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NATIONAL CONFERENCE on BUDDHIST AND JAIN ART: LANDMARKS, PHILOSOPHICAL BACKGROUND AND SOCIAL CONTRIBUTIONS (25th Session of the Indian Art History Congress (IAHC), 2016) 01 03 December 2016 ABSTRACT BOOK Deccan College Post-Graduate and Research Institute, Pune (Deemed University) Jointly organized by Indian Art History Congress, Guwahati 1 Convener Prof. Vasant Shinde Vice-Chancellor, Deccan College Post-Graduate and Research Institute Deemed University, Pune-6 E-mail: [email protected] Coordinators Dr. Shrikant Ganvir, Department of AIHC and Archaeology E-mail: [email protected] Mr. Rahul Mhaiskar, Department of Linguistics E-mail: [email protected] Mr. Hari Palave, Department of Sanskrit and Lexicography E-mail: [email protected] General President of 25th Session of Indian Art History Congress Prof A. Sundara Keynote Speaker Dr. Abhay Firodia ‘Contributions of Jainism to Indian Culture and Value System’ Chancellor Prof. A. P. Jamkhedkar will preside over the inaugural function. This conference is sponsored by Shri Firodia Trust. 2 Deccan College, Deemed University, Pune MESSAGE by Dr. A. P. Jamkhedkar, Chancellor I welcome all the delegates participating in the National Conference on “Buddhist and Jain Art: Landmarks, Philosophical Background and Social Contribution (25th Session of the Indian Art History Congress).” I wish this conference will discuss important research issues pertaining philosophical, socio-economic, cultural milieus of Buddhism and Jainism, and will also provide an academic platform to the future generation. Art has been an important medium to comprehend multi-faceted dimensions of the past. Buddhist and Jain art-historic remains facilitate to understand multiple paradigms of the contemporary society. I wish magnificent success of the conference. 3 4 Deccan College, Deemed University, Pune FOREWORD by Prof. Vasant Shinde, Vice-Chancellor I am pleased to welcome you all to participate in National Conference on ‘Buddhist and Jain Art: Landmarks, Philosophical Background and Social Contribution (25th Session of the Indian Art History Congress).’ This conference is going to be a landmark in the field of Buddhist and Jain studies as it will resolve around the recent perspectives of Buddhist and Jain art. Indian culture is enriched by the Buddhist and Jain heritage since the beginning of the Early Historical Period. This conference aims at analytical discussion of multiple paradigms of Buddhist and Jain art to comprehend contributions of Buddhist and Jain art in the field of philosophy and ancient society. The conference will also highlight manifold paradigms of Buddhist and Jain art considering historical, textual, architectural, iconographic, iconological, sculptural characteristics with spatial and temporal contexts. The scholars from different regions of the country are presenting their research in this conference. Around 70 scholars are presenting research papers on various aspects such as iconographic and iconological study of Buddhist and Jain art, socioeconomic perspectives of Jain art, Jain and Buddhist rituals, composition and contextual study of Buddhist paintings, landscape of Buddhist monuments, journey of Buddhist deities envisioned through textual and art-historical data, architectural remains of Buddhist and Jain sites and analytical study of Jain inscriptions. The research papers to be presented in this conference will examine multiple facets of less-known areas of Buddhist and Jain studies taking into account philosophical, socio-economic, cultural settings of ancient Indian Society. The present conference will highlight relevance of Buddhist and Jainism, the two important religions of the world. The genesis of thought-process evolved through this conference will not only provide new directions for further research in the fields of Buddhist and Jain studies but also is going to provide a new platform for young generation. I wish all the best for grand success of the conference. 5 6 LIST OF COMMITTEES Central Organizing Committee Prof. V.S. Shinde (Chairperson) Prof. J.D. Sathe Prof. Sushama Deo Prof. K. N. Hota Prof. Shailendra Mohan Prof. Vijay Sathe Shri C.V. Joshi Smt. Trupti More Shri P.C. Khedekar Shri R.R. Ghanekar Smt. Manjiri Karambelkar Academic Session Programme Committee Dr. Prasad Joshi (Chairperson) Dr. P.C. Sahoo Dr. P.P.Dandvate Dr. Arati Deshpande-Mukherjee Dr. Shilpa Sumant Shri Gopal Joge Dr. Gurudas Shete Smt. Nisha Sawant-Kulkarni Smt. Astha Dibyopama Smt. Khusboo Parghi Shri Prateek Chakraborty Dr. Kirti Kulkarni Dr. S. P. Ganvir Shri Amogh Prabhudesai Shri Bhav Sharma Smt. Rucha Abhyankar Shri Ganesh Sable Registration Committee Prof P. D. Sable (Chairperson) Dr. Shubhangi Kardile Dr. Supriya Mahajan Dr. Kanchana Bhaisare Smt. Astha Dibyopama Smt. Megna Carvalho Smt. Meena Kengar Smt. Vijaya Mandlik Shri R.R. Shigwan Shri Samadhan Shinde Smt. Priya Ahire Shri M.M. Londhe Smt. Sarika Kamthe Smt. Dhanashri Sarpale Abstracts Committee Dr. Shilpa Sumant (Chairperson) Prof. Sonal Kulkarni-Joshi Dr. Prasad Joshi Dr. S. P. Ganvir Shri. Gopal Joge Smt. Madhavi Godbole Smt. Khusboo Parghi Shri Amogh Prabhudesai Shri Bhav Sharma Dr. Pankaj Goyal Dr. Shantanu Vaidya Publication Committee Prof. Sonal Kulkarni-Joshi (Chairperson) Dr. Arati Deshpande-Mukherjee Dr. Amruta Sarkar Dr. Shilpa Sumant Dr. Gurudas Shete Smt. Khusboo Parghi Dr. Kirti Kulkarni Dr. Pankaj Goyal Shri Prateek Chakraborty Dr. S. P. Ganvir Stage and Hall Management Committee Dr. Veena Mushrif-Tripathy (Chairperson) Dr. Pradnya Deshpande 7 Shri Gujar Shri Manohar Khairnar Smt Vijaya Valhe Smt. Khusboo Parghi Shri V.C. Kamble Shri B.S. Gajul Shri H.S. Bhandare Smt. Pallavi Chhalare Smt. Kanchan Desai Smt. Sarika Chavan Shri C.S. Shendge Shri Vijay Dhone Smt. B.M. Kamble Shri Neelesh Humbre Shri Prashant Humbre Shri Ganesh Taware Shri D.R. Bhilare Shri S.N. Jadhav Shri S.R. Gaikwad Reception Committee Dr. Kantikumar Pawar (Chairperson) Shri Amit Pendam Shri Sambhaji Jadhav Shri B.S. Waghmode Shri Shridhar Lohkare Shri H.S. Bhandare Photography, Presentation System and Technical Support Committee Shri Satish Bangar (Chairperson) Shri. Sunil Jadhav Shri Sumeet Jadhav Shri Sanjay Hargude Shri. Rahul Mhaiskar Shri Vijay Pawar Shri Jairaj Bhilare Shri Gajanan Ambekar Shri Yogesh Pardeshi Accommodation Committee Dr. Satish Naik (Chairperson) Shri. Hari Palave Shri P.C. Khedekar Shri J.G. Kulkarni Shri Amit Pendam Shri Bansi Lawhale Shri Sambhaji Jadhav Shri Yogesh Devtarse Shri S.V. Valunj Shri S. Shendge Publicity Committee Dr. Prabodh Shirvalkar (Chairperson) Shri Amogh Prabhudesai Shri Prateek Chakraborty Dr. S. P. Ganvir Shri G. V. Pahade Smt. Jyoti Memjade Exhibition Committee Shri B.S. Gajul (Chairperson) Dr. Shahida Ansari Shri G.D. Mandke Smt. Neelam Dhapare Smt. Manjiri Kulkarni Shri. Shridhar Lohkare Shri. R.R. Shigwan Shri B.S. Katare Shri K.B. Gaikwad Shri S.M. Bhagwat Fund Raising Committee Smt. Madhavi Godbole (Chairperson) Dr. Kantikumar Pawar Shri Hari Palave Dr. Sachin Joshi Shri. B.S. Gajul Shri. Waghmode Shri. B.B. Dighe Shri Ganesh Kachi 8 Refreshment and Food Arrangement Committee Dr. Vrushali Bhosale (Chairperson) Prof. Shailendra Mohan Shri. Rahul Mhaiskar Smt. Noorjahan Pathan Shri Ganesh Shilwane Smt. Sarika Chikode Shri D.S. Survase Shri Prashant Pasnur Shri Ambawale Shri T.H. Rathod Shri D. B. Dalvi Shri M.M. Chavare Smt. Ujwala Karande Shri Chandrakant Shendge Shri. Ganesh Kachi Shri. Anil Dhumal Shri. Burkunde Smt. Lalita Kamble Shri. Mohan Singh Smt. Manjiri Kulkarni Smt. Astha Dibyopama Shri Bansi Lawhale Smt Bhagyashri Kamble Shri Raju Savale Accounts Committee Smt. Anita Sonawane (Chairperson) Dr. Prasad Joshi Dr. Shailendra Mohan Smt. Trupti More Shri Rahul Mhaiskar Smt. Pratibha Hole Smt. Ujawala Kadam Shri Shyam Walke Shri Vijay Omble Smt. M.G. Jekate Shri Mandar Chavare Felicitation Committee Dr. Pradnya Deshpande (Chairperson) Smt. Trupti More Smt Vijaya Valhe Shri B.S. Gajul Smt. Nilam Dhapare Smt. Priya Ahire Shri Vijay Kute Invitation and Certificate Preparation Committee Dr. Pradnya Kulkarni (Chairperson) Dr. S. P. Ganvir Dr. S.A. Pradhan Shri S.D. Rokade Shri D.D. Phule Shri B.B. Dighe Shri B.S. Waghmode Shri Sanjay Hargude Smt. Meena Kengar Smt. Vijaya Mandlik Shri Amin Transportation Committee Shri Nilesh Jadhav (Chairperson) Shri Sachin Joshi Dr. Pankaj Goyal Shri Bansi Lawhale Shri Kishor Shendage Shri H.S. Bhandare Shri Vijay Omble Shri M.M. Londhe Shri D.B. Dalvi Cultural Programme Committee Dr. Amrita Sarkar (Chairperson) Dr. Pradnya Kulkarni 9 CONCEPT NOTE The two important religions of Indian, representing Shramana traditions - Jainism and Buddhism have been influenced by Indian culture since their emergence. The philosophical and ideological principles of Jainism and Buddhism have a great impact on Indic religious settings. These religions had established a new tradition based on ethical and moral way of life, which not only influenced a great mass of the contemporary society but have also left an immense impact on the Indian culture through the ages. The art-historical traditions of the contemporary society of ancient period were also influenced by these two religions. Visual imagery is one of the most significant mediums to depict religious thoughts. Jain and Buddhist art of ancient India have preserved multiple aspects of the contemporary society highlighting political, social, economic and cultural paradigms. It further also vividly portrays the multiple layers of associations among the contemporary religions such as influence, adoption, co-existence and tension. Jainism and Buddhism vibrantly portray their philosophical and ideological thoughts in the contemporary visual imagery, which needs to be deciphered to reconstruct the impact of these two religions on the contemporary cultural life. The multiple symbols and icons depicted in Buddhist and Jain art were transmitting the message of ethical and moral life, which is the essence of these two religions representing the Shramana tradition. The proposed conference on Buddhist and Jain art aims at highlighting the philosophical background and their significant contributions in the field of socio-economic and religiocultural settings taking into account iconographic and art-historical paradigms. An attempt will be made to examine the contributions made by Jain and Buddhist art of ancient India to the cultural heritage of ancient India. The research articles presented in the proposed conference will make an attempt to highlight not only less-known aspects of the cultural heritage, but will also take a step further to analyse the contributions made by Jain and Buddhist art in the field of Indian culture. 10 LIST OF AUTHORS [A TO Z] AND PAPER TITLES No. Name of the Author Title 1. A.M.V. Subramanyam and Conserving Buddhist Heritage: Tejas Garge Restoration of Pillars in Cave 10, Ajanta Caves 2. Abdul Rashid Lone Stupas, Terracotta tiles and figurines: Exploring the Buddhist art and architectural landscapes of Kashmir 3. Ajit Kumar Buddhism in Kerala and its Socio-cultural Ramifications 4. Akash D. Gedam Graeco-Roman (Yavanas): A pioneer to the Buddhist art and architecture of Nasik caves [abstract unavailable] 5. Anand Kanitkar Use of Perspective in Chaitya Griha Karle Caves 6. Aparajita Morde Iconographical Study of Trailokyavijaya, ÷ambara 7. Ayeeta Biswas Paul Buddha, Aban Tagore and Colonial reality 8. Binay Shadangi Rajaram Metamorphosis of The 1st Cent. ‘ Buddha Charitam’ into the 11th. Cent. Orthodox Christian Scripture ‘Barlaam and Ioasaph’ 9. C. S. Vasudevan Jain Vestiges of Hampi Environs and its SocioReligious Sequel 10. C.B. Kamati Iconography of Early Jainism: A Historical Perspective 11. Choodamani Nandagopal Vajrayana Buddhism in Cultural Interactions along the Silk Road 12. D.S. Somashekhar and Sarvamangala G. The Unknown Jaina Rock images in the Tunga River at Thirthahalli : Some observations 11 No. Name of the Author Title 13. Dhananjay Khandare and Sejal R. Deshpande Immortal Buddha and His Jataka Tales 14. Elora Tribedy and Yongjun Kim Tara in Western Indian Caves: A Retrospect 15. Gomathi Gowda Symbolism of Color in Buddhist Art 16. Gopal Prasad Mandal Analytical analysis of Buddhist and Jaina Art: Philosophical and social contributions [abstract unavailable] 17. Jasminder Kaur Gyasar - The blessed fabric by Buddhism 18. Kamal Giri Dimensions of Domestic Life in the Sculptures of Sanchi 19. Kiran Kumari Salient contributions of Buddhist Philosophy and its importance on Buddhist Art 20. M. Krishna Priya The Expansion, Development and Decline of Buddhism in South India 21. M.S. Krishna Murthy The Brick Chaitya Hall at Rajaghatta A Unique Edifice of the Buddhists 22. Madhulika Ajanta Paintings: Composition and Perspective 23. Madhulika and Vipul Tiwari Revisiting the Later Anthropomorphic Buddhist Iconography 24. Madhulika Reddy Painted J°taka-Sermons: The Aesthetic of Dharmade∂ana in Three Sermon Scenes at Aja∞Æa 25. Manjiri Bhalerao Protective Symbols : A Case Study of the Buddhist Caves at Nasik 26. Manjushree Rao Some interesting Ambika sculptures from Malwa Region [abstract unavailable] 27. Maruti Nandan Pd. Tiwari Socio-religious Contributions of Jaina Art 12 No. Name of the Author Title 28. Minnu Kejriwal Transformation of textual form into visual arts: Concepts of Buddhism transformed into Buddhist Art with reference to Jataka Tales 29. Naval Krishna The ‘Robe [<ÃÊVÁby>] Dispute’ in Buddhism - an Inexplicable Phenomenon 30. Nita Sen Gupta Buddhist palm leaf miniature painting from the collection of Indian Museum 31. Nitesh Narnolia and Mousam Buddhist Art in India, China, Japan and Thailand A Comparative Study (1) 32. Nitin Hadap Possible iconographical interpretation of Udaremukha Images in Buddhist art 33. Noor Bano Sattar Participation of Theras and Theris in the Donors World: A Documentation of some Inscribed Records 34. Pramod Dandwate 35. Priya Thakur Syncretising Hindu and Buddhist Deities Bahubali in Jaina Iconography with special reference to Karnataka 36. Priyadarshi M. Khobragade Stupa Symbols and their Art from Vijasan Cave at Bhadravati, Chandrapurdistt of Vidarbha [abstract unavailable] 37. R.P. Pandey and Nand Kumar Misra Symbolism in Buddhist Art : An Analytical Study 38. Rajaram Relics of Byzantine (Roman Orthodox Christian) Empire are Testimony to Art Borrowings from the Buddhism 39. Reena Joshi Memorial Stupa Gallery at Kanheri: A Study of Religio-Cultural Perspective 40. Reshma Ara Remains of Jain Art of Kalachuri Period at Sohagpur in Shahdol 13 No. Name of the Author Title 41. Rhutvij R. Apte Documentation of Medieval Jain iconographical remains at “Kshetra Viraj” i.e. “Lonar” 42. Rohit Ukey Re-examining Mansar (Mansar 2/MNS-2 site) 43. Rupesh Madkar Murti submerged in ghee and sugar: Interpretation of Holiness of Jaina Images through Popular narrations from Marathwad 44. Saili K. Palande-Datar and Ambarish V. Khare J°taka Tales: Study of Buddhist art discourses at Ajanta 45. Sanjay Paikrao The Dynamics of Socio-Cultural Philosophy Behind Ellora Buddhist Caves 46. Sanjib Kumar Singh Overwhelming Beauty of Buddhist Deities in The National Museum Collection : An Analytical Study 47. Sarvamangala G. The Role and Significance of Padmavathi Yakshi among the Digambara Jainas of Malnad Region of Karnataka 48. Sayeed Alam Hindu Art of Buddhist Viharas in Pala Period (C.Ad. 8th Cent. To 12th Cent.) 49. Shanti Swaroop Sinha Jaina Inscriptions from Mathura, Deogarh and Khajuraho ñ A study in the context of socioreligious assimilation and iconographic contributions 50. Shrikant Ganvir From Earth Goddess to Tantric Buddhist Deity: A Journey of the Buddhist Goddess Aparajita in Visual Art 51. Shyamalkanti Chakravarti Dancing Goddesses of Buddhism 52. Sidram Subhash Gaikwad Cave No. 90 at Kanheri: Art Compositions, Iconographic Analysis 14 No. Name of the Author Title 53. Soumya Manjunath Chavan Ajanta and Dambulla – A Continuity of Buddhist Painting Tradition 54. Sourabh Singh Visual imagery on the doorframe of the Teevaradeva Buddhist Monastery at Sirpur, Chhattisgarh: A Religio-Cultural Study 55. Suraj A. Pandit Evidence of Image Worship at Kanheri in Early Period 56. Swati Biswas The Enthrallingearly 16th century Jainesque Shahnama and the pre-Mughal context of the Manuscript 57. Swati Mondal Adhikari Karu∞° : the sap of Buddhist Art 58. Tithi Chanda Musical Instruments as Depicted in the Temple Terracotta Plaques of Buddhist temples in Bengal 59. Umesh Chandra Dwivedi and Dilip Kumar Parnasabari, the Buddhist Goddess 60. Usha Rani Tiwari and Durganandan Tiwari A Non pareil Narrative Sculpture From Mathura 61. V.L. Dharurkar A New Light on the Philosophy of Jain Religion Reflected in Ellora Caves 62. Vikram Marathe An Analytical Study of the Ancient Trade Routes and Buddhist Rock-cut Caves of western Maharashtra 63. Vipul Tiwari A Critical Evaluation of the Historiography of Buddhist Art and Iconography 64. Religious Archaeology and Architecture: Jainism at Ka¨k°l¢ Œ¢l° Yashvender Dhaka 15 ABSTRACTS CONSERVING BUDDHIST HERITAGE: RESTORATION OF PILLARS IN CAVE 10, AJANTA CAVES A.M.V. Subramanyam and Tejas Garge The Ajanta Caves (75°42’ 1” N; 20°33’ 12” E) in Aurangabad district are famous for its painted art now declared as a World Heritage Monument. Out of 30 excavations five caves were excavated during Satvahana period (2nd century B.C to 2nd century AD) Second phase of excavations took place during the period of Vakatakas, the contemporaries of the Imperial Guptas duringmid-5th century A.D. to mid-6th century A.D. The world famous paintings at Ajanta also fall into two broad phases. The earliest is noticed in the form of fragmentary specimens in Caves 9 and 10, which are datable to second century B.C. The second phase of paintings started around 5th century A.D. in Caves 1, 2, 16 and 17. The main theme of the paintings is the depiction of various J°takas (life of Buddha as Bodhisattva in his previous births), incidents associated with the life of Buddha, and the contemporary events and social life also. The ceiling decoration invariably consists of decorative patterns, geometrical as well as floral. The present paper highlights efforts to conserve this great Buddhist heritage by Archaeological Survey of India, Aurangabad Circle. Since discovery of the Caves conservation efforts were initiated by Education Department, Government of Nizam, Hyderabad. In post independence period the Archaeological Survey of India carried forward the same on more scientific manner and vigorous scale. So far restoration of fallen pillars in rock cut caves was carried out by using reinforced cement concrete (RCC). The ASI, Aurangabad Circle has recently carried out restoration of pillars in Cave 10 in Ajanta Group of Caves using basalt rock which is parent material of these caves. This work is highly complex in terms of conceptualization, design, planning and execution. The present paper explains this complex process of restoration of octagonal pillars in stone which is first attempt of its kind in the history of conservation of rock cut architecture. 