by Bikash Chandra Pradhan | 2011 | 37,938 words
This study examines the Archaeological remains of Sripura from the period A.D. 650-800, revealing all varieties of archaeological materials, viz., art and architecture, coins, copper plate and stone epigraphic records and seals etc. highlighting the history and cultural heritage of Shripura. This ancient city was the capital of South Koshala under ...
Amongst the icons of Bodhisattvas, four can be identified with Ratnapani, all depicted in adamantine pose on a lotus seat with single row of petals. Below the pedestal of second and fourth specimens, a round metal bar connects the foreparts of descending petals. He belongs to ratna (cintamani jewel) family, of kulesa Ratnasambhava and his sakti, Vajradhatvisvari. Cintamani jewel is the identifying mark of this family (kula). Ratnapani begets jewel or moon as his principal symbol, which is usually held over a lotus.
[Registration No. 770; Size 10 x 5 cm]
The image with fair state of preservation is an example of high artistic excellence. The Bodhisattva is seated straight in the vajra-paryankasana attitude on an ekalapadmapitha (with a single row of petals). Both arms rest on the knees. While right palm displays the varada-mudra, the left holds a flag of cintamani jewel supported on a long stalk.
Wrapped in an antariya, held by katibandha, the two armed Ratnapani, with trivali marks around the neck, is adorned in valayas, keura with an elaborate triangular central piece, ekavali, upavita, ear-studs, round pallet on feet, palm and forehead, mukuta with vertical ornate projections. His matted hair, arranged in a jata-mukuta, allows a couple of coiled locks to fall on shoulders.
Welded to the lotus seat, is a horseshoe-shaped halo. It is edged by makara-shaped tounges of flames and bead designs at regular intervals. The halo, which is not solid, is supported by the metal bar connecting with the back side of the icon. At the apex of the halo is a big bead-shaped ornamental motif, above which rises the stick