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1865 FOUCHER The Beginnings of Buddhist Art
1865 FOUCHER The Beginnings of Buddhist Art
of Buddhist art,
and other
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UNIVERSITY
LIBRARY
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CHINESE COLLECTION
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restrictions in
text.
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THE BEGINNINGS OF
BUDDHIST ART
IN
BY
A.
FOUCHER
A.
THOMAS
and
F.
W.
THOMAS
PARIS
PAUL GEUTHNER
13,
RUE JACOB,
13
THE BEGINNINGS
OF
BUDDHIST ART
Printed for
PAUL GEUTHNER
and A.
by
Succ", Augers, France.
A.
BURDIN.
F.
GAVLTIER
THtBERT,
HARITt.
Essay IX
.aiK^Kim
Dsmoulin
lrr*. Sc
THE BEGINNINGS OF
BUDDHIST ART
IN
BY
A.
FOUCHER
REVISED BY THE
L. A.
THOMAS and
W- THOMAS
TARIS
LONDON
HUMPHREY MILFORD AMEN CORNER, E. C
MCMXVII
PAUL GEUTHNER
13,
RUE JACOB, 13
v/
;^c\3
^DEDICATED
WITH PROFOUND RESPECT AND AFFECTIONATE REGARD
TO
M.
AUGUSTE BARTH
Member
of the Institute
:
Jane 1914.
"PREFACE
To
the
Art and
Archeology
work of M. Foucher
and
requires no introduction.
His numerous
collective edition
and
of a
warm
welcome.
this
English version
may
appeal
whom
presents
difficulty,
in
England and
the
America. Aware of
delivery of
M.
charm had
so far evaporated in
Buddhism
veyed
for
and
it is
especially
is.
of course,
We may add
at
that it is
a highly
organic subject,
the stage
of discovery.
We cannot
touch
it
.
We
might compare
us say,
it to
a magic
Greeco-
to the
volition,
some
many
we have
the twelfth.
these
pages
transitions.
and
and give us
has achieved at
some
from
friU
PREFACE
the native schools,
the
*
a repertory of religious composi-
overwhelms
tions,
and
creates
which
Buddhist propaganda
islands.
Far East,
and
the
Malay
Thus
is
established
religious art of
double efflorescence
from
Buddha
type,
which
closely
and at
the
same time
Gaul
of
the
probability,
or shall
we
claim
derived, in all
the
whole world
on the European
:
and
in the mean-
while
may
be
welcomed as reestablishing by
the
by specialism.
Need we remark
that,
the theme,
away
of
M.
upon
the bas-reliefs
dealing
may indeed
and
the
to
from
the life
of
Buddha. The
life
M.
whole
series
of
countless births,
the
Great Being,
the Perfectly
read,
and at
first the
very alphabet
M.
Foucher terms
the magnificent
The
those
the
of
the
events in the
which
wen
specially
twelve acts of
Buddha and
so forth
had
illustration
;
the
Jataka
was
The
names of
those scholars to
whom we
Alexander Cunningham, Prof. Grtinwedel of the Berlin Ethnographical Museum, Dr. Serge d' Oldenburg, Perpetual Secretary of the Imperial
PREFACE
Academy
a long
of St. Petersburg,
IX
found recurring in
Foucher's
and
the
others will be
M. Fou-
cher's pages.
But undoubtedly
:
matter has in
M.
step forward so
which gives
much
ease
and
and
a word, we
an
but also
regard
to
Indian, illustration.
is
have the pleasure of welcoming a systematic treatise upon the subject from
M.
Foucher's
own
we
on a
level
a parallel
course, or
again that
see
a proportional
rapidity.
Gn
the contrary,
we
already
it
that
at
its
Sdnchi
and Barhut,
to
after
centuries
of
active
speculation,
makes
piety.
appeal primarily
the case
a community
characterii^ed by naive
and simple
strife
In
of Christianity how
I
many
centuries
of dogmatic
the
to those
embraced in
view
the mediaeval
of
cannot
the decay
grown upon
as
of
the older
popular
piety.
we have a warning
to the
partial
reversions which
ticated society
:
may
result
from
less sophis-
an
atmosphere,
no small admixture of
in
is
that
frank
pleasure in
the
special
charm
of
W. Thomas.
to Prof. Ed.
;
V Golodbew
;
(France)
to Mr. J
J.
to Prof.
Grunwedel and
to Major
Dr. A.
von Le
Coa (Germany)
H. (now
Ph. Vogel
(India)
Van Erp
(Java)
et
Acaddmie
des Inscriptions
Belles-Lettres,
MM.
in
found indications in
detail of
We tender
here our grateful thanks for help in the absence of which the
come
Some
faults of
sable in an English
book printed
in France.
P.
.S".
It
in view of some few details that this volume, with exception notice
1914.
memory.
CONTENTS
I.
II.
Pagts
The
BEcrNNiNGS of Buddhist
Art
The Representations
Reliefs of Barhut
of
The Eastern Gate of the Sanchi Stup A .... IV. The Greek Origin of the Image of Buddha V. The Tutelary Pair Gaul and India VI. The Great Miracle at ^ravasti The Six-Tusked Elephant VIII. Buddhist Art Java IX. The Buddhist Madonna
ni.
. .
.
in
in
139
147
185
VII.
IN
205
271
293
Index
ILLUSTRATIONS
Madonna
Plates I-IV.
28
II.
The The
1 at
III.
SdncU
2 at Amardvati.
:
first
Great Miracle
;
1 in
Gandhdra
z at Amardvati.
:
IV.
The
1 in
Gandhdra
2 at
Amardvati
3" at Benares.
Plates V-VI.
v.
Jatakas at Barhut
In medallions.
....
...
60
VI.
On
the rail-coping.
i
Plates VII-X.
VII,
I.
10
2.
VIII,
I.
2.
Divine guardian
Interior face of
at entrance.
left
jamb.
IX.
I.
jamb.
2.
X,
I.
The Vocation,
or Great Departure.
lintel.
XIV
Plates XI-XVI.
XI,
I.
ILLUSTRATIONS
Pago
138
Lahore Museum.
Mess, Mardin.
2.
Buddha
in the Guides'
XII,
I.
2.
XIII,
I.
2.
XIV,
I.
2.
XV,
XVI,
I.
2.
1.
2.
Plates XVII-XVIIL
XVII.
XVIII.
146
In Gaul. In Gandhara.
Plates XIX-XXVIII.
XIX.
184
At Benares.
At Ajanta.
I
.
XX.
XXI,
At Ajanta
In China
after a wall-painting.
2.
XXII.
XXIII.
I.
On
2.
InMagadha.
In the Konkan.
XXIV.
In Gandhira.
In Gandhara.
In Gandhara. In Gandhara.
I.
XXV.
XXVI.
XXVII.
XXVIII,
InGandhsLra.
2.
At Barhut.
Plates
XXIX-XXX.
I.
204
XXIX,
At Barhut.
AtAmaravati.
In Gandhara.
2.
XXX,
I.
2.
At Ajanta.
ILLUSTRATIONS
Plates
XV
Page
XXXI-XLIV.
XXXI,
I.
Buddhist archjEOlogy
:
in
Java
270
Boro- Budur
the north-west).
2.
XXXII.
XXXIII,
I.
2.