16 STUPAS, TERRACOTTA TILES AND FIGURINES : EXPLORING THE BUDDHIST ART AND ARCHITECTURAL LANDSCAPES OF KASHMIR Abdul Rashid Lone The valley of Kashmir has been a melting pot of different ethnic identities and religious ideologies since times immemorial. Kashmir provides strong literary and archaeological evidences related to the entrance of Buddhism. The Rajatarangini and other textual sources are replete with those references. Besides it also hints towards the patronage of the ruling monarchs to Buddhism including the emperor Ashoka, Kanishka and Lalitaditya. Archaeological sources had also a very strong say in this matter. The fourth Buddhist council was apparently held in Kashmir under the patronage of Kanishka. In this paper I have tried to focus mainly on the archaeological sources related to the Buddhist settlements. The art forms are mainly manifested in the terracotta tiles which were used to pave the courtyards of the Buddhist stupas as is encountered at more than twenty archaeological sites including Harwan, Kanispur, Huthmura, Lidroo etc. These art patterns throw light on plethora of day to day life activities, flora and fauna and are unique to Kashmir, especially of the early historic period. Artistic skills of making the sculptures of Buddha are exhibited in many stone sculptures of the Gandhara School of Art. This art school exhibited it skills in Kashmir also, the later acted a workshop for these artists to make representations of Buddha and associated features of Buddhism. Terracotta school of art having regional manifestations survived and flourished under the Kushanas in Kashmir. This paper examines, in this context, some new evidences from two sites—Semthan and Ahan. Both these sites were recently re-explored. Related to these art forms are also a number of features of the settlement pattering behaviours of the people of those times e.g, diaper pebble style of constructions etc. These art aspects had a certain relationship with each other and are communicated in a very particular way. This paper also tries to examine those corresponding similarities, patterns, and the impact it had on the then contemporary socio-cultural, economy and religious spaces of the time. Keywords: Kashmir, Buddhism, Kushana, Tiles, diaper pebble constructions 17 BUDDHISM IN KERALA AND ITS SOCIO-CULTURAL RAMIFICATIONS Ajit Kumar Though Sangam literature speaks of the existence of Jainism and Buddhism in Tamilakam, there are hardly any concrete vestiges of Buddhism dating to early period save for some Buddha images. There is also no overt reference to Buddhism in inscriptions from Kerala, save for the Paliyam plates of Ay king Vikramaditya Varaguna dating to the 9th-10th century CE which refers to land donations being made to the monks of Tirumulapadam. Tirumulapadam or Sri Mulavasa is believed to have been Buddhist monastic complex located close to Tirunavaya later destroyed by sea. Many of the Buddha images found are from the coastal regions in Kerala date to the 8th -9th centuries CE and are stylistically akin to images from Sri Lanka. It is quite possible that 13 Buddhism was perpetuated in Kerala by Sri Lanka traders and migrants. The community of Thiyas or Ezhavas in Kerala are considered migrants from the Sri Lanka or Elankai. Apparently the expansionistic polices of the Chola cast a setback to Buddhism in Kerala. This peaceful religion seems to have met a violent end in Kerala, by the end of the Chola period. This may be gleaned from the broken status of many Buddha images found from Kerala. Some Buddhist temples and their institutions were also apparently taken over by Brahmanical fanatics. Unlike in north India, Buddha images are not found in Dashaavatra panels and hence it can be inferred that Buddha did not find assimilation into Brahmanical fold in Kerala. Despite religious intolerance and persecution, Buddhism appears to have cast its influence in the religious and social segments of Kerala. The popularisation of education in Chera country by establishing boarding schools called Salai during 8th-9th century CE seems to have derived its scholastic and administrative module from Buddhist monastic establishments. Some traditions even now vogue in temples like parading of elephants, the Ayurvedic treatment mode, the popularisation of self defence form of Kalari etc., seems to derive its origin in Buddhisim t ethos. This paper would try to trace the evolution and decline of Buddhism in Kerala and its socio-cultural ramifications. Keywords: Buddhism, Ay, Tirunavaya, Thiya, Salai 18 GRAECO-ROMAN (YAVANAS): A PIONEER TO THE BUDDHIST ART AND ARCHITECTURE OF NASIK CAVES Akash D. Gedam Nashik was an important Buddhist center in Early Historic Period as authenticated from the architectural, art-historical and inscriptional evidence. It was an important urban center in this period. The association of yavanas with the Buddhist caves of Nashik further gets confirmed from the donative inscriptions and art-historical motifs noticed in the Nashik caves. The paper will try to examine and analyze the role of yavanas in the Buddhist art and architecture based on architectural remains and epigraphical records. The paper aims at comprehending the significant contribution made by the yavanas in the dissemination of Buddhism in the Early Historic Period. USE OF PERSPECTIVE IN CHAITYA GRIHA KARLE CAVES Anand Kanitkar Karle cave group situated in the Pune District of Maharshtra, is a group of 16 rock cut caves. This cave group is famous for the Chaitya Griha which is the largest and finest Caitya Griha of its kind in India. Many scholars have carried out research on the Karle cave group in the past 200 years. The Chaitya Griha at Karle is famous for the donations received by various Yavana donors from Dhenukakata. Sculptural art at Karle an example of the finest art in the western Indian rock cut caves. With the help of analysis of the sculptural scheme and comparison between the sculptures at Karle and those at the other western Indian cave sites along with the structural stupa sites, this paper attempts to understand the purpose of such a sculptural scheme at Karle. 14 19 ICONOGRAPHICAL STUDY OF TRAILOKYAVIJAYA, SAMBARA Aparajita Morde In the Buddhist mythology the krodha-vighn°ntaka play an important role they are not only seen as the protectors of a scared territory but destroyers of demons, obstacles. The earliest iconographic depiction of the krodha-vighn°ntaka was seen in the rock cut caves of Ellora, Aurangabad where they were depicted along with the Bodhisattavas occupying a peripheral position. Subsequently their iconographies changed on the similar line along with the changes seen in the Buddhism. In the latter half of the sixth century the texts like the Manjusrimula kalpa, Mah°virocana S£tra, Guhyasam°ja Tantra the Maha°vairocana assumed an important role. It was he who would order the krodha-vighnantaka to subjugate the demons. It was then that the krodhavighn°ntaka Trailokyavijaya, ÷ambara assumed importance. The paper here would envisage an enquiry in the iconographical development of the images of krodhavighn°ntaka Trailokyavijaya, ÷ambara. It would look trace the development of these deities on a similar lines with the developments within Buddhism. The paper would look at the iconography of Trailokyavijaya where he is depicted as trampling upon ÷iva and Um°, ÷ambara on ÷iva and K°lar°tr¢. The paper would enquire into the reasons behind this depiction by conducting a detailed study of the dh°ra∞¢s, mandala of the deities. Keywords : Iconography, Buddhism, krodha-vighn°ntaka BUDDHA, ABAN TAGORE AND COLONIAL REALITY Ayeeta Biswas Paul With the knowledge that Navyayana or the Newer Vehicle had given rise to a gamut of images which in turn has attracted art-historical scholarship by notable scholars like Y. S. Alone, I begin study. Buddhism has presented a site of resistance, social as well as political at different historical junctures. The currency of the same concept was further evaluated by Kajri Jain in her paper ‘The Handbag that Exploded: Mayawatiís Monuments and the Aesthetics of Democracy in Post-Reform India’. 20 Within the purview of the above mentioned research questions, I would like to explore the representations of Budhha and on subjects pertaining to Buddhism in Shilpaguru Abanindranath Tagore’s art. Though such images form only a little portion of his entire body of work, they are not insignificant, be artistically or in aesthetics. In my paper, I will first explore on the composition of relevant paintings and then I will argue their art-historical significance. Each of these paintings is a gem, a perfect combination of colour, composition and expression of Buddhist philosophy. They portray peace and tranquility. On the otherhand, Tagore coming to know about the Ajanta cave paintings was a crucial event for they influenced and shaped the modernist art movement in the eastern parts colonial India. What was an artist from an aristocrat background seeking in the images of Buddha, Ashoka or his queen? Was the attempt merely a revivalist exercise? Certainly, what Tagore’s students Nandalal, Asit Kumar Haldar and several 15 other artists brought back as the technique of Ajanta ‘Frescos’ was central to aesthetics of Bengal School and in a way continues to be taught at Viswabharati, Santiniketan. These paintings reflect the intellect that was at work. For instance Departure of Siddhartha, Buddha As Medicant, The Victory of Buddha or Bodhisatva’s Tusks were all painted in 1914- the year of breaking of world war I. METAMORPHOSIS OF THE 1ST CENT. ‘BUDDHA CHARITAM’ INTO THE 11TH CENT. ORTHODOX CHRISTIAN SCRIPTURE ‘BARLAAM AND IOASAPH’ Binay Shadangi Rajaram Indian tales have travelled far since ancient times. In this series of story-travel, there is an important link– the diaspora of Buddhist stories . Ashvaghosha’s Buddha Charitam written in the 1st century AD metamorphosized into the tale of Barlaam and Ioasaph – a Greek Orthodox Christian religious scripture that dates to the 11th century. Stories of Buddha in words and in visual art-forms gained popularity outside India along with Buddhism. Born in the second century, Prophet Mani initiated a new sect– Manichaeism. This sect grew in those areas where Buddhism was already deep rooted. 21 As a result, Manichaeism merged so well with Buddhism that Mani was christened as the reincarnation of Buddha himself. A similar effect of Buddhism spread across the Arabian Islamic society. Between 767 and 815 AD, one finds reference of three books that were transcribed from Pahalvi to Arabic and were associated to Buddhaís tales. These books were ‘Kitab al Buddha’, ‘Kitab Balahvar va Buddhasaf’ and ‘Kitab Buddhasafamufarad’. All of these books have attempted to highlight Islamic philosophies through Buddha story. After the Arabic edition of Buddha story, it travelled towards Europe via Georgia. The tale got Christianized in Georgia through the scripture The Wisdom of Balahwar. After its conversion to Christianity, the tale took the form of a religious scripture in Greece, which was home to Orthodox Christians. The Greek story of Barlaam and Ioasaph then spread in several European languages. With the metamorphosis of Buddha story as a Christian scripture, it underwent several changes including new religious thoughts. Addition of several new parables and new forms gave the illusion of it being a new story. Despite these innovations, the core of the Buddha story remained untouched. An incredible fact is that a mediaeval monastery on the Holy Mount Athos in Greece has a ‘bone ñrelic’ of the ‘imaginary Saint Ioasaph’. Every year Saint Ioasaph’s Feast day is celebrated on the 27th August of Orthodox Christian calendar. However, the monks and the masses refuse to accept that over the centuries, the character of Bodhisatva may have transformed into Budhasaf, then into Yudhasaf, and ended up in Greece as Ioasaph. There are so many copies of illustrated manuscripts of B&I belonging to different centuries preserved at different holy places. Who would have thought that it is the result of this diaspora of the Buddha’s story that Shakespeare’s ‘Merchant of Venice’ mentions three caskets that are a symbol of Buddhist Tripitak.The European diaspora of Buddha’s story is a classic example of the comprehensiveness of Indian literature and the worldwide influence of ancient Indian Religion, Art and Culture. 22 ICONOGRAPHY OF EARLY JAINISM: A HISTORICAL PERSPECTIVE C. B. Kamati The Jaina Art in India is an enlargement a sui generis or unique tradition rather than a mirror of doctrine or of any of its facets.The iconography of Jainism is classified as below. Period I : (100 BC to AD 100) Jaina iconography in terms of sculptural representations at Jaina monuments almost completely lacking specific Jaina motifs; Period II : (AD 100 to 550) Evolution and transformation of Jaina art and iconography in Northern India constituting Jinas as central themes; Intermediate Period: (AD 550 to 750) A Period of Experimentations’ and Demonstrations; Period III : (AD 750 to 1200) A diverse regional Jaina iconography with numerous represent ations of Gods and Goddesses; Period IV : (AD1000 to 1500) ÷vet°mbara Art of Western India (sculpture and miniature painting) in its fully evolved form. These iconographic traits and of the symbolism of Jain motifs have over and over again been approached in unhistorical sense as perennial and unchanging, hence eternal. This paper lays emphasis on specific historical contexts and associates shifts in meaning in interpreting symbols and motifs in Indian Jaina Iconography. Generally, iconograph, in its very conventional sense, had involved the study, description, classification, and interpretation of an icon by sourcing and correlating textual sources with the evidence of the icon, pratimñ-lak≠aüa. In a broader sense, iconography, iconology and studies related to meaning in an image or icon have now come to encompass a more comprehensive interpretation of the visual codes and visual content of an image, so as to unravel its many-layered meanings and inter-relations. Further, it is now well-accepted that meaning can also be read through the formal properties of an image, so that form and style become interpretative tools for meaning in an image, thus blurring the boundaries between the formal and contextual approaches. This research paper classifies the research out-put obtained through the mechanism Structural Historiography in sequential meaningful sub-topics. (i) Evolution of Indian Iconography and Signs of Jaina Iconography (ii) Secular Literary Texts on Jaina Art and Iconography in India (iii) Typical Features of Jaina Iconography in India 23 (iv) Periodical Evolution of Jaina Iconography in India (v) Cross-Cultural and Historical Significance of Jaina Iconography Keywords : Iconography, Iconology, sui generis, motif, symbolism, pratimñ-lak≠aüa, literary texts JAIN VESTIGES OF HAMPI ENVIRONS AND ITS SOCIO-RELIGIOUS SEQUEL C. S. Vasudevan Jainism was an important religion from early period down to the modern days. In ancient India, Jainism played a crucial role in the society. In Karnataka, particularly in the 17 northern part, covering the Deccan region, it played a significant role by influencing not only the general populace but also the rulers as well. In spite of its assertiveness, it had to fight with other religions