622 Journal of the Asiatic Society of Bengal. (September, 1911. | ~ 
head is adorned with a crown of clotted hair, in the midst of 
- whichis visible an image of Buddha, seated in meditation. On 
the left side is a female image with two arms. On each side 
of the halo there is a votive stupa, while on the top of the 
shrine is a piece of decoration, which seems to represent an. 
umbrella. The lotus-throne is supported by two lions and the 
pedestal contains, besides the inscription, four images, ap- 
parently of four votaries. 
It is clear that the principal image is not of Buddha him- 
self, but of a Bodhisattva, and the presence of an image of 
Buddha, within the clotted \hair, goes to show that the principal 
figure represents Bodhisattva Lokanatha. The description of 
Lokanatha, quoted from a Sadhana by Monsieur Foucher, in 
his ‘‘ Etude sur L’ [conographie Boudhique de L’Inde,’’ agrees 
ae well with the principal figure in every material parti- 
cular. 
Namo Lokanathaya 
Purvavat krama-yogena Lokanatham ¢aci-prabham 
Hrihkaraksara-sambhiitam jatamukuta-manditam 
Varadam daksine haste vame padma-dharam =tatha 
Lalitaksepa-samstham = tu mahasaumyam = prabhasvaram. 
Lokanatha, according to this description quoted from the 
Sadhana, has a crown of clotted hair, in which is situated ~ 
- Vajradharma (Buddha), andhas Varadamudra in the right hand — 
and a lotus in the left, and the posture in which he is seated 18° 
called Lalitaksepa. 
_ The decorations, including the umbrella on the top of the 
shrine, and a stupa on either side of the halo, are not, however, 
noted in the Sadhan@. The lotus-throne supported by two _ 
lions and the pedestal containing the images of four votaries 
are similarly not notified therein. In these respects the artist 
might have been left free to use his discretion or adopt the 
local custom or taste. But the situation of a female image, 60 
the left of the principal figure, constitutes a noticeable difference. 
If the female image is to be identified with Tara, it should be 
placed to the right, instead of the left. But in this respect the 
sculptors often introduced a confusion between the right and 
the left of the principal figure and those of the artist, which 
Monsieur Foucher has not failed to notice. 
These points of similarity as well as of dissimilarity make 
the Mahibhinta-image of Lokanatha an interesting iconogt@ 
phic specimen, as it may supply a clue to differences in the 
styles of sculpture, which found favour in different parts of 
India or the Buddhist world. ; 
The uninscribed stone-image is that of Buddha himself. 
He is seated on the lotus-throne called Vajrasana, in the posture 
of Vajraparyanka-samsthitam, without an attendant on each 
