ISSN 2348-1218 (print) International Journal of Interdisciplinary Research and Innovations ISSN 2348-1226 (online) Vol. 9, Issue 1, pp: (99-103), Month: January - March 2021, Available at: www.researchpublish.com
Sculptural Art of the Buddhist Goddesses Mārīcī of Pre-Medieval Bengal with Special Reference to West Bengal: An Iconographic Study Dr Rajeswar Roy Assistant Professor of History, M.U.C. Women’s College (Affiliated to The University of Burdwan) Rajbati, Purba-Bardhaman-713104, West Bengal, India Email: royraaz10@gmail.com, Ph: 8918719773, 9614840564
Abstract: The images of various sculptures of the Buddhist goddess Mārīcī as mother goddess have been discovered from various parts of Bengal during the early medieval period. Different types of sculptural forms of the goddess Buddhist goddess Mārīcī are seen standing pratyālīḍha posture have been found from Bengal including Bangladesh during the period of our study. The sculptors or the artists of Bengal skillfully sculpted to represent the images of the goddess Mārīcī as one of the chief deity in the Mārīcī Maṇḍala and she is closely associated with Vairocana, one of the important Dhyānī Buddhas. These artistic activities are considered as valuable resources in Bengal as well as in the entire world. Keywords: Mārīcī, Sādhanamālā, Solar deity, Tantric Buddhism, valuable resources.
I. INTRODUCTION The three religious systems of India such as Brahmanism, Buddhism, and Jainism are known to have developed their respective groups of pantheons from an early period. As a result of a free and frequent interchange of ideas, it becomes difficult to determine which of them should be assigned as a particular image. A large number of scholars devoted themselves to the studies of Buddhist iconography, but with the publication of Sādhanamālā, [1] the task of identification of Buddhist images becomes easier. Besides, Sādhanamālā entitled as Dharmakoṣasaṁgraha of Amritananda, and the Niṣpannayogavālī of Mahāpaṇḍita, Abhayākaragupta are of great importance from the point of views of studies on Buddhist iconography. The numerous Tantric texts like Hevajra Tantra, Heruka Tantra, Vajravārāhī Tantra, Yoginījāla Tantra, and others also supply ample testimonials of information in this respect. The very affluent and different variety of the area of the image of ancient Bengal allows us to an imminent into the highly developed and vibrant cult during the last period of Buddhism in Indian subcontinent. Apart from numerous Buddha sculptures, there is a strong presence of Bodhisattva Avalokiteśvara and Maňjuśrī in different forms, the female goddesses like Tārā, Mārīcī, Cuṇḍā, Mahāpratisarā, and Parnasabari as well as the minor divinities Jambhala and Heruka. The recognition and amalgamation of figures and symbols from other religions and philosophical contexts furnish the impression of gracefulness and enthusiasm. [2] The images of Buddhist sculptures from early medieval Bengal are well-known and distinguished by iconographic complexity and artistic workmanship. The development already starts in the Pre-Gupta period; however, the greater part of this development may be assigned to the 11 th or 12th century CE. In all probability, some of these images belong to the first half of the 13th century CE. Strong tantric influences and unique features are already evident in the earlier pieces of the 9th or 10th century CE. Exquisite Buddhist gods and goddesses in Indian sculptures as well as in Bengal sculptures during the early medieval period are of important themes. A large number of female counterparts representing the Buddhist goddesses in Tantric
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