Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v2.c14.s43.2

v2.c14.s43.2

The account of these images too is very meagre. Evidently the author had in mind solely effigies of Buddha, not of other Buddhist deities. This is clear from his description. These figures, he says, which may be either erect or in the sitting posture, are placed on a throne (*siṁhāsana*) and are distinguished by the *aśvattha* tree as well as by the *kalpa-vriksha* or mythic wonder-tree. The latter, as we have seen, is represented in connection with other divine beings as well, but the *aśvattha* or ficus religiosa is characteristic of Buddha, as the Bodhi-tree under which he attained enlightenment (*Bodhi*) belongs to that species. Another peculiar mark of Buddha, which has been duly noted by the author, is the *ushṇīsha* or protuberance of the skull (*ushṇīshojjvala-maulika*).¹ For the rest the appearance of Buddha is purely humar. He has a full face, a long nose, smiling eyes and elongated ears. His body is fleshy, his chest broad, his belly round and his arms long. He wears a yellow garment (*pītāmbara-dhara*) and his complexion is white. Like other idols, the Buddha images are made of wood, stone or iron (*loha*). They are measured according to the largest type of the *daśa-tāla* system.