Did you know that long before the Bengal School of Art became well known as a new movement in Indian Art history, there existed a school of miniature painting of illustrating religious manuscripts under the Pala kings of Bengal more than 1000 years ago? This school flourished during the 11th/12th century, mostly illustrating religious texts. Pala (ruled 8th to 12th century) style paintings are often found in the form of illustrations within Buddhist palm-leaf manuscripts. The Pala empire extended to Nepal, Bihar and Bangladesh and manuscript writing with paintings happened there too which now are housed across many museums in the world. Let us see some Prajnaparamaita manuscripts especially Aṣṭasahasrika Prajnapāramita and understand this unique forgotten school of painting.
Prajnaparamita – A way of seeing
Prajnaparamita represents an elevated understanding of the nature of reality and also refers to a specific set of Mahayana Buddhist scriptures known as the Prajnaparamita sutras, which include important texts like the Heart Sutra and the Diamond Sutra. The term is derived from the Sanskrit words prajna, meaning ‘wisdom’ or ‘knowledge,’ and paramita, which conveys ‘excellence,’ ‘perfection,’ or ‘noble character quality,’ as well as the idea of having transcended or reached a higher state. This concept is central to Mahayana Buddhism and is often associated with ideas such as emptiness (shunyata), the lack of inherent essence (svabhava), the illusory nature of existence (maya), and the description of all phenomena as ‘non-arising’ (anutpada) or unborn, as explained in Nagarjuna’s Madhyamaka philosophy. Understanding and engaging with Prajnaparamita is deemed crucial for those on the Bodhisattva path.
Prajnaparamita Sutras – A perfection of wisdom
According to Edward Conze, the Prajnaparamita Sutras are “a collection of about forty texts … composed somewhere on the Indian subcontinent between approximately 100 BC and AD 600.” Some Prajnaparamita sutras are thought to be among the earliest Mahayana sutras.
The Prajnaparamita Sutras are a compilation of texts rather than the work of a single author, with origins tracing back to around 100 BCE. They are recognized as some of the earliest Mahayana Sutras. Although certain commentaries and translations are linked to individual scholars and monks, the original texts remain anonymous. The foundational sutra known as ‘The Perfection of Wisdom in Eight Thousand Lines’ (Aṣṭasahasrika Prajnaparamita) developed over a span of approximately two centuries, from the first century BCE to the first century CE. This sutra, part of the Prajnaparamita genre within Mahayana Buddhist literature, has manuscript evidence dating from around 184 BCE to 46 BCE, making it one of the oldest known Buddhist manuscripts. It plays a crucial role in the development of Prajnaparamita literature, addressing various themes, particularly the conduct of a bodhisattva, the realization of the Perfection of Wisdom as one of the Six Perfections, the comprehension of thusness (tathata), the achievement of irreversibility on the path to buddha-hood (avaivartika), along with concepts of non-conceptualization and renunciation.
Where Bodhisattvas stand
He does not stand in form, perception or in feeling,
In will or consciousness, in any skandhas whatsoever.
In Dharmas true nature alone he is standing.
Then that is his practice of wisdom, the highest perfection.
Change and no change, suffering and ease, the self and not-self,
The lovely and repulsive — just one Suchness in this Emptiness they are.
And so he takes not his stand on the fruit which he won, which is threefold—
That of an Arhat, a Single Buddha,
a Buddha fully enlightened…..…translated from the Aṣṭasāhasrikā Prajñāpāramitā.
Aṣṭasahasrika Prajnaparamita – An illustrated text
The Aṣṭasāhasrika Prajñāpāramitā was a prominent Buddhist manuscript richly illustrated between the eleventh and thirteenth centuries in South Asia. It underwent multiple translations from the first to the tenth centuries, reflecting the evolving practices of Buddhism in the area. Most surviving illustrated manuscripts of the Ashtasahasrika Prajnaparamita were produced in Bihar and Bengal, now part of India, during the Pala period, as well as in regions of present-day Nepal. These manuscripts were created by scribes and artists, including monks from major Buddhist monastic centers such as Nalanda, Uddandapura, known today as Odantapuri and Vikramshila in Bihar, India. The manuscripts were crafted from palm leaves, bound with wooden or ivory covers, and secured with strings threaded through holes in the folios. Each folio featured one or more panels for illustrations, with decorative bands along the edges showcasing motifs like stupas, floral patterns, or images of yogis and deities. The inner covers were also intricately illustrated. While the manuscripts did not credit the artists, the names of some scribes were noted in the colophon. These works were commissioned by both lay donors and monks, with the act of copying, illustrating, and venerating the manuscript seen as a means of accruing religious merit, as suggested in the text. The philosophical themes of the Ashtasahasrika Prajnaparamita meant that its iconographic elements were largely independent of the manuscript’s textual content.
Painted covers and single folio –
This manuscript’s covers are illustrated with scenes of the life of the Buddha. The artist has included Prince Siddhartha’s departure from the palace, the cutting of his hair, and the offering of food by the maiden Sujata.
Nothing real is meant by the word ‘Bodhisattva.’ Because a Bodhisattva trains oneself in non-attachment to all dharmas. For the Bodhisattva, the ‘great being’, awakes in non-attachment to full enlightenment in the sense that one understands all dharmas. Because one has enlightenment as his aim, an ‘enlightenment-being’’ [Bodhisattva], a great being’, is so called………………………….. translated from the Aṣṭasahasrika Prajnaparamita.