for its survival. Since ancient time, the Jainism was fostered by many ruling houses and the same continued unabatedly even in the post medieval period also. The Jain vestiges that are found in the form of sculptures, basadis and inscriptions in and around the present day Hampi, (in Bellary district of Karnataka) the medieval capital of the Vijayanagara empire which held sway over the entire southern part of India during its hey days. It is a well known fact that the ancient capital is studded with innumerable number of temples, sculptures, epigraphs and other archaeological remains. It is curious to know that there are just a handful of Jain vestiges in the form of sculptures and architectural edifices numbering twelve as well as epigraphs. The present paper attempts to analyse all the Jain vestiges holistically and focuses on the socio-religious impact that it has left behind at Hampi environs. An attempt is also made to analyse the location of the architectural edifices, which exhibit unique architectural features, as well as the sculptures. In the Hampi, environs there are over eight Jain temples. The inscriptions of Jain affiliation are few in number and they too provide a very good insight into the fabric of the then society in general and Jain society in particular. Keywords: basadi, Hampi, Vijayanagara 24 VAJRAYANA BUDDHISM IN CULTURAL INTERACTIONS ALONG THE SILK ROAD Choodamani Nandagopal Vajrayana Buddhism is interwoven with the cultural traditions of the Silk Road. Known as the ‘ Diamond Vehicle’ for removing obstacles on the path to Buddhahood, Vajray°na’ s magical and yogic qualities led to the ideal of the siddha, a woman or man in harmony with the cosmos. This school was influenced by Hinduism, many rituals were introduced in Buddhist order from eighth century ACE.. Buddhism travelled from India through Silk Road in the early phase of Hinayana and Mahayana tradition during third century BCE to Gandhara, present Afghanisthan and Kashmir and reached China. Tibet fell on strategic point of the Silk Route, between Gandhara and China. Indian influence had transformed Tibet into a great Buddhist country encompassing the Buddhist religious order in its pristine form. Silk Road was a land route of merchants, pilgrims, and adventurers connected the Himalayan kingdoms with Greece and China from eighth to twelfth centuries, Tibet occupied a strategic position on this ancient trade route. Tibet introduced innovation into the tradition of Buddhist order with a sub-school of Vajray°na known as The Tantrayana, as ‘Tibetan Buddhism’. Under Guru Padmasambhava, Buddhism was practised on the basis of abstract forms such as ‘Mandalas’ (abstract colourful geometrical drawings), prayer wheels and other ritual objects. Several ‘tantric’ practices were introduced and Buddhism was popularised in Nepal, Bhutan and Tibet in this manner. Mongolia, Bhutan, Nepal, and Sikkim came under Tibetan influence and embraced Vajray°na Buddhist culture, continues to flourish in the Himalayan region today. In past because of the remoteness and supportive governance, the countries of Himalayan region have become rich cultural repository of religious traditions, reflections of which can be seen in the life style of the people in present days. This presentation explores the significant role Vajray°na Buddhism played in unifying and enriching the countries of the Himalayan region. Keywords: Vajray°na, Silk Road, Tibet, Guru Padmasambhava, Mandalas 25 THE UNKNOWN JAINA ROCK IMAGES IN THE TUNGA RIVER AT THIRTHAHALLI : SOME OBSERVATIONS D. S. Somashekhar and Sarvamangala G. Jainism is one of the most ancient Religions of India and its contribution for culture, art- architecture and Philosophy, is significant. Some of the ancient Royal families of Karnataka were Jains and the Santaras of Humcha (Shivamogga Dist, Karnataka) were one such rulers who ruled between 8th to 12th century AD over a small principality known as Santhalige - 1000 in the Malnad (Western Ghats) Region of Karnataka. Presently, Thirthahalli is a moderate town situated on the bank of the River Tunga and it was known as Tirtharajapura long back and it was a part of the Santara Kingdom. The broad and rocky bed of Tumga has a bend near Thirthahalli. History and a lot of legendary accounts are associated here with both the river and the place. ‘Tirtharaja’ means the king of Tirthas (Holy waters). The legend has it that Parashurama washed his blood stained axe in the river Tunga on the occasion of “Yallu Amavasye’’ (Tila Amavasya) the blood stain was washed away and the spot became holy to be called “Parashurama Konda’’ (Parashurama pond). It is in the flowing river at the bottom of a gigantic rock where once in a year people take a holy dip in the pond to ward off all evils and sins. Above the “Parashurama Konda’’ in the river in a distance of about 30-40 meters is a small island known as “Jogikutre’’, where, the folk believe that thousands of years back Jaina Munis (saints) observed penance and Sallekana. Even when the river Tunga is terribly flooded the island does not submerge and it is accessible to people only during summer. Near this island in the deep waters are some big rocks and they too can be reached only in summer. One rock as a part of the island has a standing Jina image (Kayotsarga Posture). The two nearby rocks too have 04 Jaina images carved on them in both Paryankasana and (seated in Dhyanamudra posture) and kayotsarga posture. These images do not contain any inscriptions, and they are eroded considerably due to the flowing waters for thousands of years. These images have missed the sight of researchers for the reason of their special and peculiar location and the risk involved in reaching out to them. Therefore, they call our attention to be understood under proper historical and cultural circumstances. Do these holy Jina images have also contributed for the name ‘Tirtharajapura’ along with the Parashurama Legendary account constitutes an interesting study and this paper is a humble attempt to throw some light in that direction. 26 IMMORTAL BUDDHA AND HIS JATAKA TALES Dhananjay Khandare and Dejal R. Deshpande This paper highlights the Buddhist theory of rebirth and the significance of Jataka tales at present making Buddha immortal. ‘Buddha’ means ‘Awakened One’, someone who has awakened from the sleep of ignorance and sees things as they really are. A Buddha is a person who is completely free from all faults and mental obstructions. He benefits all living beings without exception by emanating various forms throughout the universe, and by bestowing his blessings on their minds. Through receiving Buddha’s blessings, all being, even the lowliest animals, sometimes develop peaceful and virtuous states of mind. Eventually, through meeting an emanation of Buddha in the form of a Spiritual Guide, everyone will have the opportunity to enter the path to liberation and enlightenment. J°taka Tales is a large body of stories about the earlier lives of the Buddha. Many are in the form of animal fables that teach something about morality. Many of the stories are charming and light-hearted. The overall purpose of the J°takas is to show how the Buddha lived many lives with the goal of realizing enlightenment. The Buddha was born and reborn in the forms of humans, animals, and superhuman beings, but always he made a great effort to reach his goal. J°taka tales were the major sources for developing the character of the people. They were used widely in preaching by monks and lay preachers. By reading these stories, children and adults can develop their knowledge and learn how to face the difficult experiences of modern life. They can easily develop human values and good qualities like patience, forbearance, tolerance and the four sublime states of mind - loving-kindness, compassion, sympathetic joy and equanimity. The major purpose of these stories is to develop the moral and ethical values of the readers. Without them, people cannot be peaceful and happy in their hearts and minds. And the reader will find that these values are very different from those of the wider, violently acquisitive, ego-based society. J°taka tales were narrated by Buddha and since that time these stories play an important role in the development of the society and its people not only changing their behaviour but also giving them mental peace, making Buddha immortal. 27 TARA IN WESTERN INDIAN CAVES: A RETROSPECT Elora Tribedy and Yongjun Kim The western Indian caves, located in the Deccan region are home to wonderful specimens of Indian art. Similarly the Buddhist goddess Tara has been the subject of immense body of scholarship. The goddess Tara appears in late Mahayana sutras and in texts ‘Tara-mula-kalpa’, ‘Arya Tara sragdharastotra’, dating generally to the seventheighth centuries A.D. Looked under the light of sculptural finds and art historical debates, the place of the origin or first appearance of Tara is still a contested arena. Hypotheses regarding western India as the place of the origin await acceptance due to the dubious nature of iconographic attributes in representations of Tara. Often displaying lotus has been taken as sole identifying standard for the goddess, which has created much confusion. The lotus-bearing acolyte for both male and female has remained a common stock motif in Buddhist art. The confusion regarding the absence of strict iconographic rules for the images of Tara in western Indian caves has led scholars to propose a ‘proto-typical’ form rather than the actual concept of this goddess that is present in the eastern part of India. The above problem in the Indian Buddhist academia has created confusion regarding the mode of Buddhism in the early medieval religious landscape along with monastic and people’s participation. It calls for a detailed contextual study of Tara images in western India.This paper will present documentation and categorization of Tara’s representation in the western Indian caves. Such a comprehensive recording has not been achieved yet and will be the main contribution of the paper. Secondly the present paper will contextualize these images to see a chronological setting for such occurrences. Such chronological solution will help to locate the Tara sculptures of western Indian caves in the Buddhist religious landscape of the contemporary period.Thirdly the present paper will give a final review on the existing problems of the origin of Tara in western Indian caves in light of discussed information. 28 SYMBOLISM OF COLOR IN BUDDHIST ART Gomathi Gowda The symbolism of color in all traditions defines certain aspects of a culture and more importantly transcend all cultural barriers. The combination of colors and their meanings are extremely important and in Buddhism they are adopted to reach an eventual liberation from a cyclic existence. The Pancha varna or the five colors White, Yellow, red, blue and green were canonized as rich in symbolism. The concept of the ‘rainbow body’ in Buddhism is the ultimate transitional state of meditation in which matter begins to be transformed into pure light. It is said to be the highest state attainable in the realm of ‘samsara’ before the ‘clear light of Nirvana’. As the spectrum contains all manifestations of light and color, the rainbow body signifies the awakening of the inner self. The chandamaharosana tantra says that black symbolizes killing and anger, white-rest and thinking, yellow for restraining and nourishing, red for subjugation and summoning and green for exorcism. The five transcendental Buddhas are also endowed with different colors. Furhter colors combined also meet the prescribed symbolism to produce emotive visual effects. This paper makes an attempt to analyse the symbolism of colors in the Buddhist visual imagery and its artistic representation in different Buddhist imagery. Keywords: pancha varna, colors, canons, emotive visual effects ANALYTICAL ANALYSIS OF BUDDHIST AND JAINA ART: PHILOSOPHICAL AND SOCIAL CONTRIBUTIONS Gopal Prasad Mondal Buddhist and Jain art have immense significance in understanding cultural milieu of ancient India. The paper aims at analysing the contributions made by Buddhist and Jain art in the making philosophical and social settings. The philosophical settings of these two religions have been reflected through the art -historical remains. The paper will try to explore how the philosophical characteristics of these two religions are seen through the symbolism of art-historical remains. 29 GYASAR - THE BLESSED FABRIC BY BUDDHISM Jasminder Kaur There is a strong bond between Buddhism and Varanasi, with first and foremost of enlightenment of Lord Buddha himself. This bond is not only ritual but it also reflects in the cloths. We find mentioning of typical type of cloths with ‘KashikaVastra’ or ‘Kashiani’ (Kashi Textiles) names in the Budddh literature. This references to the cloths made in Varanasi. There is a mentioning that Lord Buddha was wrapped in the Banarasi fabric, when he attained Mahaparinirvana. This age old connection is still continuing with the use of Gyasar fabric by Buddhist in ceremonies and Monasteries. Gyasaris a Tibetan word used for a typical satin cloth having auspicious Buddhist motifs on it. Varanasi is the production centre of Gyasar and exports it to Tibet and China.The motifs on Gyasar are usually bold; each motifs and colour has a specific symbolism of Buddhist Religion. I will be focusing on specialties of this Gyasar cloth, its motifs and weaving technique in my paper. DIMENTIONS OF DOMESTIC LIFE IN THE SCULPTURES OF SANCHI Kamal Giri In hoary past women were accorded and showered praises and respects. Their true function was taking care of their family members and children. In Buddhist period the women were assigned a comparatively honoured place in society. Buddha was of opinion that women should be thorough in their duties, should be kind gentle towards family members, should be careful in house-keeping and carry out their work with skill and enthusiasm. The richest period of early sculptural art in Indian history is the Sanchi sculptures of Shunga period. The sculptural art representations depict a comprehensive picture of varied aspect of life in contemporary society either it is or higher category of lower category. 30 The scholars have written on Sanchi sculptures from different views i.e. narrative art, historically, culturally, religiously etc. They have touched the varied aspects of women life but their writings tell so little about the various activities of domestic life. In the present paper an attempt has been made to touch such sculptures which are fully engaged in household activities. There are examples of hard working men and women who are occupied in heavy physical work. The artists obviously portrayed the world as they saw it in real life representing various shades and forms of life. The domestic life was considered to show through the different household activities done by men and women. The aesthetic sense of the rural persons can be deduced from their engagement in winnowing the basket, pounding grain in mortar with a pastel rod (m¸sala) grinding something on a board with a roller, lady with fan, bahaigÈ carrying load, woman filling water, carrying child, couple cooking in the fire in front of a cottage, bringing wood, lady carrying basket on the head. These examples shed a variable light on many lesser known aspects of early life and customs, which is still continuing till today, specially in villages and in some rituals like marriage, vratas etc. SALIENT CONTRIBUTIONS OF BUDDHIST PHILOSPHY AND ITS IMPORTANCE ON BUDDHIST ART Kiran Kumari Buddhism has contributed immensely to the religion, philosophy, culture and Art. It gave the most popular religion, devoid or sacrifices and based on morality. The Tripitakas give an insight in the Buddhist philosophy. It was based on four ‘Arya Satyas’, ‘twelve nidans’ and ‘madhyama marga’ or eight fold path . Meditation or ‘dhyana’ was the means to attain ‘sambodhi’ and ultimate bless. Buddhism laid stress on elimination on cast and creed equality of men and women, opposed violence either in thought or action and unnecessary performance of sacrifices. It propounded a new way of life marked by morality and good conduct. Buddhism enriched Pali language and literature and established contacts with many countries of central Asia and south east Asia. The cultural exchange and spread of Buddhism in these countries was unique. 