Śāsanadevīs or Yakṣiṇīs from Ancient Bengal

Yakṣas and Yakṣiṇīs constitute a class of semi-divine beings quite peculiar to the Jain pantheon. They are technically known as Śāsanadevatās (guardian deities) of twenty-four Jinas, usually as a male-female pair. They provided protection to Tīrthaṅkars as well as to the Jainism. These are the reasons, they are found around the images of Jinas as well as their individual images. Yakṣas usually found on the right side of the Jina idol while Yakṣiṇīs on the left side.

However, according to the some scholars such as B.C.Bhattacharya “these demi-gods do not represent purely Jain elements” in Jainism.

“The names of some of the Yakṣas and Śāsanadevatās betray unmistakable identity with those of Hindu deities while the symbols connected with them are also of those of the latter class” (Bhattacharya 1974: 65).

He also expresses his view about the Yakṣiṇīs of Jainism, according to him,

“These goddesses share in a great measure forms of the Brahmanic female deities. All these resemblances prove the fact with greater force how the Yakṣiṇīs representations underlie striking conceptions borrowed from Brahmanic pantheon” (ibid: 86).

Walther Schubring also held similar views on the subject and according to him:

“An Ārhat is far beyond the reach of human affairs. Being in the state of pure cognition and without both sentiment and will, he cannot bestow grace and favour unto those who appeal to him”.

He also adds:

“Seems to have been at work in placing at his [Ārhat’s or Jina’s] side to adjutants, one male (Yakṣas) and one female (Yakṣiṇīs) ……, and it is these two that take care of a devout suppliant. That on a large scale, Hindu mythology was adopted by the Jains and brought in accord with their own principles is a fact know too well to be treated here in detail” (Schubring 1962: 16-7).

Śāsanadevatās images were noticed during different periods. But in a broader perspective, these images in a systematic form were found for the first time towards the end of the Guptā age. During the Kuṣāna period, the Jain images do not possess lāñchanas which can be taken as the first phase of development of the Jain iconography (Bhattacharya 1974: 28). The Kuṣāna age reveals three types of Tīrthaṅkara images namely Jain figure on a sculptured panel, images for worship and images in the Āyāgapaṭa (ibid: 33-34). No evidence of Śāsanadevatās with the Tīrthaṅkaras or in a separate form can be found before the end of the 5^th century CE. (Shah1987: 212). The Mahāvira image in the Lucknow museum containing the date 113 Gupta era does not have Śāsanadevatās, the Tīrthaṅkara images on the Kahaon pillar dated in 461 CE. also lack Śāsanadevatās images and the image of Neminātha on the Vaibhar hill in Rajgir belonging to the Gupta period contains the cognizance but no Śāsanadevatās figure (Shah 1987: 212) B.C. Bhattacharya refers to an image of Ambikā found on the reverse of a Jain figure of the year 9 from Mathura belonging to the Kuṣāna age, (Bhattacharya 1974:29). But during the Kuṣāna age the idea of Śāsanadevatās, did not emerge and the Yakṣas or Yakṣiṇīs is not found as attendants. The Ambikā figure can be called as prototype Ambikā who was worshipped as Yakṣīdevī, but not as Śāsanadevī, (Shah 1987: 212). The earliest Tīrthaṅkara image having Śāsanadevatās figure has been found from Akota which is dated in C. 550 CE. (Shah 1987: 213). A separate Ambikā image belonging to the sixth century CE. is also discovered from Akota hoard. Ambikā images belonging to the seventh century CE. are seen in the Meguti temple at Aihole and Dhank group of sculputre at Saurastra. On the wall of the temple no. 12 at Devagadh, it is marked that different Jinas are having Yakṣas and Yakṣiṇīs pairs which can be dated on the last part of the eighth century CE. It is seen for the first time that separate Śāsanadevatās, for separate Tīrthaṅkara is identified. Here, twenty four Yakṣas and Yakṣiṇīs are noticed on different slabs. Above each Yakṣiṇīs, a Jina figure is found. The concept became fully materialised and attained popularity after two or three centuries (Shah 1987: 213; 215).

