In the storage of the Bhubaneswar Circle of ASI, an interesting image of four armed Cundā is kept (see figure). Around the main deity, eight attendants are ar ranged. After iconographic analysis, I noticed that Cundā and the eight attendants are the deification of the nine-syllabled mantra of Cundā: Oṃ cale cule cuṃde svāhā. The correspondence is explained in the Fo-shuo-chi-ming-zang-yujia- da-jiao-zun-na-pu-sa-da-ming-cheng-jiu-yi-gui-jing 佛説持明藏瑜伽大教尊那菩 薩大明成就儀軌經 (Taisho no. 1169), the Sanskrit original and corresponding Tibetan t ranslat ion of which is not known, and in the Māy āj āla- tant ra (samādhipaṭala). However, in the latter, the name of the attendants corresponding to each syllable are not given. For the details, we must refer to Ānandagarbha’s commentary on the latter (Peking no. 3336). It is noteworthy that both texts were tranlated into Chinese during the Northern Song dynasty by the same translator, Fa-xian 法賢. Above the main deity (A) is Vairocana, corresponding to the first syllable Oṃ. To the left of Vairocana (B) is Cakravartin corresponding to Ca. To the right of Vairocana (C) is Acala corresponding to Le. To the left of the main deity (D) is Avalokiteśvara or Cūḍamaṇi corresponding to Cu. To the right of the main deity (E) is Amoghapāśa corresponding to Le. The main deity is Cundā cor responding to Cuṃ. At the bottom left is Vaj rapā ṅ i (F) cor responding to De. At the bot tom r ight (G) is Ekajaṭ ā corresponding to Svā. At the botttom centre (H) is Vajranakha corresponding to Hā. The aforementioned ritual manual of Cundā in Chinese explains singleheaded eighteen-armed type of Cundā whereas the Māyājāla explains threeiv headed twenty-six-armed style. However, in the image in question, Cundā is represented in her most common iconography in India: the single-headed four armed style. For details reference should be made to the accompanying chart and tables on pp.51（400）-46（405）.