31 Buddhist philosophy also influenced the growth of art and architecture. A new style of art known as Buddhist art developed. The earliest sculptures in India where influenced by Buddhist religion and philosophy. The earliest sculpture belongs to Buddha and Bodhisattvas in different ‘mudras’ like ‘yoga mudra,’ ‘dharamchakra pravartan mudra,’ the main aim of the Buddhist art was to lay emphasis on the way through which a sadhaka could get inspiration and ultimately attain nirvana. Buddhism also helped the growth of architecture. A new architectural style developed in which Chaityas, Stupas, Samgharamas and Viharas where constructed on large scale. The Buddhist art and architecture remained continued not only in India but influenced considerably the art and architecture of several south Asian Countries also. THE EXPANSION, DEVELOPMENT AND DECLINE OF BUDDHISM IN SOUTH INDIA M. Krishna Priya The emergence of Asoka, The Great (273-232 B.C) was an important turning point in the history of Buddhism, who embraced Buddhism and made the Buddha dhamma the basis of all his actions in the spiritual as well as temporal fields. According to tradition, the Third Buddhist council was held by Asoka and missionaries were sent not only to South India but also to Sri Lanka, Burma and other countries to propagate Buddhism there. In particular the third council convened by King Asoka delegated various Arahants with the task of leading missions to selected lands. Both in the time of the Buddha and in subsequent times Buddhist monks went about from village to village spreading the word of the Master. Those who went to South India had to take up the challenge from Jain and Hindu opponents and engage themselves in debate with them, apart from struggling against other difficulties and obstacles. The monks thus endeavouring to spread the Dhamma met with encouragement and support from kings, wealthy merchants and noblemen. As a result of this they went out to each and every village and city of South India and propagated the Buddha Dhamma, building monasteries and erecting centres of Buddhist learning. Some of the monks residing in the monasteries became skilled medical practitioners. They provided free medical services and free education in the monastic school thus rendering invaluable service. They got the people to 32 assemble at the monastery premises, and preached Jataka tales, the life of the Buddha, read Suttas from the Buddhist scriptures, and thus increased the knowledge of the Dhamma by explaining and clarifying what the people could not understand. With the help of kings and rich men they maintained alms-halls for the benefit of the blind, deaf and maimed. Thus on account of their social services and devoted work in the propagation of the Dhamma, Buddhism spread rapidly in South India. Buddhism, which flourished in South India from the 3rd century, began to decline gradually from about the 7th century for several reasons. Keywords: Dhamma, Arahants, Jataka tales, Suttas, alms-halls THE BRICK CHAITYA HALL AT RAJAGHATTA: A UNIQUE EDIFICE OF THE BUDDHISTS M.S. Krishna Murthy Archaeological excavations conducted at Rajaghatta (Doddaballapur taluk, Bangalore district) have revealed the foundations of a rectangular brick chaitya hall. On plan, this chaitya consists of an apsidal hall, a rectangular circum-ambulatory path, enclosed by a rectangular outer wall. This outer wall is further buttressed by a podium all round. Based on the clues obtained from the excavation an attempt has been made to explain the unique nature of the plan and also the elevation of this chaitya. The conclusions drawn are: The chaitya was surrounded by a stylobate. The roof of the shrine inside was rectangular on plan. Its top was, probably, wagon-vaulted with gables at both the ends. These features denote that the chaitya was built on the model of a Greek 24 temple, and in all probability it was an adaptation of a Greek temple modified to suit the Buddhist form of worship. This building is presumed to have been in existence during IV-V centuries A.D. So far a chaitya of this kind is not known to have been built anywhere in India, hence, this assumes importance as a unique edifice of the Buddhists. Keywords: Buddhism, Buddhist Architecture, Brick Chaitya Hall 33 AJANTA PAINTINGS: COMPOSITION AND PERSPECTIVE Madhulika The Aurangabad, in the state of Maharashtra, in the heart of the Indhyadri ranges, are the imposing Ajanta caves. Carved in the rock of a steep cliff, overlooking one of the meanders of the Waghora, thirty rock shrines are spread out over six hundred meters, in an arch overhanging the river. It is in this ideal retreat a conducive haven for meditation and contemplation, that from the 2nd century BC till the beginning of the 7th century, Buddhist monks decided to retire and build this spectacular monastery in rock. The Ajanta caves, with their compelling architecture, their outstanding high-reliefs and sculptures, the remarkable richness and variety of the canopies and profusion of the shafts of their carved columns, are universally admired for the beauty of their paintings. These paintings, which decorated the walls the columns, the door frames, the ceilings, illustrate, in a very detailed and precise fasion, about thirty Avadana, or Jataka extracted from the vast body of tales, poems and belled, sanctified and editing tales attributed to the Buddha who, it is said, narrated them to his disciples. These tales relate the history of the various incarnations of the Blessed One. While being religious in nature, the Ajanta paintings, the latest and the most famous ones, express the extreme refinement of the period which gave rise to them, a period of unprecedented artistic and cultural culmination in northern India, then governed by a dynasty which was at the height of glory, political and economic power and territorial expansion: the Gupta dynasty. REVISITING THE LATER ANTHROPOMORPHIC BUDDHIST ICONOGRAPHY Madhulika and Vipul Tiwari This research paper is a reanalysis of the controversial problem from the “modern historical perspective’’ and discoveries. According to the Imperialist art-historians Buddha’s “anthropomorphic representation’’ was a by-product of the Indo-Greek art 34 or result of cultural exchange with Hellenistic tradition. And on the other hand the Nationalist writers claimed that Buddha image was an outcome of necessity and pure Indian genius. In this research paper we have tried to discuss that not only the view that the Buddha image was originated from Indian mind but also examine the contentions of those historians who claimed its origin in Indo-Greek art. First of all we have tried to delineate the meaning of Buddha’s anthropomorphic representation with the sole objective to remark the historical development. Secondly, we have analysed those early symbols of Buddhist art which were used to indicate Buddha. Thirdly, we have analysed the symbols existed in early Indian art. Fourthly, a comparative study of the Gandhara and Mathura schools with its styles, content, and chronology has been re-examined. A sequential study beginning with the “Parkham iconography’’ to the Gupta period has been attempted which points towards its indigenous growth with some reservations. Keywords : modern historical perspective Imperialist art-historians, anthropomorphic representation and Nationalist writers PAINTED JATAKA-SERMONS: THE AESTHETIC OF DHARMADESANA IN THREE SERMON SCENES AT AJA..A Madhulika Reddy The sermon episodes of the jataka stories are singular, both for their place in the narrative and for the significance they carry. As painted depictions (the form in which they appear at Aja∞Æ°a), they are powerful visualisations of dharmade∂an° (P°li: dhammade∂an°) and dharmad°na (P°li: dhammad°na). In their many-layeredness, in the complexity of the allusions they carry, they serve as a link between the paccuppannavatthu (or ‘the story from the present’ as referred to in the P°li J°taka, where the Buddha addresses a group of bhikkhus and up°sakas on an aspect of the Dhamma) and the atitavatthu (or ‘the story from the past,’ that is, the past life of the Buddha), recounted by the Teacher as illustration to the aspect discussed with the bhikkhus. Embedded in the at¢tavatthu, often as the culmination of the narrative, the sermon episodes of the j°takas are of great import: they are, invariably, scenes in which the Bodhisattva himself delivers the sermon; more often than not, they follow a supreme act of virtue performed by the Bodhisattva, which serves as the basis for the sermon 35 and enhances its appeal; and, not least, they encapsulate the very act through which Buddhism is propagated. It is in this last function, which involves the coming together of preacher and listener, that the sermon scenes merit special attention. This paper shall attempt to probe the singular aesthetic underlying Aja∞Æ°’s sermon scenes – an aesthetic marked by the philosophical significance of the act, and emanating from the intense involvement of preacher and listener. What makes this aesthetic so distinct, and what are the resonances it carries for the viewer? PROTECTIVE SYMBOLS: A CASE STUDY OF THE BUDDHIST CAVES AT NASIK Manjiri Bhalerao The human mind is always afraid of the unseen and unpredicted acts. There is a constant threat of the unknown evil that is hovering around him. To prevent the unseen evil power from harming the humans, man has devised numerous methods. They range from the protective chants to performance of rituals as well as from drawing auspicious symbols to placing them on the monuments. Such acts are observed in all the civilization all over the world. India is no exception to this. In the modern Indian society such acts can be seen in different forms. However the existence of such protective measures, to safeguard the monuments in ancient times, can be observed at some places. Nasik is one such site where there are twenty four Buddhist rock cut caves with a plethora twenty seven inscriptions. The inscriptions and the symbolic artistic representation in the caves reveal their exact nature and the reason behind their existence over there. The paper attempts to analyze these occurrences in the caves at Nasik. 36 SOME INTERESTING AMBIKA SCULPTURES FROM MALWA REGION Manjushree Rao Fertile, prosperous, beautiful, aptly known as the heart of India, Malwa region has a glorious history and its contribution to Indian culture are remarkable. Its association with Jain religion, culture and society is deeply rooted from very ancient times. Amongst, the Jain goddess Ambika acknowledged as yakshi of the twenty second Jina Neminath enjoyed a special venerated position in Jain worship. The images of Ambika found in this region can be classified under two heads: 1. Independent images of Ambika in lalitasana or sthanakamudra 2. Ambika shown with Gomedh under a tree in sthanaka or lalitasana mudra The paper endeavours to give a detailed iconographic description of some of the interesting Ambika images and thereby prove the sculptors of Malwa introduced some new features and did not strictly adhere to the prescribed rules given in the texts. SOCIO-RELIGIOUS CONTRIBUTIONS OF JAINA ART Maruti Nandan Pd. Tiwari Art is the living visual account of our tradition, including the concept in religion and philosophy that prevail during an epoch in society. And yet, while discussing history or religion, philosophy and culture, we take into account only literature as the main narrative along with inscriptions and coins and miss out the artistic creations of temples, stupas, sculptures and paintings, or the other forms of art embodying the spirit of the time. In the Jaina context, art has been the main vehicle for the wide and dynamic expression of spirituality, the absolute renunciation of all possessiveness and the ideal of non-violence and austerity, besides ample information about the patronage of ruling, traders and mercantile classes. The Jaina sculptures also reveal tremendous varieties in dress, ornaments, hair style, attributes and contemporary daily life which are important source of social-art history of India. A unique feature of Jaina art and thought was that the Acharyas never compromised on the basic tenets of Jainism. These tenets found idealistic expression in their images of the Jinas or Tirthankaras, and of Gommatesvara 37 Bahubali, the first kevali of present aeon and the son of 1st Jina Rishabhanatha. The purity was uppermost in the Jaina consciousness, so much so that only the highest point of spiritual attainment was sought to be represented in art. The poetics of the Jaina concepts, woven into the attitudes, gestures and postures (mudras) of the images, brought forth multiple layers of meanings in a visual language. The subject chosen was depicted in the human form – whether legend, deity or sage. However, the person was revered for the ideal quality epitomized. Thus, the inspirational quality of a Jina (Arhat) was his spiritual invincibility as the soul of perfection. Other qualities of being worthy of adoration were: the vitaragi-free from desire and passion; nirgrantha-free from knots of bondage; the postures of deep meditation namely kayotsarga-mudra – the erect figure in the attitude of dismissing the body and the dhyana-mudra -figure seated cross-legged; and finally the absolute aparigraha (nonpossession)and ahimsa (non-violence). It may be noted that Jainism remained a popular religion throughout, having the support mainly of the masses, and the business class. There are ample inscriptional evidences found at Kankali Tila, Mathura, Osian, Khajuraho, Bilhari, Deogarh, Jalore, Kumbhariya, Delvada, Shravanabelgola, and at several other places. [...] TRANSFORMATION OF TEXTUAL FORM INTO VISUAL ARTS: CONCEPTS OF BUDDHISM TRANSFORMED INTO BUDDHIST ART WITH REFERENCE TO JATAKA TALES Minnu Kejriwal In Indian tradition the process of making art object itself is based on and followed by ancient historical and theoretical texts and religious scriptures. It is interesting to explore how ancient concepts of the image have been constituted in written discourse and how the concepts themselves are transformed and made visible in works of art. The religious literature also extends to offer such themes which would be transformed into artistic compositions. In Indian religion whether Buddhist, Jain or Hindu all have provided tremendous scope for expressing the theology in an artistic manner. The religious literature also extends to offer such themes which would be transformed into artistic compositions. It approaches the art to establish subtle as well as gross links 38 between visual and written traditions. Its religious tradition is an extremely iconic and oral one. In India the j°taka stories of Buddhist text were narrated in the paintings and sculptures of Ajanta. These visual narratives helped in spreading the Buddhism. Nandagopal adds that in the process of transforming the text into visuals, the text gets recorded contextually on a permanent basis, this expressive dynamism of contextualizing the text through the visual arts i.e. paintings, sculptures or illustrations becomes very effective. Kapila Vatsyanyan vividly explains the relationship of text and the visual arts having two important levels of exploration in the Indian artistic experience and manifestation. Level one, is that of sastra or the textual sources (i.e. written and oral accounts) reconstructing a complex multi-faceted theory of art. The other level represents the practical dimension, that of prayoga, which is less rigid, which allows divergence, flexibility, improvisation. More, perhaps, this artistic experience is an exploration of the relationship between these two levels, the prescriptive and the practical, and see that how they complement and nourish each other. This paper will be a humble attempt to explore the narrations of the jataka stories transforming into the work of art in the paintings and sculptures of Ajanta. Keywords: Buddhist Art, Texts, Visuals, Concepts THE ‘ROBE [<ÃÊVÁby>] DISPUTE’ IN BUDDHISM - AN INEXPLICABLE PHENOMENON Naval Krishna Actually no one physically has seen Lord Buddha wearing chiver [Yyƒ∫ 3 piece ‘unstitched’, as per Indian tradition, dress; here onwards we deal with ÃÊVÁby, the shawl] and replicated it in visual or textual forms during his time, all about the dress etc. we know from more than approximately 3 centuries after the demise of Lord Gautam Buddha [6th century BCE] or more, from 1st century CE, from Buddhist traditions preserved in form of oral tradition and texts preserved in neighbouring countries and India. In these Buddhist texts’ undoubtedly Lord Buddha [‘as recoded’]had great concerns about the chiver : its colour, and how many sets a monk would possess. The Lord had permitted also, in order to avoid inconvenience, bhikshus to keep 2 sets of chiver. 39 Then why did he leave this steaming matter of ‘Robe Dispute’? It must be a later phenomena? In this paper, I jump and hop from the Indus Valley-the Vedic period6th cent BCE.-3rd cent.-1st cent CE-11th cent.-16th cent.