XXXIV,
I.
Story of Sudhana,
against
no.
Incantation
theNaga
(central portion)
1 1
:
XXXV,
I.
Manohara's flight.
Above
The
gods.
Alove
The
Bodhisattva's
descent
upon
earth.
2.
At the fountain
XXXVI,
I.
The
rain of
garments.
Ahove
his bride.
Above
The
first
promenades.
XXXVII,
I.
Presentation ot
Mahikatyi-
Above
The
Bodhisattva with
his
first
Brahman
XXXVIII,
I.
teacher.
Story of Rudrayana,
^aili's
no. 10
The nun
sermon
(left-hand portion).
:
2.
Queen CanJra-
XXXIX.
XL,
I.
16
After the
Above
declines the
The
rain of
XVI
XLI,
I.
ILLUSTRATIONS
Page
Boro-Budur
2.
The
purse-
XLII,
I.
The
Under
2.
In the
XLIII,
I.
Boro-Budur.
Trailokya-vijaya.
Bronze in
the
Batavia Museum.
XLIV.
The Goddess Cunda between two Bodhisattvas. On the south western wall of the Chandi Mendut,
Plates XLV-L.
292
XLV.
XLVI.
XLVII.
from
Suckling Madonna
i.
Romanesque;
Coptic.
XLVin,
XLIX.
L,
Hiriti
in
Gandhira.
2.
Hiriti in Java.
N. B.
A
the
detailed description
work or on
Art.C)
is a historical fact; only it has not yet been completely incorporated into history sooner or later that will be achieved. Meanwhile its initial period remains, we
:
Buddhism
that
we
think
we know
its
state
medium
is
no
is
But the
arduous
B. C.
though
may
logical research
the interval
and the
first
him
is
we cannot
it
flatter
oursel-
if
in
the
is still
more
art.
phenomenon, since it presupposes not only the development of the community of monks, but also a certain organization of worship on the
of the
latter is a relatively late
part of the
laity.
If
among
we have
at
(^i)
Cert-
no means loquacious
but they
Thanks
they were
when they
Qi'upakdrakd)
table foundation
we
moving sand
we
are never
is
exact-
On
the
all
manual technique
still
existing
monuments, the material traces of the procedures which must have been usual earlier inversely, and by a kind of
:
us.
seem
from various quarters upon the origins of Buddhism we beUeve even that the attempt to go
back to the very beginning of
its
art is,
for
the
the
at
the present
that
mean
that art
was created
entire
era,
by a decree of
to
the
would be absurd
believe this.
From
wheel-wright and the blacksmith, of the potter, the weaver and other fabricators of objects of prime necessity, but
also of those
whom we
painters, gold-
smiths, carvers in
to
tell
wood or ivory.
monuments would
stone,
be sufficient to establish
all
it.
by the
servile
manner
fra-
ming and
existence of
wooden
it
buildings.
On
as
we know from
inscription
a rehable source
by means of an
explicit
car-
monumental
first
is
first
attempts
their
technique.
The whole
limited to
are
monuments than those of India. All that was wood was condemned beforehand to fall into dust; all,
nearly
all,
of
or
that
might
Thus
is
explained
why
the
of
Bud-
we
leave aside
as the the great monolithic pillars dear to Agoka, as well sects caves excavated for the benefit of all the religious
in every place
where the geological formation of the rocks pendlent itself thereto, we find on the ground level, and ing more systematic excavations, scarcely anything to mention, except the debris of the balustrades, of Bodh-
Gaya and of Barhut, and the four gates of Sanchi. The mention of the kings Brahmamitra and Indramitra,
inscribed
on the second that of the dynasty of the ^ungas, and on one of the last that of the reign of Satakani suffice to date them generally, but with
on
the
first,
certainty,
as
first,
century
if
we may
judge by the
we must refer the oldest fragments of the balustrades exhumed both at Amaravati and at Mathura. If to these few stray remnants of sculptures we add the remains of the most archaic paintings of Ajanta, we
style, that
shall very
what may be
influences
of
much more
penetrated by foreign
India.
to speciahsts,
it
uninformed readers.
When we
we
life
of Bud-
We have
established
them-
Those of Barhut inform us by an inscription, that such and such a person on his knees before a throne is rendering homage to the Blessed One . Now, without
selves.
is
invisible presence of
of the
field
have only opened our eyes to the extent of application of this constant rule; it holds
good for the years which preceded as also for those which followed the SambodU, for the youth as also for
the old age of the Master.
The
:
on
empty
Q. A
:
medallion
first
meditation
Q. Some
panels of Amaravati
show
mula which was in use in India to designate respectfully a person mark the swaddling clothes on which in one
place the gods, in another the old rishi are reputed to have
received
suffice
him
into their
arms
(*).
These
selected examples
sculptors
abstained
sattva or
absolutely
from
representing
either
Bodhi-
tence
(^).
Buddha Such is
in the course
of his
last
earthy exis-
have
at the outset
(i) A.
pi.
XIII-XVII.
i.
cf. pi.
X,
(3) ^rt greco-bouddhique du Gandhdra, (4) See on the staircase of the British
fig,
177 and
p. 345.
48, or Fer-
form
(5) Let us add, in order to be quite correct, at least under his human ; for we know that a bas-relief at Barhut represents the Blessed One
in
(cf.
As
far as
of this fact
we know, no perfectly satisfactory explanation has until now been given. First of all we tried
more or
less
by the supposition,
as
One
neither of these
we speak
of incapacity
Assuredly, one
Buddha
and the
difficulty
time of the Master grew more distant and his features faded
more and more into the mists of the past. Nevertheless, we must not form too poor an opinion of the talent of the old image-makers, and the argument becomes moreover quite
worthless,
when one attempts to apply it to the youth of Buddha. What was he, in fact, up to the time of his flight
his native
from
town, but a
royal heir
apparent
is
Now
common on
on the balustrade of Barhut Q; what material hindrance was there to their making use of it
the gates of Sanchi, as also
to represent the Bodhisattva
? It
is
have done
Shall
so,
we
fall
upon
Assuredly the
to the
and we are quite willing to beheve that the law alone was of import for them. The reverend Nagaremains
sena
still
teaches
king
Menander
that
henceforth
the
(i) See
n" 538 jataka)
:
cf, infra, p.
Cunningham, Stupa of Barhut, pi. XXV, 4 {Mugapakkha-jdtaka 56 and pi. V, 6) and p. vi (mention of the Vifvaniarai.
One
is
no longer
form of the
;
dharmakdyaQ), of the
express prohibition
but of any
of images we have in the texts no knowledge. Since when, moreover, and in what country does popular devotion trouble itself about the dogmatic
scruples of the doctors
India
:
Certainly
it
was not so
all
in ancient
for otherwise
we
could not at
understand the
we
see
it
installed in
So
rapid
conquest
if
is
conscience,
mountible.
But,
it
will be said, if
it is
why
but
one
which, in India,
it, it
is
for all
If
was because
it
was not
the
custom
:
to
do
And, no doubt,
would
off
be easy to
letort
;
oc
the question
if it
whose worcs we
still
holds
good
entirely
far
Certainly, and
point at which
is
just the
we
We
we
observe
Sanchi, remaiis
we
(i) Milindapanha,id.