The Yakṣas and Yakṣiṇīs can be regarded as demi-gods having semi-divine qualities. The Yakṣiṇīs are considered as the female attendants of the Tīrthaṅkaras and they are the “governing goddesses” (Bhattacharya 1974: 65,86). Ambikā is regarded as the Śāsanadevī of the twenty second Tīrthaṅkara, Neminātha. In the Digambara text, the Yakṣiṇīs of Neminātha is called Kuṣumāṇḍinī. Of all Śāsanadevīs, there was earliest depiction of Ambikā image (Shah 1987: 213,222fn.40) and she is quite popular among all. The iconographic text, Rūpamaṇḍana refers to the features of the Ambikā image. She has four arms containing bunch of mangoes, serpent noose (nāgapasakam), goad (ankusa) and a child. Her vehicle is lion (simharudhā) and the image is of yellow (pita) colour (Bhattacharya 1974: XXVI). Early descriptions relating to Ambikā are found from the texts like Svetāmbara hymn Caturviṃśatikā of Bappabhatti suri, Harivaṃśa of Jinasena, Lalitavistara-ṭikā of Haribhadra suri and Viśesāvaśyaka-bhāṣya with the Kṣamāśramaṇa-Mahattarīyātīkā (Shah 1987: 214-5). The Aparājitapṛcchā refers to Ambikā as haritbarna and it possesses two arms having phalam or fruit and a child (Bhattacharya 1974: XXVI). It has been pointed out that the Yakṣīnī of Neminātha possesses bunch of mangoes, noose, child and goad in different hands and marked on a lion in Śvetāmbara description. In the Digambara tradition, the lion is seen as her vehicle and she carries a bunch of mangoes and a child in two hands (Bhattacharya 1974: 103-4; Sahu, 1971: 371). The origin of the Śāsanadevī Ambikā is found in the legends given in the Ambikā-devī-kalpa of Jinaprabhasuri and Yaksī-kathā noticed in the work Puṇyāśrava-kathā (Shah 1987: 246-7).

U.P. Shah divides the Ambikā images into three categories namely:

1. two armed images,
2. four armed images and
3. images containing more than four arms.

[Shah 1940: 147-69, 1987: 247]/

During my exploration I have been able to document a number of separate sculptures of Ambikā from the different parts of study area.

1. Two images of Ambikā were reported from Pakbirra (Bhattacharyya, Mitra & Bhowmick 1986: 137, 153-4, Pl.8 & 32). Among them, one image (52.5 cm x 27cm x 10 cm) is presently kept in side a room. In this image the Yaksī (Pl.XXXVI.A) stands in a subdued ābhaṅga pose holding a branch of a mangoe-tree (āmra-lumbī) in her right hand. Her left arm dangles at her side loosely tugging at the end of her long scarf. Little Prabhaṅkara, her younger son stands at her left clinging to her scarf, while her elder son Subhaṅkara stands at her right. The goddess is attired in a transparent lower garment with horizontal incised lines, and a long scarf covering her breatsts and falling over her shoulders at her sides. She wears profuse jewellery including multi-stranded armlets, keyūra, mekhalā, ratnopavīta, large circular ratnakuṇḍalas, and a ratna-mukṭa. Her hair is arranged in two small circular locks at the corners of her head and a bun resting on her shoulder. Over the head of the Yaksī is a mangoe-tree ladden with fruits, above which in the upper-most register of the stele there are five miniature figures of Tīrthaṅkaras each seated in dhyānāsana on a lotus seat and under a trilinear chatra. From their cognizances carved in the centre of the padmāsana (except that of Pāśvanātha), four of them from left to right can be identified as Ṛṣabhanātha, Padmaprabha, and Mallinātha, while the lāñchanas of the fifth one is damaged beyond recognition. Lightly incised flowers, possibly roses, are placed in between the Jina figures. The back of the throne is plain barring two similar flanking the Yakṣī. On the edge of the back-slab are decorations in the form of floral scrolls enclosed within a band. The projected part of the pedestal below reveals a lion, the vahana of the Yakṣī. On the recessed part are two incised floral rhizomes one on either side, used as decorative appendage.