-modern period. Interestingly, many other disputes also prevailed in the Buddhism- philosophy, the Lord s look/features, size over the period. Evidently, we see in visual articulating in paintings, sculptures etc. of last 2 millennium, Lord Buddha and the followers wearing sanghati [ÃÊVÁby, a) opaque and fully pleated, or b) transparent like sticking to the body as if drenched [mostly in case of the Lord]in three fashions- (1) hanging from the ‘right’ shoulder, (2) from ‘left’ shoulders- leaving other shoulder uncovered, and (3) wrapped around the neck [‘covering both shoulders’]. Has this fashion a veiled meaning? The tradition of covering on one shoulder [or hanging scarf downwards and leaving or not other naked, along with Eá|uå™yu¬o åzfi [half closed eyes], thick lips [all found in Lord Buddhaís images] designated to images of Indian saints, has not been new phenomenon in Indian tradition- viz. the ‘Great Priest’ image from the far past, of the Indus Valley civilization. Thereafter from the Vedic period onwards- wearing yagnopavita [ÆrÁzúƒyo, the sacred thread worn by Hindus [on different [?] shoulders along with ‘2-3 piece unstitched cloth’ was perhaps a concept inspired further to the Buddhist ‘Robe’? If not then, where did Lord Buddha or his followers or later artists take inspiration from- use of different shoulders for ÃÊVÁby and ‘unstitched clothes in 3 pieces’ for Yyƒ∫ as well - is a mystifying factor ? Interestingly, in the medieval period, very similar to the above 2 situations, when Muslim Mughal Emperor Akbar [evident in the Ain-e-Akbari and paintings] subtly demarked Hindu and Muslim subjects thru their jamas [tunics] dress codeña) tying upwards [not hanging down] towards left shoulder or b) towards right one distinctlyas a part of ‘3 piece stitched attire’ [as opposed to the Indian ‘unstitchedí’ tradition]. In Indo-Rajputi 3 piece cladding in women- lahanga[ ¬“ÊTÁ ]choli [YÁz¬y ]and scarf[ EÁzjåΩ y] [a debate continues on between this attire and sari] and dress among men- dhoti, a dupatta and a turban [úÁTΩ]- mostly all ‘unstitched’ and the way scarves were draped till the advent of the Mughal period are also worth mentioning to 29 support geographical and religious demarcation. Today, even in saris [ÃÁgy] a group throw sidha pallu and other ulata- to denote geographical ethnic distinction! 40 Considering the artists’ angle and thus the available variety of images of Lord Buddha and his followers in various parts of India, basing on my present limited research on the topic, a farfetched fanciful hypothesis can emerge. That Lord Buddha or his followers purposely designed these 3 fashions of their outfits [taking inspiration from some Indian concepts], in far later period,moreover in other forms; which can be observed in the Mughal dress code too], meant for (A) different status/ categories of Bhikhus or (B) the Buddha himself visiting different zones of India- viz.- [1] hanging from the right shoulder during visit his one zone of India [2] hanging from the left shoulder for the other [3] round the neck was around Mathura region and N.W. [4] finally, prescribed white dress for ‘out casted’ Buddhists, as noticed in the proclamation of Samrata Ashoka in Sarnath 3rd cent B.C Lion Capital pillar inscription. [contrary to which, an American scholar discovers an amazing fact that the ëwhiteí was the color worn by the upasaka/upasika [GúÁÃNˇ/GúÁuÃNˇÁ], the lay person who has taken initiations]. Or later on from the beginning of the samvata era, the Hinayani sect of Buddhist followed one fashion and Mahayani followed other? Nevertheless, contradictering all above mentioned hypothesis, a very juicy passage from S.E. King’s day-to-day diary, dated 1780s- mentioning a ‘Robe Dispute’ incident offers an interesting clue:- “one Buddhist group said- if a monk leaves the premises, he should wear a casual dress covering his left shoulder, while opposition maintained that monk should wear his formal dress while leaving premises and should cover both shoulders.. King blamed occurrence of such disputes due the survival of the some elements of schism in the society, which soon he would eliminate. Thus in this 18th century tradition (which perhaps have a long tradition) covering left shoulder [for all?, including Lord Buddha too?] can be a hint for a ëcasual dressí and ‘wrapped around the neck’ [Mathura style] as a formal dress.? How far it was true from the one existing in 6th BCE-1st cent tradition? Such more clues would perhaps solve the mystery of the ‘Robe Dispute’ and the articulation [in various Buddha images] of the ÃÊVÁby on the left or right shoulders or all round neck. 41 BUDDHIST PALM LEAF MINIATURE PAINTING FROM THE COLLECTION OF INDIAN MUSEUM Nita Sen Gupta This paper is an attempt to bring together the Buddhist religion and the palm leaf painting traditional art style or the technique, iconography, symbolism, and Buddhist Gods and Goddesses especially in eastern India which played an essential role in moulding the Indian miniature painting art tradition in the near future.This research leads towards the believe system as an inner strength of the urgent need of the socio-economy and political scenario of eastern India, which had a strong root of tradition of believe system since early medieval times. BUDDHIST ART IN INDIA, CHINA, JAPAN AND THAILAND: A COMPARATIVE STUDY Nitesh Narnolia and Mousam Culture and religion are two components both dealing with the similar human issues in terms of values, way of thinking, inner feelings and the method of expression by using the similar mode of symbolism. Buddhism, as a spiritual community which is called Sangha was quite different from other religious or spiritual formations. Sanghas established in other countries were never came under the influence of the Sangha situated in India. This unique feature provides Buddhism the authenticity and provides a space to the various local talents to express themselves in the essence of the Dharma. Buddhism has been spread from India to throughout Asia and to the West. It does not only assimilate into the local cultures, but also acts a mediator between East and the West. The culture of Buddhism includes all areas such as literature, music, dance, drama, painting, architecture and any other art associated with Buddhism. Thus, the present paper tries to understand the differences and similarities in the art and culture of Buddhism by dealing with the literatures and architectures of India, China, Japan and Thailand. The paper will also try to define the relationship between culture and Buddhism and the characteristics of literature and architecture of the Buddhism. 42 The major aim of the paper is to look into the contribution of Buddhism to literature and architecture, particularly of India, China, Japan and Thailand. Keywords: Buddhist Art, Culture, Literature, Architecture and Buddhism. POSSIBLE ICONOGRAPHICAL INTERPRETATION OF UDAREMUKHA IMAGES IN BUDDHIST ART Nitin Hadap The aim of the present paper is to trace the possible iconographical interpretation of the Udaremukha image, the face on belly images from Buddhist art. The present authors propose the new possible identification of these images frequently depicted in Buddhist art, mostly with its connection with Demon Mara’s episode. This important motif has been discussed in brief by C. Shivarammurti in his monumental work, Sanskrit Literature and Art: The Mirrors of Indian Culture (1955). Broadly speaking, after this work, these fantastic images were not receiving scholars’ attention they deserved. Present paper will highlight presence of these images in Indian art and specifically in Buddhist sculptures and paintings. Similar images found in other cultures will also be discussed. The paper will conclude with suggestion of new interpretation of the image in context with Buddhist art. Keywords: Buddhist Iconography, Face on Belly, Udaremukha images, Indian art PARTICIPATION OF THERAS AND THERIS IN THE DONORS WORLD: A DOCUMENTATION OF SOME INSCRIBED RECORDS Noor Bano Sattar A holistic study of the short and sometimes cryptic epigraphical contents on a large corpus of images, pedestals and door lintels of the PÉpla-Sena rulers (c.7th century CE13thcentury CE) from Bengal and Bihar serve as crucially significant primary sources 43 for studies on socio-political, economic and religious histories. The dedicatory inscriptions records the name of donors, in many cases the place of his / her residence and the social status of him/her. I have noticed in majority of the inscriptional evidences that the donors both men and women identify themselves in connection to Buddhism. Occasionally lay donors identify themselves specifically as upasakas and upasikas and the members of the Buddhist order as bhikkhus and bhikkhunis. The present study is therefore an attempt to portray the role of theras (bhikkhus) and theris (bhikkhunis) as donors of images of the Buddhist pantheon. The purport is to make an analytical study of the inscriptional evidences that reveals the names of the monks and nuns responsible for the pious act of making dana, the names of the local monastic establishment, etc. Interestingly enough, few records mention that the donors were immigrants from other parts of India. Did the donors have some link with the Buddhist establishment that flourished in Bihar and Bengal? According to the early Buddhist concept of Vinaya rule, as expressed in Patimokkha, Mahavagga and Cullavagga, individual monk and nuns are not entitled to carry money or any other belongings which will exceed the three robes, the alms-bowl, medicines and water-strainer. Nevertheless, the inscribed records of the PÉpla-period give a different picture where the monks and nuns are making lavish donations. Were there any changes in their social status and material conditions that enabled them to make such donations in the later period? What were the reasons for the adoption of the non-vinaya practices by the donors are few arguments that would receive attention in this study. Keywords: Dana, Theras, Theris SYNCRETISING HINDU AND BUDDHIST DEITIES Pramod Dandwate Syncretistic image means one or more gods or goddesses or various aspects of a god or goddess are combined together in a single body form. There are many examples of syncretistic images; Ardhanari forms of Hindu Gods like Siv, Visnu, Brahma, Krisna, Ganesa, Kubera, two gods combined together like Hari-Hara, Siva-Rama, KrisnaKartikeya, Hari-Brahma, Surya-Brahma, Siva-Surya etc. Female deities are also found 44 combined together like Parvati-Laksmi, Laksmi-Saraswati, and Laksmi-Radhika. Syncretistic images in multiple form are also available in Indian art like Trimurti, Brahmesanajanardaka, Panchaytana-Linga, Chaturmukha, Panchmukha and Multiple Linga, Heramba-Ganesa etc. Supreme form of Gods or Goddesses are also considered as syncretistic icons as they depict various aspects of the deities taken on special occasion for special purposes. It is interesting to observe that not only various Hindu deities are combined together to form different syncretistic images but two different religion; Hindu and Buddhist are also combined for this purpose. They are very rare in Indian art, few of them are; SivaLokesvara, Visnu-Lokesvara, Surya-Lokesvara, Astalokapala-Visnu and VisvarupaLokesvara. BAHUBALI IN JAINA ICONOGRAPHY WITH SPECIAL REFERENCE TO KARNATAKA Priya Thakur Bahubali is a much venerated figure among followers of Jainism in Southern India. He was the son of Rishabhanatha, the first tirthankara of Jainism. As per Jaina literature, Bahubali is said to have meditated immobile for period of one year in a standing posture (kayotsarga) and during this time, climbing plants grew around his legs. This imagery became the iconographical feature of Bahubali in sculpture. After his year of meditation, Bahubali attained omniscience (Kevala Jnana). According to Jaina texts, Bahubaliís soul was liberated from the cycle of births and deaths (moksha) at Mount Kailash. He is revered as a liberated soul (Siddha) by the Jains and is as popular as the twenty four tirthankaras in southern india. Earliest description of Babhubali or Gommateshwara can be seen at ancient rock-cut caves of Badami and Aihole belonging to the period of Badami Chalukyas. The first free standing massive monolithic statue of Bahubali can be identified as the one at Shravanbelagola in Hassan. The present paper is an attempt to discuss the iconographical representation of Bahubali in monolithic representations as well as relief forms in Karnataka region in historical context. The iconographical discussions will be based on historical and textual contexts related to Jainism in Karnataka. 45 STUPA SYMBOLS AND THEIR ART FROM VIJASAN CAVE AT BHADRAVATI, DIST. CHANDRAPUR OF VIDARBHA Priyadarshi M. Khobragade Vijasana caves at Bhadravati in Chandrapur district of Maharashtra deserve special mention for the carving of stupa symbol on their faÁade. The stupa symbols are carved in low relief on the faÁade of the caves as well as on the side walls of the wide porch. These depictions of stupa symbol are shown with the all essential components such as medhi, anda, harmika and chhatravali. The paper will try to examine the architectural features of these depictions to understand their chronological framework. The paper will also highlight significance of these depictions stupa symbol in the rock-cut Buddhist architecture of Maharashtra. SYMBOLISM IN BUDDHIST ART : AN ANALYTICAL STUDY R. P. Pandey and Nand Kumar Misra Buddhist art reflects very faithfully all the important aspects of Buddhism. In primitive Buddhism, Gautama Sakyamuni has been regarded as an ideal human being and quite naturally we find that the early Buddhist art of Bharhut, Sanchi, Bodh-Gaya and Amaravati and other places shows no anthropomorphic representation of the Master. Buddhist symbolism is the use of Buddhist art to represent certain aspects of dharma, which began in the 4th century BCE. Anthropomorphic symbolism appeared from around the 1st century CE with the arts of Mathura and the Greco Buddhist art of Gandhara, and were combined with the previous symbols. Various symbolic innovations were later introduced, especially through Tibetan Buddhism. It is not known what the role of the image was in Early Buddhism, although many surviving images can be found, because their symbolic or representative nature was not clearly explained in early texts. Among the earliest and most common symbols of Buddhism are the stupa (and the relics therein), the Dharma wheel, the Bodhi tree (and the distinctively shaped leaves of this tree) and the lotus flower. The dharma wheel, traditionally represented with eight spokes, can have a variety of meanings. It initially 46 only meant royalty (concept of the ìMonarch of the Wheel, or Chakravatin), but it began to be used in a Buddhist context on the Pillars of Ashoka during the 3rd century BC. The Dharma wheel is generally seen as referring to the historical process of teaching the buddhadharma, the eight spokes referring to the Noble Eightfold Path. The lotus, as well, can have several meanings, often referring to the quality of compassion and subsequently to the related notion of the inherently pure potential of the mind. The Bodhi tree represents the spot where the Buddha reached nibbana and thus represents liberation. The swastika was traditionally used in India by Buddhists and Hindus to represent good fortune. In East Asia, the swastika is often used as a general symbol of Buddhism. Swastikas used in this context can either be left or right-facing. Early Buddhism did not portray the Buddha himself instead using an empty throne and the Bodhi tree to represent the Buddha and thus may have leaned towards aniconism. The first hint of a human representation in Buddhist symbolism appear with the Buddha footprint and full representations were influenced by Greco-Buddhist art. RELICS OF BYZANTINE (ROMAN ORTHODOX CHRISTIAN) EMPIRE ARE TESTIMONY TO ART BORROWINGS FROM THE BUDDHISM Rajaram More than 300 yr. fully researched and established fact of the Byzantine Christian Scripture ‘Barlaam and Iosaph Romance’ is noteworthy as a very powerful evidence of the Byzantine Era borrowing Indian elements .What is most needed now is an intensive and vast research project from the Indian point of view by establishing a Research Seat to investigate in the field of Indian Buddhism influencing the Orthodox Christian World and its Art. It is a well-known fact that early civilizations owed greatly to each other.India has remained in touch with the west through centuries past via land and sea, through commerce, through various classes of travellers, and through diplomatic and religious envoys. There is strong likelihood that these lands supplied Indian elements to Byzantium when the opportunity came. 47 The opportunities of visual cross-currents as provided by missionaries, pilgrims, traders, travellers, ambassadors and trade-fairs through art-works, texts, coins, visual accounts and even the possible exchange of artists between India and the Byzantine world might have obviously re-sulted in the form of such close and parallel developments in the field of visual-arts. Among the available texts there are accounts of the Indian Ambassadors arriving with art-works as gifts to the host Byzantine Kings, the Arabs selling Christian icons to India, and the marts of exchange of the art-works. The Byzantine coins circulating in India is also clearly men-tioned in the texts, and till recently the coins have been found in various excavations in India. ‘The Christian Topography of Cosmas’ offers visual accounts of the ‘Ceylonese Temple’ and of ‘Calliana’ (modern Kalyan near Bombay). Such accounts could well contribute to the artistic vision of an artist while creating artforms. The treasures of the Byzantine Christianity were flooded with Buddhist art concepts as investigated by the liberal modern western scholars of the field. The Renaissance classics oriented art-historians had abused Byzantine period as the Dark Age. Spectacular affinities of visual art elements were clearly visible among these two lands of the east and the west on a very large scale. The efforts of modern research scholars have revealed treasures of Byzantine Art having close relations with Buddhism so far known the least in Europe. Art and Literature with their own close mutual dialogue were used by the Byzantine Orthodox Christianity and the Buddhism both for the adoration of their respective Faith. Similarly the Buddhist religion, philosophy, literature and art were used as the basic foundation for the Byzantine Christian Ideology. The Buddhist Doctrine was beneath the garb of Orthodox Christianity. The visible surface was the ‘Byzantine Illusion’, while hidden within was ‘The Buddhist Truth’. But here, unlike the Orthodox Christian rivalry with Ancient Greece, the Buddhist culture along with its Mysticism was not a rival but a nutriment to the Byzantine culture. 