Trenckner,
p.
enquire into the traditional habits which it supposes and which, for that very reason, it is capable of revealing to
us.
it
can only
obso-
be
an
inheritance
from
nearly
lete past,
which
other words,
it is
specimens
at present
known
still
to us
it
is
what
is
we
rnust
go
it is
To
artistic Tera-
tology
is
the evolutionist
method of embryology
that
proper to apply.
II
To
begin,
we have
the
best
reasons
for
thinking
human
in the
Gaul of
th-
Druids
exis-
more rudimentary forms of fetichism } nevertheless, the fact remains that Buddhism did noldevelope, like Christianity, in a world long infected by 1,'ie worship turn. Not of images and prompt to contaminate it in
tence of
it,^
(i)
We allude
to the
sacrifice
rites
(Qat.-Brahm., 7, 4,
For what
to be underst/od
simulacra of Cassar (Bdl. Gall., VI, 4), see the article/)! on L'art plastique en Gaule et le druidisme (Revue Celtiqje,
M.
t. XIII, 1892, pp. 190 sqq..), where are cited also corresponding testimonies of Hero-
dotus
(I,
among
century already
;
know
symbolical or
alle-
tury
we meet
(*).
catacombs
When
:
Buddha makes its appearance which he had founded was already four
that of
it
even so
of Hellenism.
On
in
idolatry.
We
do not
it,
word about
is
had not
as the
fail
even presented
time for
to
it
itself to the
Indian mind.
As soon
shall
mode of designating the new fact of the Brahmanic idols Q. Likewise, when the question of the images of the Master
presents itself to the faithful Buddhists, their writings will
if
it
these sucis
simply
have
changed
at the
same time
with which
we have
on the
spot.
For the
moment
the
is,
(i)
224.
(2) Cf. Scholia
KoNOw
in his
:
to Pdnini, V, 3, 99, excellently discussed by Prof. Sten interesting Note en the use of images in ancient India (Ind.
Ant., 1909)
with -which
we
10
must remain so or not, philologically a blank page, archseologically an empty show-case. That in Buddhism, as in all religions, art is at first only a simple manifestation of worship, every one will willwhether
ingly admit.
The
only question
is
to
its
production.
evidently not
leading
It
tumulus
it is still
in
Buddhist architecture.
will
of those rehquary
monuments
was
We
might even
suspect a
mark of its
rite
by the
of circumambulation,
it
tion in which the scenes must succeed one another and be read. But, beyond this general orientation, we discover at
of compositon of the bas-reliefs. There remains the third and last ancient form of Buddhist
determined the
mode
is
supposed to have
Ananda, which an honorable worshipper should visitwith religious emotion. What are these four? ...
are, as
They
we know,
last
One
diedQ.
Now
resides any
last
we may
grasp
art,
seen.
We
Can he be so ignorant of he does not know the universal emmanufacturers and shopkeepers
it
vels?
The innumerable
everywhere
live
who
by
it
to him.
Has he never
bought
ture post-cards?
These
profane extension of an immemorial and sacred custom. If he doubts this, let him lean, for example, over one of
the cases at the Cluny
Museum
all
(')
emblematic
metal insignia of
of the Middle Ages, as they have been fished out of the Seine in Paris. Mediaeval India has also left by hundreds
evidences of this
and
of
all
pockets,
which
same time as memento and as ex-voto. They to be picked up nowadays on all Buddhist sites, even
same experiment
it
is
more convenient
for
him
to try the
at
Museum, where
a case in
12
Annam Q. Do we
compromise ourselves very much by conjecturing that these sacred emblems are in Buddhism the remains of a
tradition
grimages ?
The worst
from
it
would be
we may almost
humanity.
It
one of the
would be difficult to imagine a theory more humble and more prosaic it is in our opinion only the more probable for that, nor do we see what other we
:
can substitute,
if,
at least,
we
In
fact,
is
this
all
the rest
follows.
Nothing
To
take the
grotto.
clay,
What must
have been
represented on stuffs,
the
first
on
wood,
ivory, or metal
by
Bodh-Gaya,
characteristic point
towards which,
at the
approach of each
know
What was
first visited
Kucinagara
was the
site,
Annual
Commission
Annam,
B. E. F. E.-O.,
13
same way,
its
was
inevitable that
motion
by a
What was
One
cer-
contemplated
at
evergreen fig-tree,
had
tain
sat to
attain
at
worshipped
;
Kapilavastu
is less
mentioning
his paternal
and the
no
less
famous
gate,
tree, a
wheel,
a.
our
memory
the
by
a constant asso-
if
human
weakness cannot dispense with the material sign, imagination makes up for the poverty of artistic means.
(i)
Stupa of A^oka
is,
of archaic form
cf.
p. ui,
and
II, p.
32).
14
III
Such is the sole part which hypothesis plays in our theory. The whole subsequent development of Buddhist art flows logically from these premises and henceforth there are none
;
of the
still
evolution.
to us
The
oldest
from Indian
Now
among
which
they are punch-marked, the tree, the wheel and the stupa
play a considerable, and indeed,
on many
of
them, a predo-
minant part
Q.
the existence of
Thanks to the chance of their discovery, the signacula, which we imagined to have
conjecture (see
pi. 1,
been made for the use of pilgrims, ceases to be, for as far back
B, C, D). Better
most ancient manifestations of the rehgious art of the Buddhists. They are, properly speaking, less images than hieroglyphics endowed for the initiated with a conventional value and, at the same time, we succeed in explaining to ourselves what we have already more than once had occasion to note, that is, the abstract
these
:
emblems the
art at its
commenceconsepil-
ment
Q.
Moreover,
we
latest study, cf D. B, Spooner, A new find ofpunchArch. Survey of India, Annual Report 1^0 ^-1^06, 1909, p. 150. According to the excellent analysis which Dr. Spooner has given of this dis-
To
marked
coins, in
all
two
last
together.
15
emblems of
as
this
sort
may
have seen
degrees,
They came, by
to be regarded less
mementos of
memory of v^hich
words, in pro-
places. In other
and
local character
diminished more and more, to the advantage of their symbolical and universal value, until they ended by becoming
the
common
where a Buddhist
of diffusion and
come
to the
monuments whose Buddhist character can no longer be disputed. We know what impulse was towards the middle
of the third century given by the imperial zeal of Acoka
to the religious foundations of the sect.
It is,
therefore, only
after
the
hundred years
faith-
may furnish
Now
Fer-
gusson long ago remarked there the extreme frequency of what he called the worship of the tree, the stupa and
the wheel. According to statistics hardly open to suspicion,
since they
were drawn up
first
rent
emblem
;
is
and
more
number
never-
i6
theless, to assure
We have not,
of course, to follow
speculations
anthropological
we should
be tempted at
first
would
number of the first two symbols depends upon another cause. The artists proceeded to apply
In reality the larger
to
at
the Buddhas
first
of the
for
which had
age.
served
the
Buddha of our
People
were pleased to
at
by representing them
another, and
one time by
much more
their
frequently,
by
their
:
empty throne
under
Tree of Knowledge
special
Q
;
mained the
all
together,
imposing
total testifies
attempts
Buddhist
art.
(i) Cf. Fergusson, Tree and Serpent-Worship, a""* edition, 1873, pp. 105 and 242. Here is the table, in which he has included the data of the sole gate of one of the small neighbouring siupas
:
Stupa,
Small Stupa.