2. This image is presently under worshipped and kept near to the Kalbhairava image at site. In this image the bejewelled goddess stands in graceful ābhaṅga pose holding a frolicking little child (her younger son Prabhaṅkara) with her left hand (Pl.XXXVI.B). Her right arm, once possibly holding the branch of a mangoe tree (āmra-lumbī), is broken at elbow. A male attendant (or her elder son Subhaṅkara) stands to her right holding a punthi in his left arm-pit. The goddess wears a diaphanous śārī fastened by an ornamented girdle and profuse jewellery. The latter comprising of urujālaka, armlets, keyūra, multi-stranded necklaces, kuṇḍalas, and a three-crested crown. Her hair rolls over the left shoulder and is done in a two-fold bun within fillet nets. Above the goddess is a sprawling mangoe tree ladden with fruits, on the stem of which sits a Jina in dhyānāsana under a parasol. A graping lion with its head turned towards the goddess occupies the centre of a pañca-ratha pedestal below, which also bear three tiny figures of devotees, two of them in añjali-mudrā and one seated. Vidyādharas holding gar-lands can be seen on the top corners of the back-slab.

3. The image of Ambikā from Herbona is broken into two parts and measures 30 cm x 17 cm x 5cm. The bejewelled goddess stands in graceful ābhaṅga posture on a double-petalled lotus placed on a sapta-ratha pedestal. The deity is standing under the foliage of a mango-tree or kalpataru. Above the branches of the tree is a seated Jain in dhyānāsana. She is holding a little child, who is her younger son Prabhaṅkara, with her left hand. Her right arm is broken. A male attendant, who is her elder son Subhaṅkara, stands to her right side and holding a puṅthi in his left arm-pit. The goddess wears a diaphanous śārī fastened by an ornamented girdle and profuse jewellery. The projected part of the pedestal below reveals a lion, the vāhana of the Yakṣī.

4. Bauridihi specimen is also damaged and it is an exquisitely sculpted specimen and the extant portion comprising the lower part of the icon measures 77 cm x 57 cm x 17 cm. The bejewelled goddess stands in graceful ābhaṅga posture on a doublepetalled lotus placed on a pañca-ratha pedestal. She is holding a frolicking little child very realistically rendered (who is her younger son Prabhaṅkara according to Jain tradition) with her left hand. In her right arm she possibly holds the branch of a mango tree, unfortunately, this is broken now. A male attendant (who is her elder son Subhaṅkara according to Jain tradition) stands in cross legged posture to her right side and holds a puṅthi in his left arm-pit. The goddess wears a diaphanous śārī fastened by an ornamented girdle with an elaborate centre piece and profuse jewellery. Some parts of her long scarf falls on her either side. She wears multistranded armlets, mekhalā, ratnopavitā, etc. On the left side of the deity (along her left fore arm) a female caurī-bearer is depicted. The projected part of the pedestal below reveals a lion, the vāhana of the Yakṣī. The stylized lion is flanked by a male and a female devotee kneeling in namaskāra-mudrā. Iconographically, the present image of Ambikā is more or less similar to the less bejewelled Ambikā image from Pakbirra.

5. An image of Ambikā, now lying under a tree in the Soloana Durga Mandir complex at Chatni para of Hatmura village (Majumder 2015b: 30). This image (Pl.XXXVI.C) clearly implies a Jain affiliation of the place. The image measure 74 cm x 40 cm 15 cm and is made of quartzite schist stone. This image of the Yakṣī of Tīrthaṅkara Neminātha is an exquisitely sculpted specimen though, at present the image is badly weathered. She is holds a, realistically rendered, frolicking child (her younger son Prabhaṅkara according to Jain tradition) in her left hand. In her right hand she possibly held the branch of a mango tree; unfortunately, this is damaged now. A male attendant (her elder son Subhaṅkara according to the Digambara tradition) stands to her right. The elaborately bejewelled goddess wears diaphanous apparel fastened by an ornamented girdle with an elaborate centre piece; a portion of her long scarf falls down on either side. Her hair is arranged in one small circular lock at the left corner of her head and resting on her shoulder. The deity stands in graceful ābhaṅga posture under the foliage of a mango-tree. At the top, in the centre of the tree, is a seated Jina in dhyānāsana; unfortunately, this Jina figure is damaged. There are several small figures along the edges of the back-slab which cannot be identified properly; probably this depicts a social scene. The central ratha of the pedestal shows a stylized lion, the vāhana of the Yakṣī, flanked by a male and a female devotee kneeling in añjali-mudrā.

