Iconography of Manjusri and Avalokiteshwara Padmapani at Khambalida Caves, Gujarat

Meenakshi Nailwal Joshi1

1. Department of Archaeology and Ancient History, The Maharaja Sayajirao University of Baroda, Vadodara – 390 002, Gujarat, India (Email: [email protected])

Received: 01 July 2019; Revised: 25 August 2019; Accepted: 04 October 2019 Heritage: Journal of Multidisciplinary Studies in Archaeology 7 (2019): 911-914

Abstract: The Buddha image is seldom represented alone. Often Buddha is accompanied by at least two . Avalokiteshwara Padmapani, Vajrapani, Manjusri, Metreya etc. are usually accompanying Deities of Buddha. Iconographic representations of Avalokiteshwara and other bodhisattvas as an ascetic appears to have established early in the Buddhist caves of western India. Here I am presenting the conclusion of my research on the Iconography of the images carved at Khambalida caves.

Keywords: Iconography, Manjusri, Avalokiteshwara Padmapani, Amitabha Buddha, Mathura Art, Khambalida Caves, Gujarat

Introduction The only rock-cut sculptural evidences of in Gujarat are there at Khambalida caves, two life size Images, carved at the entrance of the chaitya hall. The entrance of the chaityagriha of Khambalida caves (Nanvati and Dhaky 1969, Krishnan et al. 2010, Patel 2017) is flanked with two sculptural carvings of Bodhisattvas Avalokiteshwara Padmapani and Manjusri with their . These figures of Avalokiteshara and Manjusri can be clearly identified on the basis of sculptural parallels from Mathura art and the figures from western Indian Buddhist caves. The figures are weathered due to waters in the area. Their facial expressions are totally absent due to erosion. These images are considered as of Avalokiteshwara Padmapani and Vajrapani. I analysed these images from the iconographic and literary point of view. While studying these images A. P. Jamkhedkar (1981) threw light on the ornamentation and attributes of the images. I further studied about the attributes in the literary sources especially in Sadhanamala. According to my study, I can say that these images are of Manjusri (which is considered as of Vajrapani) and Avalikiteshwara Padmapani with their mandala.

According to the iconographic features these images are of Bodhisattvas, one is Avalokiteshwara Padmapani and the other is Manjusri. It is difficult to identify the ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 7: 2019

image of Manjusri because the image is badly eroded, thus, attributes of the image are not very clear.

Figure 1: Manjusri with his Mandala, Khambalida Caves, Gujarat

Iconography of Manjusri While examining I observe the image I found some attributes of Manjusri (Figure 1). First, I noticed that the jatamukuta of the image resembles with that of Manjusri. Though other attributes are not very clear to identify the image. Within jatamukuta an image of Amitabha Buddha is also carved. To identify the image I studied Sadhanmala where I found the description of Manjusri with his Mandala. All Bodhisattvas have their accompanying deity/deities.

The mandala correlates with the description given in Sadhanmala1 pg. No 95: Peetavarnam vyakhyanamudradharam ratnabharanam ratnamukutinam vamenotpalam simhasanastham akshobhyakrantamaulinam chandrasanam chandraprabham bhavayedatmanam l Tato dakshin parshwe sunkarbeejasambhavam sudhankumaram nanaratnabharanojjwalam ratnamukutinam sarvadharmekapustakakakshnikshiptam samputanjalipurvakam tishthet l Vamaparshwe yamarihi krishnavarnahukarbeejodbhavah vikritananah mungarhastah pingordhakeshah nagabharanbhushitah l Tato dakshinaparshwe chandraprabha suryaprabhou purvadidigbhage vairochanaratnasambhavamitabhamoghasiddhayah, aagneyadikoneshu lochana-mamaki-paandara-tarashcheti l (Bhattacharyya 1925).

