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    of 4

    Iconography of Manjusri and Avalokiteshwara

    Padmapani at Khambalida Caves, Gujarat


    Meenakshi Nailwal Joshi1

    1. Department of Archaeology and Ancient History, The Maharaja Sayajirao


    University of Baroda, Vadodara – 390 002, Gujarat, India (Email:
    [email protected])

    Received: 01 July 2019; Revised: 25 August 2019; Accepted: 04 October 2019


    Heritage: Journal of Multidisciplinary Studies in Archaeology 7 (2019): 911-914

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

    Keywords: Iconography, Manjusri, Avalokiteshwara Padmapani, Amitabha Buddha,


    Mathura Art, Khambalida Caves, Gujarat

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

    According to the iconographic features these images are of Bodhisattvas, one is


    Avalokiteshwara Padmapani and the other is Manjusri. It is difficult to identify the
    ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 7: 2019

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

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

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

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

    912
    Joshi 2019: 911-914

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

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

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

    Iconography of Avalokiteshwara Padmapani


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

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    ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 7: 2019

    sarvalankarbhushitah ratnasimhasanopari sasradalapadmasthah lalitakshepah


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

    We can identify Avalokiteshwara according to the Iconography given in this verse.


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

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

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

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

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