6. An image of Ambikā was notice during the recent exploration at Tumba village. This image is presently under worshipped along with the two Tīrthaṅkara images. Iconographically this image (Pl.XXXVI.D) is very much similar with the earlier image and measures 73cm x 38cm x 10cm. The image is highly weathered and as a result of this it is difficult to study the iconic details of this image. The goddess standing in ābhaṅga posture on double-petalled lotus placed on a pañca-ratha pedestal. The deity wear incised loin cloths and elaborate jewellery. Both the hands of this deity are broken and in her left side a frolicking little child (her younger son Prabhaṅkara) is present. A male attendant (or her elder son Subhaṅkara) stands to her right holding a punthi in his left arm-pit. The back-slab of this image is also decorated with miniature figures and above the goddess is a sprawling mangoe tree ladden with fruits, on the stem of which sits a Jina in dhyānāsana.

The pañca-ratha pedestal of this image is decorated with lion at the centre flanked by the kneeling donor couple and both the end of this pedestal is decorated with a ratnapātra heaped with offerings.

7. Similar type of Ambikā image was reported from the excavation of Kotra (Gajpur). The image measures 55cm x 30cm x 10cm. and in the pedestal of this image there is some inscription but due to it eroded condition it is very difficult to decipher properly (Pl.XXXVI.E). In this image bejewelled goddess stands in graceful ābhaṅga posture on a double-petalled lotus placed on a pañca-ratha pedestal. In the centre of the pedestal the lion, the lāñchanaof the deity, is depicting. She is holding a frolicking little child very realistically rendered (who is her younger son Prabhaṅkara according to Jain tradition) with her left hand. In her right arm she possibly holds the branch of a mango tree, unfortunately, this is broken now. A male attendant (who is her elder son Subhaṅkara according to Jain tradition) stands in cross legged posture to her right side and holds a puṅthi in his left arm-pit.

8. A damaged pañca-ratha pedestal (28cm x 32cm x 8cm) of Yakṣī Ambikā was also unearthing from the excavation of Kotra (Gajpur). A stylized lion is depicted at the centre of this pedestal flanked by the kneeling donor couple and both the end of this pedestal is decorated with a ratnapātra heaped with offerings. Only foots of the deity is survived and it is placed on the double-petalled lotus placed this pedestal.

9. The image of Ambikā of Lalpur most probably brought from the Telkupi temple complex and this image was actually reported by Mitra in her report. The preset condition of the image is not good. The bejeweled goddess stands in graceful ābṅaga pose holding a frolicking little child (her younger son Prabhaṅkara) with her left hand. A male attendant (or her elder son Subhaṅkara) stands to her right holding a punthi in his left arm-pit. Her right hand is badly damaged and most probably she holding the branch of a mango tree. The face of the goddess and the upper part of the back stele are also smashed and broken. She wears a diapthanous śārī fastened by an ornamented girdle and profuse jewellary. The back stele of the image also decorated with different social incidents, which is very interesting. The image made of black stone and measures 87 cm x 43 cm x 12cm.

10. A beautiful image of Yakṣī Ambikā is presently kept in a modern temple of Sashandihi and the image is under worshipped (Pl.XXXVI.F). The image measures 85cm x 40cm x 12cm and iconographically very much similar with the earlier images. Due to the regular worshipped the image lost its iconographic details though the carving of this image indicates its high quality of craftsmanship. The posture as well as the other details of this image exhibits its similarity with the other Ambikā images of this region.