Padmapani – Symbol of purity and compassion
Bodhisattva Padmapani, also known as Avalokiteshvara, is a significant figure in Buddhism, particularly in the Mahayana tradition. He is revered as the embodiment of compassion and is often depicted with a lotus flower in one hand, symbolizing purity. The verse associated with Padmapani, a Bodhisattva in Mahayana Buddhism, is “Om Mani Padme Hum”. This six-syllable mantra is widely chanted and is understood to represent compassion, wisdom, and the path to enlightenment.
Prajnaparamita Devi, known as the ‘Goddess of the Perfection of Wisdom’, represents the embodiment of Prajnaparamita, which signifies the ultimate form of transcendent wisdom. This wisdom is regarded as the pinnacle in Mahayana and Vajrayana traditions, guiding practitioners towards Buddhahood and serving as its inherent source. From the 9th to the 12th centuries, Prajnaparamita Devi was prominently featured in Indian Buddhist art, especially during the Pala Empire period. Her image is also prevalent in Buddhist art across various regions, including Java, Cambodia, Tibet, and the Himalayas. In Himalayan and Tibetan artistic representations, she may be portrayed as either a bodhisattva or a Buddha. The painting shown here illustrates her seated in padmasana with a halo, performing the dharmachakra mudra, surrounded by white lotuses and devotees seeking her guidance for enlightenment and wisdom.
Avalokiteswara on his throne – imparting wisdom
The seated Avalokiteshvara, a bodhisattva symbolizing compassion, is depicted wearing a crown and jewels, flanked by two white lotus flowers, within a temple shrine featuring the bhadra-style superstructure typical of the Pala tradition. His hands are arranged in the double vitarkamudra as he shares the Perfection of Wisdom sutra with a lady devotee, who looks up at him with admiration. He represents compassion, kindness, and the potential for spiritual development, even in difficult situations. This scene expresses a deep humanist sentiment, mirroring the psychological principles found in texts that guide devotees on how to engage with the deity. The essence of the Buddha, dhatu is represented by a stupa, symbolizing the presence of both the Buddha’s relics and teachings.
Maitreya – The future Buddha
Maitreya is an esteemed bodhisattva in Buddhism, regarded as the future Buddha of our world. It is anticipated that he will be reborn in the future to impart the dharma when the teachings of the present Buddha, Shakyamuni, have been lost. Maitreya is expected to eventually come to Earth, be born as a human, and attain enlightenment. The name Maitreya originates from the Sanskrit term ‘maitrī,’ which translates to loving-kindness or friendliness.
Green Tara – A compassionate deity
Green Tara is a benevolent figure who facilitates freedom by eliminating barriers that hinder devotees from achieving their aspirations. In this aspect, she is regarded as a protector within the Buddhist tradition. A revered representation of Green Tara features her with a pendant leg and a blue lotus, accompanied by two female attendants—one wielding a vajra and the other, Mahakali, holding a flaying knife and a skull-cup or kapala.
Mara – A demon against enlightenment
Mara represents not merely a singular being, but a manifestation of the collective forces that resist enlightenment. Associated with life’s transience and the dread of mortality, Mara complicates the process of detaching from earthly attachments. Employing various tactics, Mara entices individuals with worldly pleasures, fame, power, and material wealth, diverting them from their spiritual journeys. The ultimate aim of Mara is to obstruct individuals from pursuing enlightenment by generating distractions and impeding their spiritual advancement. In Buddhist tradition, Mara is depicted as a malevolent celestial Asura king who attempted to prevent Prince Siddhartha from achieving ‘Awakening’ by alluring him with his celestial army and visions of enchanting women, often referred to as Mara’s daughters in various legends. In this artwork, he is portrayed alongside his demonic forces.
Gautama Buddha – Descent from the Trayastrimsa Heaven
The descent of Gautama Buddha from the Trayastrimsa Heaven, also referred to as Tavatimsa or the Heaven of the Thirty-Three Gods, holds great significance in Buddhist tradition. After imparting teachings to his mother, Mayadevi, and the deities residing there, Buddha returned to earth at Sankisa. This event is illustrated in various forms of art and literature, showcasing a celestial staircase with Brahma and Indra aiding his return. Buddha ascended to Trayastrimsa Heaven to deliver the Abhidharma teachings to his mother, who had passed away shortly after his birth. Legend states that a three-tiered staircase made of precious materials—gold, silver, and jewels—manifested to assist in his descent. Artistic representations of Buddha’s descent from heaven can be found at Sanchi, Bharhut, Sankisa, and other locations, often depicting him with Brahma and Indra positioned on either side.
Buddha’s supernatural powers – Miracle at Shravasti
The Miracle at Shravasti, also known as the Twin Miracle, is an important occurrence in Buddhist tradition where the Buddha showcased his extraordinary powers in the historic city of Shravasti. He performed feats such as levitation, producing fire and water from his body, and creating multiple images of himself. This event was a reaction to a challenge posed by six non-believers and served to illustrate the Buddha’s miraculous capabilities to both his followers and sceptics. The accompanying illustration depicts the Buddha as he multiplies into numerous images.
References –
https://cudl.lib.cam.ac.uk/ (accessed 23.04.2025)
https://archive.org/details/astasahasrikaprajnaparamitaedwardconze (accessed 29.04.2025)
https://mapacademy.io/article/ashtasahasrika-prajnaparamita/ (accessed 7/05/2025)