48 MEMORIAL STUPA GALLERY AT KANHERI : A STUDY OF RELIGIOCULTURAL PERSPECTIVE Reena Joshi Kanheri, known as “Krishnagiri’’ or “Krishnasaila’’ in the ancient inscriptions is 10km to the south east of Borivali, a suburb of metropolitan Mumbai. This rock-cut site has more than 110 Buddhist caves, including chaityas, monasteries, cells and a memorial stupa gallery. This memorial stupa gallery of brick stupas is unique in western India. There are some inscriptions found associated with the memorial stupas, which provide an evidence for dating the numerous brick stupas in the stupa gallery. It is indicated that this cemetery was in use over a considerable length of time. This paper aims at investigating the religious and cultural significance of this memorial stupa gallery considering architectural, ritual, textual and epigraphic perspectives. An attempt will be made in this paper to throw light on the religio-cultural practice, prevalent at Kanheri, of erecting stupas in memory of erudite Buddhist monks. REMAINS OF JAIN ART OF KALACHURI PERIOD AT SOHAGPUR IN SHAHDOL Reshma Ara The jaina started image carving in the sixth century CE, Jina puja giving place to jaina religious ideals based on Agma Sastra.Soon started the construction of temples for consecration of images of Tirthankara on a large scale. Jainism flourished during regime of the Kalachuris.The specimen of sculptures discovered from within the Kalachuri dominion may roughly be divided in to three periods.Discovery of a large number of sculptural remains of the Jainas belonging to this period, support of the evidence of the inscriptions.Most important of these are – Tripuri, Jabalpur, Bilahari, Karitalai and.another important stronghold of the Jainas was Sohagpur.Sohagpur is situated at Sohagpur tahsil of Shahdol district in MP.Many architectural and Sculptural remains have been reported from Sohagpur by excavation. A temple of Virateshwar is situated here, there are founded two images of Reshabnath. A number 49 of beautiful Jaina sculptures preserved in the palace of Thakur at Sohagpur,and museum of Shahdol. The purpose of this paper to present the detail description of Jaina sculptures of Kalachuri Period in this area. These sculptures was major source of inspiration for the art of the kalachuris. Some of these sculptures are iconographically unique. All these images are carved of black and red stone.These images are following as:Tirthamkara Aadinath, Parshavanath Mahavir, Sasanadevi etc.In short, the area of Sohagpur is very important for Jaina art. DOCUMENTATION OF MEDIEVAL JAIN ICONOGRAPHICAL REMAINS AT “KSHETRA VIRAJ’’, I. E. ‘LONAR’ Rhutvij R. Apte India is a country where a lot many religious traditions have their origin. They’ve developed and have spread over other parts of the world. Buddhism, Jainism and Hinduism have all tremendously influenced the Indian social, economic as well as political spheres for long time. In Early historic times, after the Vedic religion, the first school emerged in Indian subcontinent i.e. the school of Jainism. Initially, like the Buddhist, the Jainas were not image worshipers. Later they began to worship Mahavira and all other Tirthankaras. Later as the religion developed they started worshiping many other deities in the form of icons. Jain art in ancient times is not as rich as its Buddhist counterpart, but Jainism contributed substantially to art and architecture in medieval period. Lonar, which is situated in Buldhana district of Maharashtra was particularly known as ‘Kshetra Viraj’ in medieval time was famous for its crater lake and many other architectural features which was developed in Yadava period. The temples which are constructed in that period were properly belongs to Hemadpanthi temple. While my dissertation work with many other Hindu icons I came up with several Jain icons which are probably contemporary with other temples and many other later period icons and that gave me boost to study all the icons and document them. 50 The aim of this paper is to document the various Jain Sculptures which are scattered in Lonar village. Compare them with already reported ones from this area and comment on the probable tradition they belong to. Keywords: Jain, Icons, Lonar, Medieval 36 RE-EXAMINING MANSAR (MANSAR 2/MNS-2 SITE) Rohit Ukey Mansar was an ancient town which contains rich archelogical sites. Presently Mansar located near Nagpur district in the Maharashtra. This region is studded with rich archaeological heritage as several stone and brick structures are the markers of its political and religious affiliations.Among the archelogical sites in the periphery of Mansar region one of the huge structural complexas Mansar 2(MNS2) found during the excavation in 1994 andthere are various interpretations and understanding offered by many scholars such as T. A. Wellsted, AmarendraNath, Hans Bakker,J.P. Joshi and A.K. Sharmaon the Mansar2 site. Scholarís views are deeply connected with their own ideas that have also been changing time to time. There has been considerable interest shown by archaeologists from colonial era but real interest in its detailed study started from 1994 onwards when the ‘Archaeological Survey of India’ has shed some light on these excavated sites as a synoptic report. However, various opinions offered by archaeologists but no single consensualreading could emerged. Some archaeologist termed the site as Buddhist whereas some scholars have identified it as Hindu-secular architecture.The present paper intends to apply Art historical methodology to re-evaluate the nature of this site itself. The study of the complex depends on the iconographic features which revealed from the site, reading political history of the region, studying inscriptional evidences discovered from the site and, analysing the development architectural structure as changing political dynasties in the region. Remains of structural monuments are difficult material for an art historian to study and likewise Mansar creates an opportunity to look beyond traditional readings of stereotypes and re-examine the site with fresh reading. Keywords: Mansar, site, archaeological, scholars 51 MURTI SUBMERGED IN GHEE and SUGAR: INTERPRETATION OF HOLINESS OF JAINA IMAGES THROUGH POPULAR NARRATIONS FROM MARATHWADA Rupesh Madkar Many popular narrations related with jaina images,from generations,are being told and retold in this region of Marathwada. They asserts the holiness of those images,creates mystic feeling about those images in the mind of lay followers and also try to attract persons outside the jain community. These popular narrations are having their importance in the way they are being narrated, occasions and places of their narrations. Interpretation of these popular narrations are not only reveals the centrality of jain images in jain community but also draws the complex socio-political-religious history of this region. Keywords : Marathwada, popular narrations, Jain community J¡TAKA TALES : STUDY OF BUDDHIST ART DISCOURSES AT AJANTA Saili K. Palande-Datar and Ambarish V. Khare J°taka Tales are considered to be one of the oldest stocks of Buddhist canonical literature. Numerous births of Buddha have been narrated in the J°takas. These stories reflect simple yet realistic noble ideas which became part of Buddha’s previous life adventures. These themes have richly depicted in early sculptural art at Sanchi, Bharhut and so on. In later times, Ajanta cave group stands as one of the important site with paintings depicting the J°takas. The present paper deals with the select J°takas at Ajanta and compares their depiction with the literature. Paper demonstrates how the ideas from these stories are identified as part of cardinal virtues of Buddhism. Paper also attempts to present the interesting insights into Buddhist sectarian discourses depicted at Ajanta through the variations observed in Buddhist narratives of J°taka Tales. Keywords: J°takas, Ajanta, Buddhism 52 THE DYNAMICS OF SOCIO-CULTURAL PHILOSOPHY BEHIND ELLORA BUDDHIST CAVES Sanjay Paikrao Ellora is meeting of socio-cultural philosophy of three religion of India. It is true that, Ellora complex a unique artistic creation and a technological exploit but, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India. Ellora Buddhist caves represent melting of Hinyana, Mahayana and Tantrayana Buddhism. There are two types of structures Chitya and Viharas .These structures consist mostly of Viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavored to give the stone the look of wood. This is character of Hinyana Buddhism. Howerer Ellora represent turning of Hinyana, Mahayana Buddhist toward Vajrayana cult. The Buddhist caves at Ellora with a vast pantheon of Buddhas, Bodhisattavas and Saktis suggest a specific philosophy, generally known as the Vajrayana (the vehicles of the thunderbolt) cult. This was turning point in western India. The Vajrayan cult had its own philosophy of greater relevance at the time. This philosophy envisages and emphasized self discipline and meditation as a means of attaining Buddha hood in contradiction to the Mahayana belief which held that the Buddhas and the Bodhisattavas would by their endless grace and compassion help the devotee attain Nirvana.The vajrayana was new turn in philosophy which led to rise of new cult. R. S.Gupte tresses Tara images of tantrayana cult in Ellora caves. Critical study regarding impact of tantrayana on Buddhist is conducted. 53 OVERWHELMING BEAUTY OF BUDDHIST DEITIES IN THE NATIONAL MUSEUM COLLECTION : AN ANALYTICAL STUDY Sanjib Kumar Singh The legacy of Bronze art-work in India dates back to the Indus Valley Civilisation with such representative images as the Dancing Girl from Mohenjodaro. In a 5,000 year old history, this artistic tradition has seen amalgamations that have enriched its presentation and widened the religious, aesthetic, spiritual and metaphysical underpinnings/meanings. As artistically mature and refined as stone sculptures, bronze sculptures and bronze metal work is a continuing art tradition till today and stands independently in its own luxuriance and luminance. Bronze sculptures are visions of overwhelming beauty in metal. Cast in bronze, these sculptures make narratives of religious mythologies and beliefs. The figures exhibit grace in emotions. Their poise reflects in their postures through their meditative, transcendental or beatific visages. A defining characteristic of Bronze sculptures is that they were meant for the religious sphere of devotion and reverence rather than for the secular one. Artistic achievements from up North include the Sultanganj Buddha from Bihar, Phophnar Buddha from Madhya Pradesh, Akota Bronze from Vadodara and Kurkihar Bronze near Gaya. During the time of Gupta period, 4th to 6th century CE, bronze images reached a pinnacle of finesse. During the Gupta period, the face of the Buddha with a meditative gaze seems to turn inwards and reach to the inner recesses of spirituality. He is often attired in diaphanous robes and his slim and graceful body is visible through the foldless fabric. The hair of the Buddha is tightly tied up in curls. The Buddha figure is portrays magnetic calm and poise. After the Gupta period, bronze art received further impetus under the Pala and Sena dynasties of West Bengal from the 7th to 10th centuries. From the classical Gupta images that portrayed the divine with a meditative calm and restraint, bronze art during the time of Pala and Sena rule laid emphasis on ornamentation of divine figures. Due to political chaos and discord in the subcontinent, bronze art travelled to the chilly and calmer climes of Nepal and Tibet. Budhha and Buddhism occupy a great space in the artistic history of the world. Buddhist theme was always been fascinating for artist of almost every period so were the Bronze Artist. Their finest creation could be seen at National Museum. In this paper an analytical study will be carried out about its periodical development, technical changes and above all the stylistic excellence. 54 THE ROLE AND SIGNIFICANCE OF PADMAVATHI YAKSHI AMONG THE DIGAMBARA JAINAS OF MALNAD REGION OF KARNATAKA Sarvamangala G. The Concept of Yaksha existed in Indian tradition such as Hinduism, Buddhism and Jainism since time immemorial. It referred to a class of Nature spirits who are care takers of the natural treasures hidden in the earth and tree roots. The feminine form of Yaksha or Prakrit Jakka is Yakshi or Jakki. They are considered as demi gods having supernatural powers. The Jainas like the Hindus and Buddhist believed in the existence of Yaksha and Yakshi. They admitted them into their pantheon of Gods and Goddesses and accord them a place in their system, although not so high at first. But in the course of time after around 6th century their prestige rose to higher than that of the Tirthankaras especially in South India. The Jainas believe in a set of twenty four Yaksha and Yakshis and according to their belief its God Indra appointed one Yaksha couple to each Jina to look after the well being of Tirthankaras. Usually they are found in pairs flanking the Tirthankara idol with Yaksha on the right and Yakshi on the left as guardian deities. They are also referred as the Sasanadevatas. In course of time the Yakshis became more prominent and many of them were comprehended from the Brahmanical Cult deities. Gradually a cult aroused around some of these Yakshis and independent images were begun to be made. For ex Ambika Yakshi, Siddayika Yakshi, Chakreshwari Yakshi, Jvalamalini Yakshi and Padmavathi Yakshi. Among all these Yakshiís, Yakshi Padmavathi enjoyed a favored position in Malnad region both in Art and Literature through the ages. Even at the stage of development of her personality as an independent deity from the status of Sasanadevi of Parsavanatha the 23rd Tirthankara, one is reminded of the fact of her Origin. Numerous Stotras were recited in her honour, elaborate system of rituals are grown round her worship. She became a symbol of Mother Goddess and a most important benevolent goddess who can bestow on her devotees. Hence she became an independent and influential Goddess of the Jaina Pantheon. In this paper an attempt is made to highlight l the Origin of Padmavati worship in Malnad region l the Mythological or Legendary Story associated for the emergence of her Worship 55 l the sculptural representation of the image both as Sasasnadevi and as independent sculpture l the concept of Padmavathi as rendered in folklore of the region l the present day temple rituals and Rathotsava of the Goddess Keywords: Cult, Yakshi, sasanadevata, tirthankara, ritual, popular practice HINDU ART OF BUDDHIST VIHARAS IN PALA PERIOD (C. AD. 8TH CENT. TO 12TH CENT.) Sayeed Alam The Pala dynasty ruled from AD 8th century to 12th century in the regions comprising Bihar and Bengal. The Development of Art had been in a full flanged manner during the Mauryans and Guptas which was further Carried by the Palas. The Eastern India has played an important role in the development of Hindu Art and Iconography in Pala period. This is interesting to note here that, along with its religious and theological activities, eastern India developed in to a great centre of Art and Iconography. The Pala period is famous for the establishment of a new school of stone and bronze which developed under the patronage of the Pala rulers in eastern India.1 Majority of the sculptures of this period are Buddhist because most of Pala rulers were Buddhist. Besides the Buddhist sculptures, a number of various Hindu deities have also been found from different parts of Pala region (Eastern India and Bangladesh) A large section of the society followed traditional Hinduism in this period and they acquired a significant position in society. The Pala school of Hindu Art first flourished in the Magadha region of southern Bihar, the principal centre of Buddhist religion. Some important and rare Hindu deities are : Vishnu 40 (Mahaschena, Bajra district, Bengal), Durga (Boram, Manbhum, Bengal 8th century A.D.)