11. A fragmented part of image of Ambikā was noticed at Chakoltor village of Purulia.The extant part of the image measures 44cm x 40cm x 12cm. The upper part of the back-slab shows the depiction of a prawling mangoe tree ladden with fruits, on the stem of which sits a Jina in dhyānāsana.

12. The image of Ambikā from Ambikanagar is very difficult to study properly, as it is almost covered with modern drapings. Mitra states: “unfortunately I could not have a full view of the image (ht. 4 and a half inches) due to the priest’s refusal to remove the drapings with which they have covered it. The face is obliterated by successive coats of vermillion. Lavishly bejewelled, the image seems to be two-armed, one hand broken and the other touching the head of a small figure. On both sides is an attendant, the one on the right being pot-bellied. The mount below the feet looks like a lion. The upper part of the back-slab is missing, but in the extant part are, in compartments, rows of figures in different poses, some dancing. The fragment of the right top corner of a sculpture, which now lies outside this temple, seems to have formed part of this image. In this piece (extant ht. 1΄6˝) is to be seen a portion of the oval halo with branches of the mango-tree above, crowned by a group of musicians and dancers; below the pendant mangoes are couples in two rows, some of them distinguished for their animal and bird-heads” (Mitra 1958: 131).

13. During the recent survey at the site I have document a damaged image of Ambikā just kept out side the old temple of Ambikanagar. The extent part of the image measures 50cm x 30 cmx 12cm. She wears a diapthanous śārī fastened by an ornamented girdle and profuse jewellary. The central ratha of the pedestal shows a stylized lion, the vāhana of the Yakṣī.

14. The Ambikā image from Barkola (ibid: 132-133) is made of chlorite stone and measures 43 cm x 24 cm. The deity is wearing a long śārī like garment and is bejewelled with mekhalā, necklace, armlets, bracelets, ear rings etc. She stands in tribhaṅga pose. A tiny figure of her Jina, Neminātha and a conch (śaṅkha) lāñchana are also carved over her head. Her hanging left hand is held by a child and a standing female figure is on her right side.

15. The image from Sulgi is described by P.K.Mitra in the following way “The image, considerably worn out and effaced, measures 15.4 cm x 7.7 cm x 1.5 cm. Worked in bold relief on a rectangular slab of white-spotted red sandstone, the stele depicts a Tīrthaṅkara seated in padmāsana in dhyāna-mudrā beneath a chatra held on both sides by a flying couple. The Jina is flanked by two standing figures, apparently, attendants holding caurīs but presently abraded beyond recognition. A circular halo at his back, and sharp rays that radiate from his shoulders define the glory of the Jina. The rigidity and discipline of the manner of his sitting in padmāsana makes a contrast to the very plasticity of the supple form of the female divinity carved below. The bejewelled Śāsanadevī is seated in mahārājalīlāsana on a couchant lion under a stylized tree which forms an arch over her head. She lends support to a child seated on her lap with her left hand, while in her right she holds an indistinct object, possibly a fruit. A miniature female figure holding and caressing another child is shown as seated on her right side. The features of the śāsanadevī as well as that of the attendant at her side are all badly effaced” (Mitra 1982: 34-55).

The lion mount along with the child in her lap, and another with her attendant, make it evident that the Śāsanadevī should be identified as Ambikā, the Yakṣī of the twenty-second Tīrthaṅkara Neminātha. According to Mitra, “Of her chief marks of identification the mango-tree or a bunch of mangoes could not be located with any certainty due to the worn-out condition of the lower register of the stele. The stylized tree above the Śāsanadevī may, however, be explained as an indication of a mangotree laden with fruits. Similarly, the object held by the Yakṣī in her right hand could well have been a mango. Another interesting feature of the relief is the spacing of the Jina and his Śāsanadevī in almost equal size contrary to the prevalent practices” (ibid.: 35). The facial and physiognomical type is a Gupta survival. This specimen is characterized by a boldness of composition in solid masses with a tender modelling of heavy bodily forms. This tradition persisted for a longer period, far into the ninth and tenth centuries and the western part of Bengal rarely shared this persistence.