South Gate North Gate East Gate West Gate Only Gate
i6 19 17
15 9
The
decisive reason
17
commenced by
the
summary and
IV
This
is
a first
more
open up
The
skill
has increased,
the iconographic types of gods and genii have been formed, the gift of observation and a sense of the picturesque have
awakened in
tive
it
:but
it
embroiders,
is
true,
some
variations
it
embellishes
it
owed
to
but for
that
it
Weary
it
risk
some
still
uncan-
published episode?
The
its
It
not but
know
that
business
is
no longer
to supply piltheir
own
102.
i8
it is
what
it
has
now to do
is
to illus-
trate
on
but
it
new
appears hardly to grasp clearly the fact that for this purpose the old procedures, formerly perfectly appro-
no longer
suitable. Evidently,
it
was too
legends
late to rebel
and to shake
ere long
off the
yoke of an
artistic
tradition
;
which had
at least it is
about
texts,
claim
soon
after
artists to portray
And how
otherwise,
in
many
on the
pillars
Henceforward there
is
Indian school.
surreptitious,
Its
history
is
between the
against
itself,
new
scenes and
a superstitious
precedents.
On
the one
hand,
it
Buddha
;
life
and
then
on
it
accepts as an
axiom
that, in
order to
One,
it
suffices to
do what
until
one of
his three
to evoke
tumulus
the point,
when
it
was
question of representing
some
The
19
Preaching
except
on
There remained
Sambodhi. And, in
for ordinary
employment
in miracles of
the second rank the heraldic emblem already utihzed for the
fact,
we
how
all
the studios of
to this proceless success-
cannot
resist slipping in
some different course. It is under an empty throne, surmounted by a tree, that at Barhut Buddha receives the visit of the ndga Elapatra; when he preaches in the heaven
of the Thirty-three Gods, the motif
is
in addition graced
latter, in its
visit of
Indra or Ajata-
itself
on the eastern gate of Sanchi, the school even ventures so far as to avail itself solely of the promenade ,
cases,
its
innovations goes no
its
auda-
have indeed sketched them above (pp. 4-5), and would have been superfluous to return to the matter,
We
did
we
and actually the manner of production, of the strange anomalies which at the beginning of this study
confine ourselves to stating.
XVI,
3;
XVII, i;
XXVIII, 4
etc.,
20
understand
why
when One in
at the
they had to
the course
of the
his
first
life,
time
princely
surroundings
still
hid under
when mundane
not
aid of
cloak the
able
Buddha about
to appear. In truth,
we were
by the
the texts, which episode of his youth the faithful had cho-
nor in
set to
work
this
commemorate
it. It is
moment when
his mother,
bosom of
when,
in the
at least,
the
latter
little
form
of a
Those of Sanchi
on
all
the circumis,
of his
they portray
town and several times the horse, the groom and the Gods they leave to be understood only the hero of this Hegira ('). As to those of Amaravati, on the stelas where they have set one above another the four
the gate of the
:
side by side Bodh-Gaya, the wheel of Benares and the stupa of Ku^inagara (see pi. II, 2) now the same
for Kapilavastu,
order
to
with the
cc
great
abandonment of home
now
a nati-
(i)
Cunningham,
XXVIII,
pi.
2.
(cf. pi.
(2) See
hdow Eastern
Gate of Sanchi,
75 and p. 105
X,
i).
21
Which
the
most
of the
fifth
lavastu? This
difficult to
a question which
If,
we
very
answer.
again,
on
this point
we
confide our-
itself in
Most
ot
first
recalled those
the
seven
first
of
the
Master,
whilst
the bull,
almost always flanked by his zodiacal emblem, incarnated the traditional date of the birth, the day of the full
month Vaigakha (see pi. I, A). On other occasions, but more rarely, the bull is replaced by an elephant, a plastic reminder of the Conception (^). It may be
moon
of the
(i) Fergusson, Tree and Serpent-Worship, pi. XCIII-XCVIII. With regard groupe to this we may note that much later stelas of Benares continue to Kapilavastu the birth (with or without the conception, the in the scheme of
and
cf.
pi. 67-68, loc. cit., pp. 156-157. As for the (2) Cf. the tables of D. B. Spooner, of the lotus and the bull, we, for our above mentioned interpretations we may at this point part, give them as simple conjectures. In any case, lotus has retained the symbolical signifiobserve that in later Buddhism the etc.).
and that the bull appears again with its astronomical value on one of the best-known bas-reliefs of the Lahore Museum Indien, 2<i ed., p. 121, or Bud(cf. A. GRiiNWEDEL, BuddUsHsche Kunst in Bloch in one of his last dhist Art in India, p. 129). The lamented D'Th.
cation of miraculous birth
.
22
also,
we
had been
cast
by
world may,
at
an early date,
have found copiers and amateurs. But these are merely what is important here is that only accessory questions
:
V
This is not
all.
The
we may main-
do
vate.
However
sion to custom
may
own
biography could
One
be no m,ore than a
tissue of conversations
ment
yet only a
of
With the aid of what subjects were the artists to cover the numerous medallions, the long stretches, or the high gates of the stupa balustrades? The first expedient of which they
articles (Z. D. M. G. 1908, vol. LXII, pp. 648 and sqq.) thought he recognised in a defective photograph of this bull Virith the hanging tongue the
built up a whole theory on this mistake it anxious to clear up this matter with his own eyes
:
to Bdrgess, Anc.
Mon.
Ind., p. 127.
23
was
to
turn
to
the
previous
all
when under
animal
quali-
all social
conditions, he
was
Bodhi. Thereby
we
explain
why
and
fables (').
In treating this
led, as
new
when
by
Accordingly
from lending
unknown
at
Sanchi
but
the decorators of the gates had recourse once again to another stratagem in order to shp between the links of tradition. It
all
One became
perfectly justified
and
at the
According to
all
famous
war of relics
they did not fear to attack even the cycle of Acoka and to
represent at one time his useless pilgrimage to the stupa at
Ramagrama, and
the Sambodhi
at
of
Q.
(i) See below, Representation of Jdtakas on the Bas-reliefs of Barhut (Essay U).
and 108-109. (2) See below, Eastern Gate of Sanchi, pp. 78-79
24
for itself a
double
means of escape,
part,
we do
not doubt
that, if
it
its
own
we should have
expense of
no longer
cataclysm.
a secret to
The
low
innovation, greeted
laity the
with no
less
rupture of
the magic
so
We
have
already remarked
upon
:
new
type (p. 7)
it
is
now
did not
judice.
set
come
Always
portraits
(*).
whose
possiis
they were a
The
reason
(i)
dal
By apocryphal
(trans.
traditions
we mean
life-time of
Buddha and
attributed
by
Fa-hian
(trans.
and by Hiuan-tsano-
Stan. Julien,
whose
p. xliv
Beal, Records,
I,
II,
p. 4).
to us
25
the
new mode
(see
pi.
:
overthrow the
artistic
bonds which
the
to
it
fell
were of
We
have
how
web of custom
tear
free
weave
apart, they
it.
themselves
from
Under the stroke of the revelation which came to them from Gandhara their emancipation was as sudden as it was complete but even through this unexpected
:
test to
it
which
we have
The
to the
seems to
us to have so
with honour.
in fact, be
summed up
somewhat
We
from the
actually
still
visible
above
ground
rally
in
It
tance, ended
by being regarded
as systematic representalife
of the
some
routine variations
served,
composed
C),
the
same formula,
third century B.