., Youthful Sive (India Museum, 8th century A.D.), Vishnu (Xalenia9th century A.D.), Ananta Narayan (Bankura, Bengal 10th Century A.D.), Head of Siva Bhairava (Dinajpur, Bangladesh 10th century A.D.), Vishnu- Vidvakuthe (Trippera district Benal district) 10+11. As described by N.F. 56 There was definitely a workshop of Iconography of different places of Pala region, viz., Nalanda, Bodh-Gaya, Kurkihara, Varendra (West Bengal), Paharpura (District Rajsahi, Bangladesh), where images of god and goddess were made and moulded on the advice of expert architects and sculptures. The reflection of the religious trends in the Hindu Iconography under the Palas can be viewed from multi-dimensional approaches. A large number of composite images have been found in various places of Bihar, Bengal, Bangladesh and Nepal. The stylistic distinction between Buddhist and Hindu Iconography are seem to be disappeared by a bent the 9th century. This style can be seen in representations of Hindu deities obtained from Nalanda, Kurkihara, West Bengal and Bangladesh. During the later Pala period, mainly of the 11th and 12th century, A.D., the back of the throne is noticed to be highly decorated with oleograph motifs on the either side of the post of throne hansa, motifs above the throne lintel, makra devices and in later specimens Kirtimukhas. In this period Vishunu is most common subject in Hindu Iconography. JAINA INSCRIPTIONS FROM MATHURA, DEOGARH AND KHAJURAHO – A STUDY IN THE CONTEXT OF SOCIO-RELIGIOUS ASSIMILATION AND ICONOGRAPHIC CONTRIBUTIONS Shanti Swaroop Sinha To study Jaina art and its socio-religious and iconographic aspects it is essential to make detailed study of Jaina inscriptions both independent ones and those in the forms of pedestal inscriptions onJaina images. The present paper deals with Mathura, Deogarh and Khajuraho with the above mentioned perspective. Mathura: Jaina inscriptions of Kushana period from Mathura are earliest and encyclopedic in content so far as the study of KushanaJaina society and art is concerned. G. Buhler and Luder have made study of Jaina inscriptions as a whole, but I propose to takeup the study of KushanaJaina inscriptions from the view-point of their specific reference to social and art context. For example, KushanaJaina inscriptions refer to various classes of people and professions including the Nartaki and Veshya (prostitute), which are very important, so far as the social structure of Jaina society of Kushana period 57 is concerned. The contribution of iron-smith, Gova by name, in the making of the earliest dated (CE 132) image of Sarasvati is interesting. Another point frequently noticed in pedestal inscriptions of Jaina as well Buddhist images are the very broad based social purpose of religion expressed through the visual language of art. The inscription says “Savva Jana Hitaya Sukhaya”, that all the images were installed for the ‘‘Welfare and Happiness of All”. It means that Jaina images were carved/installed beyond the narrow sectarian or cultic boundaries. The names of several Jinas (Rishabhanatha, Arishtanemi, Sambhavanatha, Neminatha, Vardhmana), Naigameshi, goddess Sarasvati are mentioned in inscriptions. Also the idendification of iconic forms like Pratimasarvatobhadrik (Jina Chaumukhu- Quadruple ) are important from the iconographic point of view. Deogarh: Deogarh (inLalitpur district of UP) was importantcentre of Jaina art yielding vestiges from 8th-9th to 17th century CE. The site is important also because the earliest instance of the collective rendering of all the 24 Yaksis is found on the faÁade of the temple no. 12 (Shantinatha temple, 862 CE) wherein the names of Yaksis and their respective Jinas are inscribed to make their identification doubtless. The detailed study of this has been made by Prof. Maruti Nandan Pd. Tiwari. The names of the Yaksis surprisingly concur with the eighth century Digambara text- the Tiloyapannatti (of Yativrisabha, 4.934-939). As regards the iconography, according to Prof. Marut iNandan Tiwari, the Yaksis reveal distinct bearing of the iconography of JainaMahavidyas of earlier Shvetambara tradition as enunciated in the Chaturvi.shatika (of Bappabhatti Suri, c. 8th century CE) and also as represented on the Mahavira temple at Osian (c. 8th century CE, Jodhpur, Rajasthan). Khajuraho: The Jaina inscription of VS 1011 (CE 954) in the Parshvanatha temple of Khajuraho (Chhatarpur district of MP), originally dedicated to JinaAdinatha, refers to the construction of the temple by a Jaina trader Pahila of Grahapati family, who was honoured by the then Chandella ruler Dhanga for this magnificent contribution which in its sculptural and inscriptional content was the example of socio-religious harmony and mutuality between Brahmanical and Jaina faiths. The inscription alludes to the donation of seven vatikas (gardens) by Pahila for the maintenance of that temple. Interestingly these gardens in inscription are named as: Pahila, Chandra, Laghuchandra, Shankara, Panchayatana, Amra and Dhangavatikas, thus giving the names Shankara and Panchayatana ofcross-cultural assimilation. All such and many more points will be discussed in the present paper. 58 FROM EARTH GODDESS TO TANTRIC BUDDHIST DEITY: A JOURNEY OF THE BUDDHIST GODDESS APARAJITA IN VISUAL ART Shrikant Ganvir The study of religious imagery is fascinating as it reveals multiple layers since its inception. It also throws light on shifting paradigms of the contemporary religio-cultural and socio-economic settings. Aparajita is a Tantric Buddhist deity, who eliminates obstacles and evil spirits. Her images are mostly confined to eastern India. This paper aims at investigating the journey of the Buddhist goddess Aparajita from the Earth goddesses to the Tantric Buddhist deity. It seems that this goddess appeared at the incident of Maravijaya, as observed from her earlier depiction associated with Buddha imagery showing the Maravijaya. Subsequently, her independent images were started to appear in realm of Tantric Buddhist imagery from the eight century CE onwards. This paper will further examine how this deity later on shifted into the deity one who vanishes obstacles on the basis of textual and art-historical evidence. An attempt will also make in the proposed study of Aparajita imagery to explore multiple layers of interreligious association ship obscured in textual and art-historical traditions. Keywords: Aparajita, Earth Goddess, Tantric Buddhist Deity, Maravijaya DANCING GODDESSES OF BUDDHISM Shyamalkanti Chakravarti The purpose of the dance is to release men from illusion of the idea of the ‘self’ and of the physical world.In three prominent religions of India–the Hindu, Buddhist and Jaina; the performing art dance takes a prominent form of expression of heart and soul. We propose here to discuss about the dancing goddesses of Buddhism.viz. Tara, Kurukulla, Vajrayogini, Citipati in their dancing attitudeas as also the four female dancing deities which are homogenous in character. They are Lasya, Mala, Gita and Nritya all required in the staging of drama or in entertainments.All these four deities are popular in the Vajrayna pantheon and are described times without number both in the Sadhanamala as well as in the Nispannayogavali composed in 12th century C.E. 59 Two dance procedures of the Vajrayana tradition involving the female practitioners will be explained in short. The Charya Nritya, the dance as a spiritual discipline, is an ancient Vajrayana Buddhist dance tradition that until recently was unknown outside. CAVE NO. 90 AT KANHERI: ART COMPOSITIONS, ICONOGRAPHIC ANALYSIS Sidram Subhash Gaikwad ‘‘Kanheri Cave Complex’’ is situated at Borivali National Park, region of Mumbai. The cave No. 90 has most significant sculptural compositions in context of Buddhist Art, i.e. Avaokiteshwara with his consorts, Buddha seated on lotus. Present Research paper contents all these sculptures shall be analyzed in the context of Iconography, Art, Aesthetics and Design aspects, visuals objects, size and complexity. AJANTA AND DAMBULLA – A CONTINUITY OF BUDDHIST PAINTING TRADITION Soumya Manjunath Chavan The Buddhist art depict Buddhas, bodhisattvas, and other entities; notable Buddhist figures, both historical and mythical; narrative scenes from the life of Buddha, along with mandalas and other graphic aids to practice; as well as physical objects associated with Buddhist practice, such as vajras, bells, stupas and Buddhist temple architecture. Buddhist art originated on the Indian subcontinent following the historical life of Gautama Buddha, and thereafter evolved by contact with other cultures as it spread throughout Asia and the world. The Ajanta frescos scattered in the caves along the Waghora River date from the second century B.C., when the first Buddhists forbade representation of the Buddha himself. The subject-matter of the paintings of Ajanta are mostly the various lives of the Buddha as told in the Jataka tales. Buddhist art followed 60 believers as the dharma spread, adapted, and evolved in the Asian countries. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. The five caves at Dambulla converted into shrine rooms and within these rooms is housed a collection of one hundred and fifty statues of Buddha, and several more deities along with other personages of the Buddhist order of Sri Lanka. The uniqueness of this site lies in the fact that along with paintings on the walls there are also painted sculptures with a unique style, colour, composition and a range of themes depicting the life and teachings of Buddha. The present paper proposes to explore the continuity of Buddhist painting tradition in India and Sri Lanka with reference to paintings at Ajanta and Dambulla. VISUAL IMAGERY ON THE DOORFRAME OF THE TEEVARADEVA BUDDHIST MONASTERY AT SIRPUR, CHHATTISGARH: A RELIGIOCULTURAL STUDY Sourabh Singh The paper aims at examining vivid visual imagery depicted on the doorframe of Teevaradeva Buddhist vihara at Sirpur in Chhattisgarh. This Buddhist monastery was unearthed in the archaeological excavations carried out by Dept. of Archaeology,Government of Chhattisgarh. This Buddhist monastery has preserved distinct archaeological and sculptural features. The entrance of the monastery has splendidly embellished doorframe, which is unique in many aspects, as it not only depicts different motifs, but also exhibits religious imagery. The presence of Gajalakshmi on the top of the lintel, amorous couple on the both sides of door frame and other religious imagery are significant characteristics of the door frame. An attempt will also be made to analyse the religio-cultural significance of the doorframe. The paper also aims at investigating the association of different motifs and imagery with each other. 61 EVIDENCE OF IMAGE WORSHIP AT KANHERI IN EARLY PERIOD Suraj A. Pandit Kanheri stands for its architectural glory, sculptural master pieces, epigrapgical treasures and out exceptional water management system. Kanheri is a Buddhist monastic archaeological site comprising more than 100 rock–cut caves and equal number of inscriptions. The site survived for more than 1400 years. Origin of Kanheri can be traced back to the 1st century migration of Buddhist monks from Sopara (Shurparaka), ancient port site and commercial centre. The habitation of monks continued here till 13th century CE. History of Kanheri can be divided into three chronological phases as follows: Formative Phase : 1st century BCE to 2nd century CE Golden Age of the Monastery : 2nd century CE to 10th Century CE Decline : 10th century CE to 13th Century CE Data from Kanheri evinces the transitions from Theravada to Mahayana and then ‘ to Esoteric’ Buddhism. The paper intends to discuss the first transition i.e. from Theravada to Mahayana with special reference to rituals associated with image worship. Image worship is understood as one of the key factors indicating Mahayana Buddhism. Mathura style Kushana period images of the standing and seated Buddhas can be seen in cave 3, i.e. the main chaitrya at the site. Were these images in cave 3 isolated examples at Kanheri? Moastery at Kanheri had two distinct areas demarcated mainly for monks and for laity. Caves from 2 to 4 were for laity and had open access. There are clusters of caves based on their Nikaya affiliation. These caves must be for monks and rarely access by laity or donors. These cave clusters comprise of a place of worship and few viharas for monks. There are few peculiar features appear at Kanheri from late 2nd century CE onwards in various Vihara caves. Many of these viharas have a pattern of holes on the back wall. Few of these viharas are more interesting due to additional ‘L’ shape hall. Some of the ‘so called’ viharas have a small niche or a platform along with some wooden shelves. These architectural features need some special attention. They indicate the ‘Early Mahayana Phase’ Kanheri. It is again interesting to see that chronologically these caves are contemporary to the Philosopher ‘Nagarjuna’ who have laid the foundation of ‘Madhyamika’ school in Mahayana Buddhism. 62 This will shade some light on the rituals performed at Kanheri by monks in their private cells, which are not actually recorded in any of the canonical text. This paper is an attempt to understand the introduction of image worship as ritual at Kanheri through art historic data. THE ENTHRALLING EARLY 16TH CENTURY JAINESQUE SHAHNAMA AND THE PRE-MUGHAL CONTEXT OF THE MANUSCRIPT Swati Biswas The Jainesque Shahnama found by B N Goswamiatthe Museum Reitberg with its sixty six illustrations is the only Shahnama found till date to be illustrated in the Jaina style. The paper intends to probe as to how the mature Western Indian style or the Jain style was able to encompass the foreign subject like Shahnama and even capture the ethos and mood along with illustrating it. It is also important to probe how successful was the venture? Who was the patron who wanted a manuscript in this particular style? Or is it the fancy of the artist but then who would be the buyer and in which market? Shahnama happens to be the popular literature in which the Persian mind expressed the valour of pre Islamic culture with much subtlety. The content is so engrossing that the Islamic world had to accept its superiority. The complex subject grasped the psychology of the defeat of the culturally superior race at the hand of the nomadic neo Islamic tribe. The conquerors in turn were unable to ignore the cultural supremacy and had to adopt and admit to the dominance of the culture of the overpowered. The Jain style on the other hand in the pre-Mughal phase in India was so rooted a genre that it was able to illustrate even a complex foreign subject with much Èlan. The iconography was able to depict the intricacy of the story with its convolution. The colour scheme conformed to the genre but was able to illustrate the vivacity of the theme. Thus the paper also intends to see how the iconography of the Jaina style could control the story line of the Shahnama. The manuscript is thus valuable to analysing the phase of the Jaina style or the western Indian style. Keywords: Jainesque Shahnama, Persian ethos, Jain iconography 63 KARU–¡: THE SAP OF BUDDHIST ART Swati Mondal Adhikari Buddhism has its root in karu∞°, the doctrine of universal compassion. Perhaps selfless and caring motherly affection to some extent is the appropriate essence of this mental orientation. Legends tell us how prince Siddhartha nursed a wounded bird rescued from prince Devadatta, to whom the bird was only a prey. Glimpses of his love for all creatures again struck us when he took the little lamb in his lap as it was wounded and suffering from pain. It was the realization of karu∞°, which awakened him to turn his soul of humanity in love for the world. Buddhism is the religion of eternal love and piety and this is well expressed in Buddhist art too. To feel Buddhism and Buddhist art one should observe that how the flow of universal love, like a stream emerging from the depth of the heart, is represented in the way of artistic expression executed by the patrons and artisans. Glimpses of Buddhist art can help to feel how karu∞° played as the seed of Buddhism. As for example, love for creatures is all immanent in Buddhist literature. J°taka tells us the stories of previous births of Buddha when he took birth as different creatures. The benevolent act and piety of his previous births not only reflect how animal world was given due importance but also express the consciousness for environment. One case study helps us to feel how karu∞° played the most prominent role in execution of Buddhist art. The west gateway of stupa no. 1 at Sanchi represents the illustration of Mah°kapi J°taka. The relief is sculpted on the front side of the south pillar. It shows the king of the monkeys as serving his kin getting himself as a bridge, so that the whole group of the monkeys can reach the opposite bank of the river to be safe from the royal hunters. The vivid depiction consist human figures, mango grove, river with swimming creatures and the monkey clan. But surpassing the story the feeling which is playing the key of expression is karu∞° The appeal of the depiction is not only visual, but it calls from the depth of the heart the benignant and calm Ineffable, the Buddha, which has made the relief sensible and human to us by this illustration. Love for nature can be felt in the elaborate sculptural illustrations of Sanchi. Flora and fauna is not only a part of sculptural depictions, but they are the life force of the depiction; may it be the monkey bringing honey or the deer