitted to the harmikä with the help of mortises. The cylindrical surface of each stupa is decorated with four Buddha representations in four niches. Each Buddha representation is seated on a lotus throne underneath a threelobed arch. (In the case of the simpler stupa the arches are less minutely carved but still recognizable.) The tympanon-like motive above the arch, which is decorated with flowers and winding leaves, extends over to the dome's surface. In the case of both stupas, each of the four Buddhas is sitting in a niche with his legs crossed; the two seated on two opposite sides of the stupa are in dharmacakra mudrä; one is in bhümisparsa mudrä; and one is in samädhi mudrä, with his palms turned upside down and placed over one another and holding an alms bowl. Each Buddha has a shaven head and is covered in a transparent robe that covers both of their shoulders, except for those seated in bhümisparsa mudrä, in which case the robe leaves the right shoulder uncovered. Of the Buddha's laksanas, the elongated ear-lobe, the usnlsa and the ürnä are visible on the more elaborate stupa, while the latter is missing from the Buddhas of the smaller stupa. Since these characteristics of the stupa had been developed by the ninth century, our votive stupas can be dated to the ninth or tenth century. Their place of origin is Bihar, but since the above-mentioned characteristics are equally found in Bodh Gaya, Nalanda and Sarnath, their precise origin within Bihar cannot be determined.