A Three-Headed Statue of Yamari from the District of Dacca
Summary
The three-headed statue of Yamari, housed in the Museum of the Varendra Research Society (No. 88 A (8) 4), originates from the District of Dacca, East Bengal. This dwarfish, pot-bellied deity with three faces, scowling brows, fangs, flaming hair, a beard, and an archer pose (pratyalidha-pada) tramples corpses under each foot. He wears a belted skin, a serpent ornament, a skull-cap (kapala) on his lower left hand, and a garland of human skulls. A small worshipper figure is positioned between his legs. The statue originally had three hands on each side, though only a sword, a tarjant mudra, a rosary, and a skull-cap remain intact. The iconography aligns with Yamari (Yamantaka), a deity described in Sadhanas as having three faces, six arms, and attributes like a sword, noose, and mace. While the tarjant mudra and skull-cap are not explicitly mentioned in textual sources, the statue’s unique features—such as trampling corpses and the archer pose—distinguish it from standard representations. The statue likely belongs to the Vajrayana tradition, associated with Tantric rituals. Its dark complexion and fearsome attributes reflect Yamari’s role in destroying evil. The work emphasizes the rarity of such depictions in India and corrects earlier misidentifications, such as the proposed link to Avalokitesvara. The analysis underscores the statue’s significance as a singular example of Yamantaka iconography in Indian art.
Summary reviewed by a volunteer editor.
Conclusion
This three-headed statue of Yamari from East Bengal's Dacca district represents a rare and significant iconographic variation within Pala-era Buddhist art. The sculpture's distinctive dwarfish form, three faces, fiery hair, and multiple arms holding symbolic objects like a sword, skull-cap, and rosary align it with Yamantaka iconography, despite deviations from textual descriptions. The presence of a worshipper figure between the deity's legs suggests ritualistic veneration, while the serpent ornaments and Aksobhya Buddha emblem on the crown highlight syncretic influences. The statue's six-armed configuration, though partially damaged, underscores its role as a fierce protector deity in tantric traditions. Its unique features contribute valuable insights into regional artistic interpretations and the dynamic evolution of Yamari's iconography during the Pala period, distinguishing it from conventional representations and enriching understanding of East Bengal's religious art heritage.