15. Two images of Ambikā were reported from Satpatta, among them one is still in the site (Chattopadhyay 2010: 202) and another one is presently displayed in the VSPM, Vishnupur. The image which is presently at the site is defaced and abraded. It is made of chlorite stone and measures 45 cm x 19 cm. The coiffure of the goddess depicts a stylized kavarī and she wears a long śārī like garment and other usual ornaments. With tri-bhaṅga pose she is standing under the foliage of a mango-tree. Above the branches of the tree is a seated Jina in dhyāna-mudrā. She holds a frolicking little child (her younger son Prabhaṅkara) with her left hand. Her right arm, once possibly holding a branch of a mango tree, is broken at elbow.A tiny figure of a lion is depicted on the pedestal.

16. The image of Ambikā from Satpatta, which is presently displayed in the VSPM, Vishnupur (ibid.), is highly mutilated (Pl.XXXVII.A). It is made of greyish stone. The extant piece measures 67 cm x 33 cm. The goddess stands on a full-bloomed lotus. Over the head of the deity may be seen the branches of a mango tree laden with fruits. She has two arms. The right hand is broken, while the left hand holds a child. The śāsanadevī is bejewelled with different ornaments. Two figures are depicted on both sides of the goddess. The pedestal has the figure of a lion, the lāñchana of the deity. The presence of a child and a lion suggests the identification of the image with that of Ambikā.

17. A colossal figure of Ambikā (Pl.XXXVII.B) is noticed at Kechanda and it is one of the best sculptures of Bankura. The specimen was first studied by R. D. Banerji (1980:145-6). The image measures 150cm x 80cm x 35cm. Over the head of Ambikā is seen the branches of a mango tree laden with fruits. The sides of the back-slab are fully covered with bas-reliefs in thirteen rows depicting some narratives of Jain canonical literature and on the top of the back-slab five miniature Tīrthaṅkars are seated Jina in dhyāna-mudrā. The goddess wears a diaphanous sari fastened by an ornamented girdle with an elaborate centre piece and profuse jewellery. Some parts of her long scarf falls on her either side. She wears multi-stranded armlets, mekhalā, ratnopavitā, etc. Below the lotus on which the śāsanadevī stands is a seated lion, the emblem of the goddess.

18. Two images of Ambikā are presently embedded in the wall of the temple of Balarāmjeo at Simlapal. Among the two images one image is large (80cm x 40cm) and exhibits the high quality of craftsmanship. In this image the Yaksī (Pl.XXXVII.C) stands in a ābhaṅga pose holding a branch of a mangoe-tree (āmra-lumbī) in her right hand and in her left hand she holds a frolicking little child (her younger son Prabhaṅkara) while her elder son Subhaṅkara stands at her right. The goddess is attired in a transparent lower garment with horizontal incised lines, and a long scarf covering her breatsts and falling over her shoulders at her sides. She wears profuse jewellery including multi-stranded armlets, keyūra, mekhalā, ratnopavīta, large circular ratna-kuṇḍalas, and a ratna-mukṭa. Her hair is arranged in two small circular locks at the corners of her head and a bun resting on her shoulder. Over the head of the Yakṣī is a mangoe-tree ladden with fruits, above which in the upper-most register of the back-slab there isa miniature figures of Tīrthaṅkara seated in dhyānāsana on a lotus seat and under a trilinear chatra. The back of the throne is plain. The projected part of the pedestal below reveals a lion, the vāhana of the Yakṣī, flanked by the kneeling donor couple and both the end of this pedestal is decorated with a ratnapātra heaped with offerings.

19. A similar type of Ambikā image is also embedded on the same temple wall and though the image is smaller (34cm x 18cm) than the earlier image however, iconographically both the images are very much similar.

20. A small image (36cm x 22cm x 8cm) of Ambikā is also noticed from Ghotra village. This image is also similar with the smaller Ambikā image of Simlapal.

