Pakbirra Sculptures – Part 2: Stylistic Analysis and Conclusions

Summary

Segment 3 continues the detailed catalogue of sculptures and shifts towards stylistic analysis. Each entry provides dimensions, estimated dates and plate references. For example, the authors describe a figure of Rsabhanātha wearing a jata‑mukuṭa (matted headdress) and standing under a tri‑ratha parasol, with miniature Jinas carved on the pedestal and flanking cauri‑bearers. Other entries include a seated Jina image with a caturmukha pedestal, fragmentary lower parts of images, torsos of Jain tutelary couples, miniature shrines, and stele fragments decorated with multiple Tīrthankaras. Throughout this catalogue, the authors draw attention to recurring motifs such as lotus pedestals, lions, makaras, nagas, vidyādharas and miniature figures carved in registers. They also note differences in body proportions, ornamentation and the treatment of the Jina’s hair and halo. After cataloguing the sculptures, the article offers an analytical overview of stylistic features. It identifies the main characteristics of the Pakbirra sculptures, such as the elongated torsos, narrow waists, straight stance and well‑modelled limbs. The authors compare these traits with those of Pala‑period sculptures from Bengal, Orissan temple art and earlier post‑Gupta traditions, arguing that the Pakbirra works exhibit both regional idiosyncrasies and influences from neighbouring schools. They classify the sculptures into types—short‑statured and slender, broad‑shouldered, fleshy, elongated and masculine—based on body proportions and pose. The discussion then addresses changes in stele format, noting a transition from simple unadorned slabs to elaborately carved structures with architectural frames and rows of subsidiary figures. The article suggests that stylistic phases can be correlated with historical periods, ranging from the late sixth century to the eleventh century. In the conclusion, the authors argue that Pakbirra functioned as both a centre of carving and a repository for sculptures over about five centuries. They stress that the site’s sculptures mirror the broader evolution of Jain art in eastern India, blending Sarnath, Pala, Orissan and Mathura idioms while retaining local characteristics. The segment ends by emphasising the need to preserve these artworks and to conduct further research on their stylistic development.