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Synopsis The images, it is believed, besides providing a medium between the devotee and his deity, serve other important functions interalia the understanding of the evolution of art ‘a full range of human thought and activity including history and geography.’ The Sculptural remains in Eastern India, dating prior to the Pala period, are few by contrast to those of later centuries. Ever Lama Taranatha who popularized the concept of prevailing form of art in Eastern India, appears to have been aware of earlier art in this region. From the 8th Century A.D. onwards the regional spirit gradually got better of the Indian tradition in all spheres of life. T he kingdoms began to assert their identities in their respective boundaries. The local script and dialects began to develop in the succeeding centuries. This is also true of Indian art and in Bengal a new idiom of expression evolved under the Palas and the Senas. Though the art of Bengal during these periods is essentially religious, the artist, though ordinarily belonged to a professional class occupying the lower strata of society, from time to time within the principles of image-making became successful in covering an image into a perfect piece of art. The present catalogue II, contains information about many such Sculptural pieces that may likely to throw welcome light to the future scholars working in this field of study.