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According to the dictum the principal figure, Manjusri wears ratnamukuta (crown of jewels) sits on a seat of lotus. According to the figures of mandala the principal image should be identified as that of Manjusri. Manjusri in the mandala has been shown as of Yellow complexion, in vyakhyana . In the left of Manjusri there are Chandraprabha in devotional attitude and in the right Sudhanakumara holding a sacred book of all religions and a ratnamukuta on his head. In front of the left side of Manjusri there are Yamari who is ugli and of black complexion, and in front of the right side Chandraprabh and Suryaprabha. Four Dhyani Buddhas except Akshobhya with their Shaktis or consorts are also there. Other figures are of ganas and devotees.

Though Manjusri ‘s other attributes like sword and book are not seen in this mandala or panel yet this is very clear after keeping in mind, other figures and attributes like Sudhanakumara holding a big book in the right side of Manjusri, that this is Manjusri for sure.

Figure 2: Avalokiteshwara Padmapani with his Mandala, Khambalida, Gujarat

Iconography of Avalokiteshwara Padmapani The image of Avalokiteshwara padmapani (Figure 2) can be identified through the attributes and accompanying deities in his Mandala. The figure represented here corresponds to the description for Avalokiteshwara Padmapani given in Sadhanmala. The description is: “Sa cha sharatkandgaurah jatamukuti shirasi amitabhdhari

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sarvalankarbhushitah ratnasimhasanopari sasradalapadmasthah lalitakshepah dwibhujaikamukhah vamen padmadhari dakshinenamritdharaswadwaradah satvaparyankasinah l agratastara kanakashyamavarna unnatapinapayodhara sarvalankarabhushita utpalakalikasannakaradwayarpitanetra l tadanu sudhanakumarah kanakojjwalah ratnabharno ratnamakuti vamakakshavasaktakamalikah kritanjaliputah l tadanu bhrikuti jatamukutini murghni chaityalankrita kanakojjwala raktavastraparidhana dakshinahastena namaskaram kurvana aparenakshamaladhara vamakarabhyam tridandikamandaluvyagra l tadanu hayagrivo jwaladbhasurah pingalorghkeshah nagabharano raktavarnah lambodaro vyaghracharmambarah dandahastah l evam panchatmako bhagavana bhavaniyah saparivarah pujayitavyoapyevamvidhah l” (Bhattacharyya 1925).

We can identify Avalokiteshwara according to the Iconography given in this verse. Two female figures are standing by both the sides of the principal figure. As sadhanmala gives the reference of Avalokiteshwara having jatamukuta (headdress made by hair and jewels) in which an image of Amitabha is seen. He is fully ornamented and sitting in lalitasana on the seat of jewels and lion (ratnasimhasana). He has two arms and one face and holding lotus in his left hand.

Tara of black and golden complexion is standing on his right side with full youth. To his left there is Bhrikuti with jatamukuta on her head and joined hands in namaskara gesture.

Sudhanakumar is standing on right side holding lotus in his left hand and on the left side hayagriva is standing whose stomach is big and hair is yellow. His look is wrathful. Though the facial expressions of are not clear due to erosion but we can trace the deities according to their appearance. This identification can be applied for other forms of Lokeshwara. Khambalida caves are fine example of Buddhist sculptural activities in Gujarat.

References Bhattacharyya, B. 1925. Sadhanmala. Vadodara: Newton Mohum Dutt State Libraries. Jamkhedkar, A. P. 1981. A New Image of Avalokiteshvara from Bombay. Marg 34. Mumbai: The Marg Foundation. Krishnan, K., R. Nanji and A. Irani. 2010. Revisiting Buddhist Gujarat. Gandhinagar: Department of Tourism, Government of Gujarat. Nanavati, J. M. and M. A. Dhaky. 1969. The Maitraka and the Saindhava Temples of Gujarat". Artibus Asiae. Supplementum. 26: 15–17. Patel, A. 2017. Buddhist Heritage of Gujarat: Representation, Preservation and Promotion. New Delhi: Aayu Publications.

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