in the hermitage; buffalos in the river or the peacocks on the roof of the palaces; or even the fishes and snakes 64 swimming in the water; the elephants in the forest or the trained horses in the royal ceremony; all are executed not only as a mere creature but as companion of human civilization. The cordial relationship is visible here in every relief. They are friends who share our feelings and silently communicate with the observer. As for example in the west pillar of north gateway of stupa no 1, a scene is depicted where a monkey is offering honey to Buddha. Here both human figures and monkeys are depicted as worshippers, both of them has the feeling of honour and veneration. The animal world is not subordinated here to human world, but are counterparts. The two minds do not live in almost two different worlds. Their emotions are not given expression in ludicrous shapes. They were sparingly given due respect and their representation was vivified by the hammers and chisels of the sculptors. A hidden flow of sympathy, deeply rooted in karu∞°, gave birth to the realization that the human beings cannot humiliate or disgrace other creatures. Thus, one should observe the depiction of Buddhist art from the seed point of karu∞°, the doctrine of universal love and piety. This seed germinates in the later illustrations of Ajanta and image of Sarnath Buddha. His glance, curve of the lips, the face, mudr°s, the posture of the limbs, the poise and turn of the body, every accessory portray the eternal piety for the terrestrial world. In Buddhist art karu.a is the key which makes the finite image an expression of infinite. Keywords : karu∞°, J°taka, flora and fauna, environment MUSICAL INSTRUMENTS AS DEPICTED IN THE TEMPLE TERRACOTTA PLAQUES OF BUDDHIST TEMPLES IN BENGAL Tithi Chanda An early influence of Buddhism in Bengal was found during the time of Mauryan period (3rd century B.C.) centering on Mahasthan, a site situated in the northern part of undivided Bengal, at present in Bogra district of Bangladesh. The second and the most wide-spread Buddhist influence in Bengal, centering around Gauda, in the western and northern part of undivided Bengal were seen during the Pala period (750-1095 A.D.) along with the contemporary rule of a line of Buddhist kings in Samatata region or 65 eastern Bengal dated around 7th/8th century A.D. The Buddhist rulers of Gauda and Samatata regions constructed several Buddhist monasteries, temples, stupas and other religious edifices throughout their empire stretching from Magadha in the west to Mainamati in the east, Mahasthan and Paharpur in the north to Pilak in the south. Among them the walls of Buddhist temples were decorated with series of carved terracotta plaques depicting various deities, semi-divine beings along with scenes of contemporary life. Representation of various types of musical instruments are profusely found in these plaques which signifies the existing tradition of playing all four types of instruments i.e. Hide, String, Metal and Wind. Reference of these musical instruments in the Buddhists texts and in practical usage were closely associated with the contemporary Buddhist philosophy. Keywords : Buddhism, Bengal, Terracotta Plaque, Musical Instrument PARNASABARI, THE BUDDHIST GODDESS Umesh Chandra Dwivedi and Dilip Kumar Parnasabari is one of the most interesting female deities of the Mahayana Pantheon. She is an emanation both of Aksobhya and Amoghasidhi and her iconography is almost the same in her both aspects. According to a sadhana in the Sadhanmala, which describes her as an emanation of Akshobhya, she is yellow-coloured, three faced, three eyed and six-handed, her principal face is blue the right one white and the left one red. She smiles in a pleasing manner and is decked with all sorts of ornaments, wear a garment made of leaves, is arrogant in her youthful bloom, is stout is appearance and carries vajra, parasu and arrow in her right hand and noose, cluster of leaves and bow in the left ones. Her jaÆ°mukuÆa, decorated with flowers, displays the image of Aksobhya, she has the effluence of the Sun as her aureole, stands in pratyalidha mudr° on the moon, over the white lotus trampling the vighnas under her feet. She is taken as a form of Buddhist goddess Tara. It is interesting to note that Parnasabari is also found among the numerous names of Durga. Parnasabari means a sabara women clad with tree leaves or par∞a. In the Buddhist literatures there is no legend which explains why the goddess Tara was conceived as a sabara women clad with leaves. In the Puranas, however there is the story how Parvati or Durga had to 66 assume the form of youthful sabara women in order to entice lord Siva out of his unswearing celebrity. It is obviously an analogy by the composers of the Puranas of the alluring voluptuousness of the tribal beauty of the females for only which, according to them could disturb the stead – fast mind even of Lord Siva. But why out of all tribal beauties, the reference and presumably also the preference, here it is the charm of a Sabara woman cannot be ascertained. Banabhatt in his Kadambri refers to the Goddess Durga or Chandi being worshipped by the Sabaras. In this paper we will like to discuss what may be the reason of making Tara images in form of Parnasabari, especially in Eastern Indian Art of Early Medieval Period. A NON PAREIL NARRATIVE SCULPTURE FROM MATHURA Usha Rani Tiwari and Durganandan Tiwari l l l The word narrative derived from the Latin verb narrare means ‘to tell’. Narrative is a representation of a particular situation or process in such a way as to reflect or confirm to an overreaching set of aims or value therefore the narrative sculptures not only forms a unique and unrivalled source of religious documentation but also their language is direct which makes an appeal/ profound impact on the mind of the people through the senses. Depiction of narrative scenes was a favorite subject among the artist/ sculptors of all the schools of Indian art in all the three religions from the very beginning. The common tradition of depiction of the events from the lives of Buddha and Jain Tirthankars are found in Indian art from the Sunga-Kushan period. Apparently the renderings from the life of Buddha as compared to others were earlier and also more popular. The abundant and varied sculptural form of narration of Sanchi, Bharhut, Amravati, Mathura Gandhara, and Sarnath comprise several bas- reliefs showing the life events of Gautama Buddha. During the course of preparing a research paper for international symposium I came across an inscribed narrative sculpture, which had so far not been studied properly. Although V.S.Agrawal has taken note of this example, yet there are some such interesting, unique, notable and peculiar features which require detailed study and hence this paper. 67 In the present paper I have touched upon some significant, stylistic and iconological development in respect of a unique stele, consisting of three events from the life of Buddha i.e. birth, sambodhi and subjection of elephant Nalagiri. These three episodes, depicted in a unified ensemble, produced by the artists of Mathura school belong to Gupta period, housed in State Museum, Lucknow. While analyzing depictions of three events from the Buddha’s life I shall also highlight not only the differences between representations of the same events by artists at different periods and places, but also the differences between the textual description and its sculptural counterpart. Keywords: Narrative, Icon, Textual A NEW LIGHT ON THE PHILOSOPHY OF JAIN RELIGION REFLECTED IN ELLORA CAVES V.L. Dharurkar The Ellora Jain caves enjoy top position in the panorama Jaina art. The reflect Jain Philosophy and religion in a compressive manner. The Jaina group is considerably small and comprises of only five caves. Among the entire group, two of them, Indra Sabhaand Jaganath Sabha, represent the core of the Jain art and iconography and glorify grandeur of ethno-cultural process of oral traditions. The Mahaviras philosophy of humanity reflected in Ellora Jain caves. The panels of Parshwanatha and Bahubali Gomteshwar are repined more than 64 times, in order to impress the audios about Jain philosophy. Truly enough the Jain philosophy of Akentavad or equality between living and nonliving jiv and Ajiv is rightly reflected by carving various plants and animals in these caves. In the Samanvasaram process it is believed that, the philosophic discourse of Teerthankaras is equal shared by both living and non-living. The Ellora Jain cave minifies the Digambara cult of Jainism. However exchange of symbols reveal that, peace,cohesion, existed both the cults. The Ellora Jaina caves were truly living mass media unfolding Jain philosophy art & culture in the monolithic cave temple. Theses caves truly communicate social milieu and cultural ethos of period. They reflect the massage unity in diversity and the lead Indian art towards the process of 68 Indianisation. Thus the humane trial philosophy of Jainism is rightly reflected in the cave temples of Ellora. The Indra Sabha ( cave n.32) and Jananatha Sabha (cave n.34) are best example of this process. AN ANALYTICAL STUDY OF THE ANCIENT TRADE ROUTES AND BUDDHIST ROCK-CUT CAVES OF WESTERN MAHARASHTRA Vikram Marathe Buddhist caves are mostly located on ancient trade routes. The donations made by traders and laity from different places for excavation of caves further confirm the significance of these trade routes. The present paper makes an attempt to examine the less-known Buddhist caves of coastal and western Maharashtra and their plausible association with some of the ancient trade routes. In this paper, rock-cut caves located on the ancient trade route which was going from the ancient port Chaul to the ancient urban centre Junnar have been studied taking into account various aspects such as geopolitical location, early Buddhism in western Maharashtra, Indo-Roman trade, textual information based on archaeological explorations carried out in this region. A CRITICAL EVALUATION OF THE HISTORIOGRAPHY OF BUDDHIST ART AND ICONOGRAPHY Vipul Tiwari In order to study the historiography of Buddhist art and Iconography in totality we have to trace the “dialectic’’ in “hermeneutical’’ inquiry concerning the historiography of Indian art “chronologically.’’ We have to analyse briefly the nineteenth century and the twentieth century phase of Indian art historiography which reflects the various schools and ideologies such as “Orientalism’’, “Imperialism’’, “Nationalism’’, “Marxism’’, etc. It is pertinent to mention here that in the present research paper not only history is considered as the presentation, in chronological order, of successive 69 development in the means and relations of production but also as presentation of religious and cultural forces which shape the destiny of any civilization. The present research paper also through profuse light on the historical, social and sectarian aspects of Buddhism besides dealing with the historiography of Buddhist art. I prefer to start with the great German philosopher Hegel who could only write on Buddhism a single sentence in which he identified Buddha with the founder of Ny°ya philosophy. This reflects that in the eighteenth and also in the first quarter of the nineteenth century Buddhism was practically unknown in Europe. From this point to the recent past I have endeavoured to trace the historiography of Buddhist art and Iconography in the chronological order. The “Anglo- German School’’ of Rhys Davids and Hermann Oldenberg; the “Russian School’’ headed by Minayeff, Rosenberg, Stcherbatsky and the “Franco-Belgian School’’ headed by Levi, ValleePoussin, Przyluski and others significant contribution in the study of Buddhist art and Iconography is also critically analysed. The contributions of the early scholars like B.H. Hodgson, Alexander Csoma, Spence Hardy, R.C. Childers, H. H. Wilson, Turnour, S. Beal, Seneart, Hopkins, E. J.Thomas, Foucher, B.K. Barua, L.A. Waddell, F.S. Growse, Cunningham, Grunwedel, Fergusson, A.K. Coomaraswamy, Stella Kramrisch, Wheeler, H. Sarkar, S.C. Kala, etc.to sought out the problems of Buddhist art, iconography, religion, and history is also examined in the light of new development and discoveries in the field of Buddhist studies. Keywords: dialectic, Hermeneutical Orientalism, Imperialism, Nationalism, Marxism, Anglo-German School, Russian School, and Franco-Belgian School RELIGIOUS ARCHAEOLOGY AND ARCHITECTURE: JAINISM AT KAÃK¡L¬ Œ¬L¡ Yashvender Dhaka This paper offers understanding of religious archaeology and architecture in the context of Jainism in Mathura. It analyses the issue of arhat and st£pa worship from epigraphic sources and sculptural material specially the °y°gapaÆas for their importance in ritual worship for a comprehensive understanding of the religious process at Ka¨k°l¢ Œila. 70 The general formula for writing inscriptions starts with the words “sidham’’, “namo vardham°nasya” or “namo arhant°n°m’’. Consistent use of these traditional formulae projects veneration and adoration to arhats. Most of the °y°gapaÆas refer to the words “arhat pujaye’’ which can be discerned as the objective of the donations. The vast amount of icons, sculptures, inscriptions suggest a rich religio-cultural life at this site. The motivation of laity for patronage is derived from religion and sustained by economic transactions. Jainism at Ka¨k°l¢ Œ¢l° had its peculiarities which are not visible in any other site associated with the religion. The representation of Ayavati (Yak∑i) and Nemeso along with a seated icon of Sarasvat¢, are some of the special features which were part of the Mathur°-Jainism and show the complexity of it with a shift from the stereotypical textual understanding of Jainism as a homogenous, isolated religion. The Jaina religious life at Mathur° seems atypical of the Jaina tradition especially as described in the textual references. The locality of Jainism in the particular context of Mathur° was peculiar in the matter of a distinct ritual culture which developed around the st£pa, temples and arhat worship. This archaeo-architectural study presents an alternative view of the time (circa 300 BCE – 300 CE) for Jainism as a religion in practice. Keywords: Ka¨k°l¢ Œ¢l°, Arhat, St£pa, ¡y°gapaÆa, Heterarchy, Sarvatobhadrik° Pratim°, KoÆÆiya Ga∞a, Ku∑°∞a Br°hm¢, Ayavati, Nemeso, Sarasvat¢. 71 LIST OF PAPER PRESENTERS AND E-MAIL CONTACTS (only of the corresponding author) No. Name of the Author E-mail Contact 1. A.M.V. Subramanyam and Tejas Garge [email protected] 2. Abdul Rashid Lone [email protected] 3. Ajit Kumar [email protected] 4. Akash D. Gedam [email protected] 5. Anand Kanitkar [email protected] 6. Aparajita Morde [email protected] 7. Ayeeta Biswas Paul [email protected] 8. Binay Shadangi Rajaram [email protected] 9. C. S. Vasudevan [email protected] 10. C.B. Kamati [email protected] 11. Choodamani Nandagopal [email protected] 12. D.S. Somashekhar and Sarvamangala G. [email protected] 13. Dhananjay Khandare and Sejal R. Deshpande [email protected] 14. Elora Tribedy and Yongjun Kim [email protected] 15. Gomathi Gowda [email protected] 16. Gopal Prasad Mandal [email protected] 17. Jasminder Kaur [email protected] 18. Kamal Giri [email protected] 19. Kiran Kumari [email protected] 20. M. Krishna Priya [email protected] 21. M.S. Krishna Murthy [email protected] 22. Madhulika [email protected] 72 No. Name of the Author E-mail Contact 23. Madhulika and Vipul Tiwari [email protected] 24. Madhulika Reddy [email protected] 25. Manjiri Bhalerao [email protected] 26. Manjushree Rao [email protected] 27. Maruti Nandan Pd. Tiwari [email protected] 28. Minnu Kejriwal [email protected] 29. Naval Krishna [email protected] 30. Nita Sen Gupta [email protected] 31. Nitesh Narnolia and Mousam [email protected] 32. Nitin Hadap [email protected] 33. Noor Bano Sattar [email protected] 34. Pramod Dandwate [email protected] 35. Priya Thakur [email protected] 36. Priyadarshi M. Khobragade [email protected] 37. R.P. Pandey and Nand Kumar Misra [email protected] 38. Rajaram [email protected] 39. Reena Joshi [email protected] 40. Reshma Ara [email protected] 41. Rhutvij R. Apte [email protected] 42. Rohit Ukey [email protected] 43. Rupesh Madkar [email protected] 44. Saili K. Palande-Datar and Ambarish V. Khare [email protected] 45. Sanjay Paikrao [email protected] 46. Sanjib Kumar Singh [email protected] 47. Sarvamangala G. [email protected] 73 No. Name of the Author E-mail Contact 48. Sayeed Alam [email protected] 49. Shanti Swaroop Sinha [email protected] 50. Shrikant Ganvir [email protected] 51. Shyamalkanti Chakravarti [email protected] 52. Sidram Subhash Gaikwad [email protected] 53. Soumya Manjunath Chavan [email protected] 54. Sourabh Singh [email protected] 55. Suraj A. Pandit [email protected] 56. Swati Biswas [email protected] 57. Swati Mondal Adhikari [email protected] 58. Tithi Chanda [email protected] 59. Umesh Chandra Dwivedi and Dilip Kumar [email protected] 60. Usha Rani Tiwari and Durganandan Tiwari [email protected] 61. V.L. Dharurkar [email protected] 62. Vikram Marathe [email protected] 63. Vipul Tiwari [email protected] 64. Yashvender Dhaka [email protected] 74