;
finally,
on
(trans. Stan. concerning the image of the temple of Mah^bodhi by Hiuan-tsang Heal, II, p. 120) and Taranatha (trans. Schiefner, p. 20). JDLIEN, I, p. 465
;
26
we remark
tyranny of the ancient customs by recourse to subjects previous or subsequent to the last existence of Buddha.
However, the school of the north-west comes on the scene. By reason of the very fact that it has been almost entirely
traditional influences,
it
must, in our
quite different
from
Now,
the conclusions of an
we have long
dedicated to the
in
What we
of
have observed
at
Gandhara
is, first,
than the
cycle
the
'Parinirvdm, as also a
marked
now
the centre of
all
is
the com-
an extreme
any case
and
productions of mediaeval India, not to mention the Lamaist images of the present day, these survivals
latest
on the
on nearly all the new representations of the Parinirvdm become superfluous, the Tree of Knowledge never fails to rear itself behind the Buddha of
stupa is regarded as having
two
gazelles,
mark the
pi.
VI, 2).
And
thus
27
linked to
its
most
distant
we
from
submitting
altogether,
the
appreciation
Taken
only an attempt
at synthesis,
an
effort first to
one son
and
Our
give,
known. In this sense there is not Buddhist archaeologist, commencing with Fergusand Cunningham, who has not contributed to it, it may be found more or less devoid of originality. whole ambition would be precisely that it should
when
property.
is
best of
symptoms
for
none
that except
for the
it is
destined to endure.
(i) Cf. Art greco-bouddhique, figg. 208 and 209 and Iconographie bouddhique de I'Inde, figg. 29 et 30 the latter is a representation of the Parinirvdna, still
:
surmounted by a
stupa.
PLATE
The elements
M. Lemoine,
ot
this
plate
have been
obligingly . sketched
by
Professor of
Quimper, from
of
Ancient India
(London, 1891) Museum, Calcutta (Oxford, 1906); D. B. Spooner, A new find of punchmarked coins (in Arch. Surv. of India, Annual Report, ipoj 6, pp. 150
sqq.)
:
cited respectively as
2,
C,
13)
:
Sm., Sp..
pi. I,
I,
A. i(C.,pl. XI,
3,
4); 2
(C,
5,
6);
(Sp-,pl. LIVfl,
14); 4 (Sm.,
pi.
XIX,
symbol of the
The most
characteristic form,
:
is
two
fantastic,
found on the coins of Erin (no. i) we give here composed of three parabut current, forms
and of three ((taurines ov nandi-padas,{vamed{no 2),or not (no.3). petals and one quite stereotyped form (no- 4).
.
(C,
pi. I,
23 or
pi. II,
8 etc.);
:
8 (Sm.,
pi.
XIX,
15, etc.)
6(Sm., pi. XX, 8); 7 (C, pi. 11, 20) variants of the taurine or nandi-pada
;
symbol, denoting the zodiacal sign Taurus, the Bull (Ski. Tdvura),
which, during the month of Vaigikha (April-May),
the Nativity of the Bodhisattva.
presided over
The most simple form, and the starting-point of the development, is composed of a point surmounted by a crescent (no. 5). In the most elaborate form a vardhamdna, a
trifdla,
we do
it
not per-
why
in
should have
changed
its
name and
Ill,
signification.
9(C.,pl.
pi. Ill,
2)
2); 10 (C, pi. I, 26): II (C, pi. Ill, 3); 12 (C, from the Buddhist point of view these four sacred animals
typify respectively, the elephant the Conception, the bull the (date of
the) Nativity, the horse the Great Departure, and the lion, generally,
the lion
B.
pi.
I
among (Cpl.I,
5)
:
the ^akyas
i); 2
{^dkya-simha, that
is
^akya-muni).
7-8);
(Sm.,
pi.
XIX, 11);
(C
pi. II,
4(Sm.
XX>
I
Nos.
C.
of the
and 2 present
;
ficus religiosa
I
always surrounded by a
pi, III,
railing.
(Sm.,
pi.
Wheel
15)
Law (Dharmacakra). On
I
it is
D.
(C,
pi.
pi.
4, 5)
II,
2 (Sp.,
;
LIV
i
13);
(C
pi. II,
4 (Sm., arrow
XX,
12)
was mistaken
for a
bow with
its
we seem
its parasol (chattra) we need only compare the parasols which enter into the composition of the lotuses of nos. A. 2 and 3.
{yashti) of
PL.
no
'<
Icirf
10
^
11
12
PLATE
II
The
stApa,
B
is
and
to the rear
were kindly
rivati
The stele of Amaby Mr. J. H. Marshall. reproduced from the photograph published by Fergusson,
2''
the photographs
ed., pi.
XCIV.
Gayi
^ikya-muni
(cf. pi. I,
B).
Wheel
Law
represented
by a wheel above
Worshippers
divine
on
the earth
human and
i
and
have a
human
bust terminating in
We
constant contrast, both in the material objects and in the persons, be-
tween the
vati,
still
style of
almost too elegant and affected. What here concerns us most is the fundamental identity of the subjects is not in the slightestdegree compromised by these differences of treatment.
that
PL.
II
iimi tc E55?E
AT SANCHl
2"
AT AMAnAVATi
PLATE
III
r.
The
Lahore Museum;
A',
from a photograph
Lahore Museum, copy kindly lent by Prof. A. A. Macdonell; A', from a photograph by Mr. A. E. Caddy in the Calcutta Museum. A', from a photograph taken by 2. The three Amar^vati panels
:
the author in
the Madras
;
Museum
;
^mardvali,
Serpent
XXVIH, i) AS from Fergusson's photograph, Tree and Worship, pi. LXV, 3 A', from the same source, pi. XCVL 3pi.
The
We
shall not
and
ornamentation.
A'.
The Conception
The
{Garbha-avakrdnti)
descends
of his mother's bosom in the form of a Httle school of Amaravati always places at the four cardinal points of the room the four Lokapdlas, or Guardians of the World; but sometimes, as here, it forgets to represent the elephant, and. as
into the right side
elephant.
little
as at
Barhut (Cunningham,
the top), does
it
pi.
XXVIII, 2) and
at
pi.
IX,
2, at
think of making
Miy^
such
manner that she can properly present her right side to the Blessed One. The school of Gandh^ra is never guilty of these negligences, which are contrary to the letter of the texts (Art g.-b. du Gandh I, figg. J49 and 160 a cf. however ibid., fig. 148, from Amar^vati).
,
;
A2.
