AbstractThe Buddhist goddess Mārīcī, revered as a solar and protective deity within Mahāyāna and Vajrayāna Buddhism, occupies a distinctive position in the Buddhist pantheon. This study investigates the iconography of Mārīcī in early medieval South-East Bengal (c. 7th–13th century CE), emphasizing regional representations, stylistic nuances, and ritual significance. Drawing on first-hand examination of sculptural materials preserved in the Bangladesh National Museum (BNM), Varendra Research Museum (VRM), and Mainamati Site Museum (MM), the research constitutes the first systematic documentation and analysis of Mārīcī sculptures from this region. Each sculpture was meticulously measured, photographed, and described to enable a comprehensive iconographic and stylistic evaluation. The visual data were further compared with textual sources, including the Sādhanamālā and Niṣpannayogāvalī, highlighting correspondences and localized adaptations in the goddess’s depiction. Detailed analysis of postures (āsanas), gestures (mudrās), attributes, mounts (vāhanas), and compositional elements reveals the evolution of Mārīcī’s role within the Buddhist art of Bengal. The findings demonstrate distinctive regional traits, workshop-specific variations, and cross-cultural influences, reflecting the dynamic religious and artistic milieu of early medieval South-East Bengal. This study provides a foundational corpus for further research on Buddhist goddess iconography and the development of Vajrayāna artistic traditions in Bengal. Keywords: Buddhist goddess; Mārīcī; iconography; South-East Bengal; Sādhanamālā; Vajrayāna Buddhism