21. The Sivasthan area of Puncha village exhibits one damaged image Jain Yakṣī Ambikā (33cm x 38cm x 5cm). The image is highly corroded and very difficult to mention the iconographic details of the deity.

22. A highly abraded image of Ambikā is noticed in the vicinity of the temple premises of Barakar, just close to the bank of a small pond. The bejeweled goddess stands in graceful ābhaṅga pose holding a frolicking little child (her younger son Prabhaṅkara) with her left hand. Her right hand is damaged and most probably she holding the branch of a mango tree. The pedestal portion of the image is smashed. She wears a diapthanous śārī fastened by an ornamented girdle and profuse jewellary. The back-slab of the image is without decoration, which is very interesting. The image made of light black stone and measured 138cm x 60cm x 10 cm.

23. A miniature image of Yakṣī Ambikā is noticed during the exploration in the Dantan area. The image measures 42 x 20 x 5 cm. In this image the bejeweled goddess is seated in ardha-paryaṅkāsana posture. She is holding a little child in her left lap and her right hand is broken. Another image of a child is depicting just the left side of the deity. A crouching lion is is depicted as her cognizance in the pedestal. The back-slab is bears minimal decorations.

24. An exquisitely carved two armed image of Yakṣī Ambikā measures 64cm x 36cm x 18cm is presently displayed in National Museum, Delhi. The find-spot of this image is Sundarban area of South 24 Parganas (Pl.XXXVII.E), West Bengal and this is the Acc.No. 63.940 of said image. In this image the deity stands under a tree over which a tiny figure of a Jina is lodged. She has a beautiful hairdo and holding a child (her younger son Prabhaṅkara) in her left hand. In her right hand she is carrying a branch of a mango tree. The other son stands on her proper left. She has a charming figure standing gracefully in a flexed pose. She wears a mukuṭa, ear-rings, a necklace, bracelets, anklets and a transparent śārī which is reaching above the knees. A lion, the vāhana of the deity is depicted at the centre of the tri-ratha pedestal. The middle portion of the back-slab is decorated with dancing attendents on both the sides.

25. A magnificient image of Ambikā (Pl.XXXVII.F) is presently displayed in the Akshaya Kumar Maitreya Heritage Museum (also known as North Bengal University Museum), Jalpaiguri, however, the find-spot of this image is not known. In this image the bejewelled goddess stands in graceful ābhaṅga pose carries a child (her younger son Prabhaṅkara) on her waist to the left supported by the laft hand. Her right arm, once possibly holding the branch of a mangoe tree (āmra-lumbī), is broken at elbow. A male attendant (or her elder son Subhaṅkara) stands to her right along with a female attendant. The goddess wears a diapthanous śārī fastened by an ornamented girdle and profuse jewellery. Her hair rolls over the left shoulder and is done in a twofold bun within fillet nets. Above the goddess is a sprawling mangoe tree ladden with fruits, on the stem of which sits a Jina in dhyānāsana. A graping lion with its head turned towards the goddess occupies the centre of a pañca-ratha pedestal below, which also bears three tiny figures of devotees, two of them in añjali-mudrā and one seated. Vidyādharas holding gar-lands can be seen on the top corners of the back-slab. The back-slab of the image is highly decorated with floral as well as architectural motifs.

26. A bronze image of Yakṣī Ambikā was reported from the Nalgara, South 24 Parganas (Banerjee 1942/1971: 465). “The deity, in graceful moulding, stands on a lotus, holding with her left hand a child on her waist, under the bent bow of a tree. In the left hand is some flower. A nude child is shown standing on her right side. At the bottom of the tree is Ambikā’s cognizance, the lion” (Banerjee 1975: 153 Plate 81B). This image is presently not traceable.

27. Similar type of a bronze image of Ambikā is presently displayed in the State Archaeological Museum, Govt. of West Bengal, Behala, Kolkata. Acconding to information this image was also collected from Nalgara region. Iconographically this image is very much similar with the earlier image from same site.