The
Nativity Qdti)
of his mother,
who
is
we
arm
But
of the composition May^ between the gods on the right and her
tliat
women on
her attitude
the
left.
will be noticed
on
this occasion
also
is in Gandh&ra more rational, leaving free the right hip, by which the child is supposed to issue. As regards the latter, who on the panel at Lahore is perfectly visible, we perceive at Amaravaii only the imprint of his sacred feet on the cloth, which is held by the four Lcka-
The Great
Departure (^Mahdbhinishkramana')
the Bodhisattva
town on horseback. At Amarivati we perceive only the gate of the town (cf. the gates at S^nchi on our pll. VI- VII) and the riderless horse, preceded by a god and followed by a squire holding the parasol. In Gandhira the indication of the gate has in our reproduction (but cf. Art g.-b. du Gandh., I, fig. 187) been cut away; yet Chandaka is to be seen holding high the parasol, while Yakshas raise the horse's feet and Mira, armed with his bow, stands at its head. Above Chandaka, again, is seen a half-length figure of Vajrap^ni, armed with his thunderbolt, and above Mira, between two divinities, the personification (recognizable by the turreted crown) of the town of
leaves his native
all,
the Bodhisattva
is
this
time
shown
on the back of
his horse.
PL^
III
t**iV)!il
IN
GANDHARA
2'
AT AMARAVATI
PLATE
Cf. pp. ^5-26,
IV
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PL. IV
CQ
W X
Ancient India has bequeathed to us a considerable mass of texts and a very restricted number of sculptures this
:
means
its
civilization
we
many more written documents than carved monuments. The latter deserve all the more to attract our
possess
attention. Their
in fact, furnish
of Indian
life
number of
the
we should
most profound study of the literature. I hasten to add that I do not conceive the identification of these works of
art as possible
without
their confrontation
with the
texts.
These
latter
of any
the subjects.
fall
is
precisely
thus
that
matters
out.
scriptures of
Bud-
though they
mine
many
episodes of the
Buddhist legend.
(i) Lecture at the
You
Musee Guimet,
1908.
in Bibliotheque de vulgarisation
Guimet, vol.
XXX,
30
JATAKAS AT BARHOT
versions of the
same
stories
still
to be
is
obtained from
it
for the
what
ing, in
some of
Buddha (Jakya-Muni. For this purpose we will make use, on the one hand, of the PaU collection of the Jdtakas (*) and, on the other, of the bas-reliefs of the stupa
of the of
BarhutQ. From
emerge
for
their
rally
our convenience
and you
shall
judge
The Jdtakas.
some explanations
tales
owe however (by way of preface) which may allow you better to underI
more
and images,
as
amusing
explanations
may
be extremely
brief,
will
suf-
The
being,
is
first is that,
whoever he may
of lost
it
no
five
conditions
ghost,
animal,
man
or
iti-S"
1877-1897 ; translated into English under the direction of Professor E. B. Cowell, 6 voll. in-8, Cambridge, 1895-1907.
(2) Cunningham, The Stupa of Barhut, London, 1879 (published by order
of the Secretary of State for India,
who
S.
Cf.
Art, St. Petersburg 1896 (in Russian; translated into English in the Journal oj the American Oriental Society , XVIII, I, Jan. 1897, PP- 183-201).
JATAKAS AT BARHUT
31
god; after which he will have to die again, in order to be born once more, and so on for ever, unless he attains salvation,
which
is
nothing
else
than the
final escape
from
The second
point
is
as the physical
law of
law of
works
word, the use of which has been popularized by the theosophists) of Karma.
there
is
assets
and
from
fatally
it is
a belief
no
less generally
admitted
to sanctity possesses,
remem-
of extra-lucid intuition,
or, as
it
was
called,
of divine
to possess
it
sight ,
in a
no one, of course, was considered more eminent degree than Buddha. Now
his
was,
we
bosom of
itions
community,
some analogous occasion which had already confronted him in the course of his previous lives.
These three points agreed,
all
becomes
perfectly clear.
like all
We
admit
fully
henceforth
that
^akya-Muni,
others,
births.
We
understand, also,
why
he accomplished on the
52
JATAKA.S
AT BARHUT
many good actions, displayed so many virtues, reanothing less was lized so many superhuman perfections required to enable him to acquire merits capable of conveying him to the supreme dignity of Buddha. Nor could we get our information concerning his past lives from if we believe the tradition a better source, since it is from the mouth of the Master himself that the story
way
so
:
works which have come down to us and which it would be useless to-day to enumerate and criticize. If we proceed to make use of the Pali collection, it is not that I am
under any illusion
as to the antiquity of the prose
com:
mentary on the
versified, the
is
fifty narratives,
by
far the
II
The
Bas-reliefs of Barhut.
the jdtakas,
you
therefrom.
Not only
did they,
feel
we beheve we have
demonstrated above
in
Q,
no
the
aim of the
of the
(i)
Seeing that
was
a question of religious
On
JATAKAS AT BARHUT
be more edifying, in default of scenes derived from the
life
33
last
On
fit-
certainly
much
better than
moral
with the
exigences of an
ting so
art
much
Thus
the good
Gold-
en Legend
and have
created,
by the very
force of things,
of our
artists
panel.
naive proceeding.
But
is
monuments which
lus ,
relics.
and
its
principal role
was
to cover
As we
it
see
it
in India
from the
was already a stereotyped edifice of brick or stone, which presupposed the art of the architect and utilized that of the sculptor. Its chief feature was a full hemispherical dome, usually raised on a terrace. This dome,
our
era,
which was
called the
(harmika), itself
surmounted by one or
emblem of which you know the honorific the East. The whole was surrounded,
places in India,
sacred
by a high
barrier, at first
its
of wood, then
prototype. This
from
wooden
34
jAtakas at barhut
monu-
mental gates
(toranfl),
with
at
triple
most ancient specimens from the basin of the Ganges the decoration was strictly limited to the doorways and railing. At Barhut
fine
we have
examples
Sanchi
On
the
pillars
and cross-
You
will recognize
all
one or other
provenance in
the reproductions
which
your
One
last
question
Why have we
chosen by preference
:
middle of the third century before our era was used by the
famous king Agoka for his pious jambs of the eastern gate, found
edicts.
in
situ,
On
we
one of the
read, in
somewhat
yas
later script, a
i8o B.
it
relates
to
the
more
stone
work
and thus we
certain that
must have been given to the decoration of commenced, no doubt, during the third. This is
and sixty
graffiti,
not
all.
more or
less,
observed on the recovered debris of the balustrade more than half are restricted to giving merely the name of
the donor, male or female, of such and such a pillar or
cf. pi.
i.
JATAKAS AT BARHUT
such and such a transverse bar; but the
cit
35
Thus we have
most
tiquity
we
Ill
The animals.
After
we
may
with
full
we
it,
recog-
A perfectly
may
imposed upon us
it
will be, if we
so express
the bio-
Buddha had successively to be born. We shall see him mount one by one the rungs of the ladder of beings, first animal, then woman, and finally man. And indeed, putting
aside
all
in
whom are
poem than this destiny of a single being shown all aspects of life, in whom is concenone word,
in
whom
comes
human
To sum up
in
one work,
One, the
genius of a Dante
that
good fortune.
36
JATAKAS AT BARHUT
this is
And
why we do
meet with
Bodhi-
more than
sattva, or future
Buddha,
To-day we are concerned only with the period of his previous lives, beginning with the most humble of them but even within these Hmits we cannot help but
:
regret the
manner
as,
in
solicitous for
same way
embryo of
mammaha
like
development
we should
forms
which he remembered having assumed one after the other the whole fish, reptile, bird, quadruped, quadruman
embryology of
of the
a Bodhisattva.
But
for that
we should
or
of the texts, to a
and there
written.
