Scultures of Buddha in Bhusparsa-mudra

Twenty-four, out of twenty-five metal images of Buddha have largely been portrayed in bhusparsa-mudra. The asana and mudra of the last Buddha image is not certain because only isolated head is found. This hand-pose, symbolize the great Enlightenment of Sakyamuni under the bodhi (asvattha) tree at Bodh-Gaya (Uruvela). This pose illustrates the story of Buddh’s calling the earth as his witness for testifying to his right to sit on the vajrasana under the Bodhi tree, which was challenged by Mara, just prior to his enlightenment. The images of Buddha with this mudra were immensely popular throughout Eastern India.

The first twenty-three icons of Buddha, representing him in this attitude belong to SRP-31 while rest two to the SRP-10. All icons are seated in the vajraparyankasana attitude upon a sophisticated, raised and blobbed pericarp of the single or double petalled lotus pedestal. Sometimes the lotus pedestal is supported on quadrangular or rectangular multi-tiered legged seat called Mahabhujapitha. All of them are small, light and easily portable. A few images are too much corroded that the facial features have partially disappeared. All presented in full frontality and none of them are accompanied by Bodhisattvas, attendants or devotees.

Three out of twenty-five bear a round or slightly an oval inscribed metal disc attached to the back of the neck or at the back of the deity or at the bottom of the lotus pedestal. All record the legend of Buddhist formula (Bija-mantra) in five lines. The language is Sanskrit and is in kutil variety of proto-nagari script. In addition to these metal seals nine terracotta seals have also been recovered from the present hoard. They wll contain the same record. Four images are shaded by either single or three umbrellas (chatras) and seven are silver plated.

These images form a characteristic iconographical feature by itself. An ascetic body with the emergence of triumph depicted throughout, inspiring expression on his oval face are the essence of the Panduvamsi iconography.

The long and extended ear-lobed of the figure of Buddha emphasize the peculiar custom of prithukarnata, the sign of beauty and greatness in men. In the ornamentation of the pedestal and the prabhamandala, in general, the strings of pearls or beads occupy a prominent place in the decoration. At times the branches or leaves of the Bodhi tree are seen rising from behind the head of the Buddha and spread between the space of his head and the prabhamandala. In all cases the deity is connected by three or five metal wire pieces to the prabhamandala. Sometimes, they are hidden by small flowers. The palm of Buddha shows tilaka mark. It is notable here that not only metal but most of the stone sculptures of Sirpur also exhibit him in bhusparsamudra.