The Development of Hindu Iconography c8.49.5

c8.49.5

similarly, examples can be cited where north Indian texts can be shown to bear south Indian characteristics. This is especially noticeable in the late compilations. Maṇḍana, an artist of Rajputana, draws copiously from both the sources in his works, and in many instances his descriptions of particular images are given in the approved south Indian manner. Thus, the following description of the image of the sun in his *Rūpamaṇḍana* : *Sarvalakṣaṇasaṃyuktaṃ sarvābharaṇabhūṣitam* ¹ *Ādityasya tvidaṃ rūpaṃ kuryāt pāpa-praṇāśanam* does not contain the well-known iconographic traits of the Sūrya images of the north.¹ Kṛṣṇānanda Āgamavāgīśa, a great Tāntric pandit of Bengal, refers to two dhyāna-mantras of Sūrya, none of which contains any of the same.² The omission of these details in the north Indian compilations may have also another explanation in this particular case; as these were late works, most of the traits which had their basis in the non-Indian motifs were purposefully omitted, a reason which might also have been at the root of such an omission in their earlier prototypes of the south.