Evidently the idea of following out any series and gradation whatever did not occur to the
of these stories.
We
must say
in excuse for
them that
if
the
much
less
than
it
they
are incapable of
composing
make up for it in detail by the naive savour and, at times, humourous attractiveness of their style it is impossible to deny them a veritable talent as narrators. Once we have renounced for them higher ambitions, the compensation
:
We know that
the increasing
number of
which they
JATAKAS AT BARHUT
37
mals form
that
Book
long before
Rudyard
Kipling
moreover, the
was, in
Let us examine
more ago
toise
tales
I
with which
we
are
still
to-day familiar
from infancy.
Tor-
which
is
depicted already
on the
Among the
fragments of
Barhut which have survived until our time we do not find any equally celebrated. On the other hand, when we see the
Bodhisattva appear there, he has already arrived
or
if
I.
at
the state,
you
prefer, at the
genus of
bird.
in his character of
it,
we may
so express
the hand
plumage and because of his indecent dance (Jdt. 32). II. There (Cunningham, XLV, 7) under the form of
pigeon, he reprimands the lazy and gluttonous crow,
the cook punishes so cruelly for an attempted raid
his
whom
upon
pots(/4^ 42;
III.
is
the cock
perched on a
tree,
who
wisely
resists
the
treacherous
(^Fables,
seductions of a she-cat
II,
{Jdt.
383). La Fontaine
5) says
of a fox.
further
IV.
Still
on (Cunningham, XXV,
race,
2),
born an
enemy of his
an enormous crab,
cc
as broad
had Ridden
itself at the
in
which the
38
JATAKAS AT BARHUT
As we cannot
see
all
you
only a
moment
with the
fifth jdtaka,
written) of as
of the Quail
As
7)
was
related
first
of
Buddha and
80,000 others
India
is
number.
quail,
incapable
were
He
wilHngly consents to
and by his
orders his
file
past
what they
doing on the
warns
latter,
is
following him.
:
The
deaf to
the
all
is
not
long delayed
for already
cruel elephant a
crow
is
eggs in the
is
its
sea-
on the bas-relief,
it
is is
by
its
blind
fever,
it
by making
leads
him
falls
headlong
part has not yet quite disappeared into the abyss. Appli-
cation
the Bodhisattva
was the
JATAKAS AT BARHUT
elephants, D^vadatta
39
was the
solitary.
Well, what
You
desire to
know too
much.
IV
The Bodhisattva under an animal form and mankind.
In these five fables
others in which he
five
man
is
seen and, at
up the two preceding births, let us take a new one in the form of an elephant and even of an elephant with six tusks Qdt. 514). The wonderVI. In order to follow
ful
animal
is
banyan tree
to
(pi.
XXIX,
left
him
for a shelter.
which the oldest tradition assigns Behind him, likewise in profile, is his
i)
first wife,
her
seen
at
is
full face in
than she charges the cleverest hunter in the country to carry out her vengeance. Hidden at the bottom of a pit, the latter discharges a poisoned arrow into the bowels of
the elephant, as
is
written and
is
on the sculptures of Amaravati and of Gandhara. But at Barhut, when we again (on the left of the medallion) see moment when, the hero of the story, it is already the
wounded
oJ0Fences,
to death
virtue,
which was
Buddhist before
becoming
he docilely stoops down, in order to allow his enemy to cut off his triple tusks with the help of an enor-
40
JATAKAS AT BARHUT
saw.
mous
We
must turn
learn
queen, at the sight of the tusks of her former husband, which her emissary brought back to her, felt nevertheless a
revulsion of conscience, of which she died heart-broken
VII.
Q.
No
is
the ne-birth as an
antelope, kurunga.
text {Jdt.
On
pi.
V, 2
we
206) that there were once an antelope, a tortoise and a wood-pecker, which, united by friendship, lived toge-
ther
on the shores of
woods.
The
and, whilst
gnaw through
that
it
can, in
its
character
delay the
of bird of ill-omen, to
as
we
are told
by La Fontaine,
who
to
our
trio
of friends
Another medallion
three episodes.
to
drown
river.
At the top, on the right, the king of Benares, guided by the young merchant, who is evidently acting as his informant,
is
bow
(i)
We
shall
have an opportunity
later
more
in
XXIX
and XXX).
JATAKAS AT BARHUT
dressed to
fall
41
him by
weapons
to
and we find him again in the centre in edifying conversation with the wonderful animal, whilst the treacherous informer seems to be hiding behind the
his hands,
from
royal person.
We know
that the
Bodhisattva, always charitable, intercedes with the king in favour of his perfidious debtor Qdt. 482 not to be confused
;
with 12).
IX.
Of the two
births as ape,
one
(Jdt.
analogous
very
gham, XXXIII,
sattva,
who
repays
him with
On
is
this
occa-
magnanimous animal
(Jdt.
forgives.
the other
Mahakapi
407;
pi.
whose fruits were delicious, but the branches of which unfortunately spread over the Ganges. In spite of the precautions
prescribed by the foreseeing
wisdom of
falls
the great
mon-
keys, a
fruit,
and
is
The
latter
fmds
it
so
much
to his
it,
when he
wood-
rangers
42
JATAKAS AT BARHUT
his archers,
by
There
is
them and promises to save their lives. With a gigantic spring, of which he alone is capable, he clears a hundred bow lengths as far as the opposite bank of the river, there cuts a long rattan, the one end of which he fixes to
a tree
own
people. But
it is
only
by stretching out
this
his
This
latter is, as
usual,
sinuous
lines, in
which
a tortoise
and some
swim-
men
fatigue, has
only
to let himself
saved.
when
him
is
the frame)
we
find
sitting in conversation
with his
human
nuity,
colleague,
who
amazed
at his
person, of
whom we
we may
caste,
man
of
low
one of the
wood-rangers
who
V
The Bodhisattva in human form and animals.
last narrative
In
this
good
JATAKAS AT BARHUT
feeling
:
43
therefore he
is
nation of
preceding fables
a hunter, except
of the most
difficult virtues.
it
only
falls
to
which these
tales
have been
form only
in those cases
where
it
man. Here
privilege of
humanity
stories
led to believe.
The
which we
human form
worth while
par
excellence, I
mean that
of a
man
XI.
left
Do you
I
Look on
the
young novice, or Brahmanic student, who is giving a thirsty monkey something to drink. Now he goes away towards the right, having loaded on his
of pi. VI,
atthis
shoulders, at the
two ends of a stick placed like a balancing beam, his two round pitchers, suspended in nets of cord after the manner of the time and of the present day; meanwhile the animal, who has mounted into the tree again,
makes grimaces
a villain,
at
him
Oblige
and he
will spit in
your
face , says
our proverb.
44
If
JATAKAS AT BARHUT
we
still
on
quite
among
It is
needless to repeat to
you
that he
XII.
to take
was none other than Devadatta Qdt. 174). Another time Qdt. 46 and 268), a gardener, wishing his hoHday, has charged the monkeys which haunt
it
in his stead.
(pi. VI, 2);
And
in
fact
they set
about
it
with pitchers
but on a suggestion ot
who by
its
will require.
The
left
Bodhisattva
is
the
wise
man
who
enters
by the
thus occupied.
hell is paved
He
does not
restrict
there
is
no
lack of
monkeys
XIII.
if
he
is
the
most
intelligent,
what must be
thought of the
rest
of the troop ?
On
is
XLI, 1-3)
who
Brahmanic
ascetic
we must
was wearing
garment of skin
The whole humour of the affair is that the monk imagines, at the moment when the ram stoops, ready to rush upon
him,
that even the beasts
bow
It
is
in vain that a
sattva,
the Bodhithere he
is
soon on
which he was balancing on his shoulder. XIV. Again in another place it is the turn of the Bodhisattva to carry the water-vessel and wear the big chignon
JATAKAS AT BARHUT
45
and the summary costume of an ascetic (pi. VI, 3); and it is in this guise (and not that of a tree-god. as the commentary
gives
at a
400) that he is present as a simple spectator very amusing scene. Two otters, by uniting their efforts,
it,
Jdt.
fish to the
it
by the head, the other by the tail; but, their united exploit accomphshed. they quarrel about the sharing of the booty and take a passing jackal as arbiter.
one holding
The
latter is
represented twice,
first
litigants,
he
is
mouth and
tail
leaving to the
two
of their prey.
The
moral
is
easily guessed.
The
and you,
for
your
part,
have in the
an Indian
two Otters
already recognised
of La Fontaine.
XV. For
rules.
the rest
we must
tales
little
further
on
(pi. VI,
4) animals
play a
reappear
side
identical incarnation
of the
Bodhisattva,
rable
part.
time they
here
most honousimplified in
The
bas-relief is
much
comparison with the version of the Jdtaka (488), which gives to the hero a sister, six brothers and two servants. At
Barhut
we
and of
whom
its
accustomed and
sister
:
has
Rama
as the
brother,
On
monkey and an
46
JATAKAS AT BARHUT
is
for the
Indra of the
Gods
upon
it
as a
duty to bring
back the bundle of lotus stalks (rather similar to our bundles of asparagus and just like those which I have seen
sold,
nowadays,
its
which gave
to
Kashmir, in the market of Srinagar), name to the story. That is all the food of
in
on three days
it,
one
human and
monkey
it is
said
somewhere,
a saint .
company
VI
The
Bodhisattva
and women.
With
these
reserva-
tions, these
suffice to
two
series
I
prove what
was
just
now
saying concerning
now
pass
comparison, be
at
said
without
any idea of
the very
first
Either
we
are in
this
a masculine role
which
is
worthy
The
stories
which they
tell
of
it
(we
shall,
of course,
JATAKAS AT BARHUT
47
less,
at
whilst the
which have come before us up till now were properly fables, we have now to do with the kind of jolly tales which in the Romance languages of mediaeval
Europe were called fabliaux or fableaux . XVI. On a medalhon which can hardly with propriety be reproduced (Cunningham, XXVI, we witness 7), the conception and birth of the rishi Rishya^rihga (Antelope-horn) or Ekagririga (Unicorn), as celebrated in the Brahmanic epic as in the Buddhist legend. Son of an anchorite and a roe, he knows nothing of a sex to
which he
meets.
stories.
is
women
he
On
this
common
the
In the
first,
young hermit
scarcely adolescent
and
lives
with his
father.
no
:
him
and his
own
some courtesans charge themselves with the task of leading him astray and bringing him back to the court Qdt.
526; Mahdvastu,
III,
143; Mahdbhdrata,
III,
110-113 etc).
Without
desire
much
as they could
by the naive candour of the young man, who as yet has seen nothing of the world, for whom a rebounding ball seems a marvel, who takes cakes for delicious fruits without
pips,
and
who
calls carriages
moving huts
so
He
to
appre-
hends
still
new
him, of
48
JATAKAS AT BARHUT
in the
most ignorant of young men should have served as an example to Boccacio and for a story to La Fontaine {Conies, III, i, The Geese of Brother Philip , taken from
the preamble to the fourth day of the Decameron).
Of the second form of the legend the clearest summary that we at present possess has been preserved to us by the
Chinese pilgrim Hiuan-tsang with reference to a ruined convent of Gandhara, in the extreme north-west of
India. It lived the
was
be led astray by a courtesan, lost his supernatural powers; the courtesan mounted on his shoulders and thus returned
to the there
town (cf. Jdt. 523 DagakumAracarita^ II, 2 etc.). Here is no longer any question of the father of the hermit,
;
latter is left
undetermined.
On the
other
we
are told of
him reminds us of
the fables
only a young
able to capture
And
she (says
it
commands
it
away
Why
on
the contrary, an integral part of the adventure of the shy anchorite Unicorn,
rally leads to
her
whom the king's daughter very natufather, or whom the courtesan has wagered
And, again, the piquant detail that this latter mounts astride on the shoulders of the wise rishi awakens invincibly the memory of the celebrated Lay of Aristotle
XVII.
A fragment
the three
first
words of
The music
JATAKAS AT feARHUT
it
49
a caste man seated, with his eyes bandaged and playing the harp, whilst a couple dance before him (Cunning8).
shows US
ham, XXVI,
He
is
and had, we are told, a habit of gaming with his master. But the king, each time he threw the dice, used, in order to
bring himself good luck, to
hum
some popular song, which were not very respectful to the virtue of women, and by force of this truth he won every time. The Brahman, in a fair way to being ruined, gives
to rear a
new-born
girl-
She has
is
when
he, in his
no longer
efficacious, so that
is
game.
kingdom This plan does readily succeed and it must be believed that intelligence comes to a girl still more quickly than to a boy. The young novice's mind is so readily and
.
it is
lay
no
stress
upon
the rest
how
by making a false oath true, a device equally well known to the important thing is that in this Indian our folk-lore
:
Constant du Hamel
Certainly,
we
:
must immediately deduct from this details which truly smack too much of
last
its
story
some
I
native soil
50
JATAKAS AT BARHUT
vengeance exercised by the
villain
refer to the
on the
.
This
retaliation,
him is a trait eminently GaUic and you will not be in any way astonished to observe that it was evidently the part which La Fonhas merely had the intention of doing to
;
when he
put
it
into
Rheims
you
will un-
rest,
the accord
a case of a
{Jdt.
it is
would be
borrowing
were not
by European
saritsdgara, I,
literature
')46;Kathd~
the Pali text
etc.).
Taken on
bas-relief of
Barhut
there also Amara, the virtuous wife, whose V, 5) husband is absent, has four suitors to whom she assigns
and
it is
At the moment
we
is
seated
on
his throne,
and
one of the
women
of the harem
waving
a fly-flapper.
Amara
is
But the Singhacompilation dismisses this story jn ten lines, as an episode in a long narrative, and consents to see in Amara
lese
vered, whilst
two
for
it
is
quite
resigned to represent the latter as an animal, a pariah or even a bandit, but never, no never, a woman, be she, as in
!
JATAKAS AT BARHUT
this case, a
51
virtues.
If,
however,
we come
a
honour of
on the condition
it
Buddha
will
soon be granted
that there are great chances that the sculptor regarded as incarnated here in the feminine form.
him
Even
if
the author
had not
identification,
everything
The
inscription
on the basit
:
for
Amara to be born
one of the
However
it
may
much
all
amused
as edified. If
we
ourselves look at
more
that,
closely,
we
less
shall
with
her virtue,
mischief.
Doubt-
for a
good motive
but
we
tremble
at
would happen
to her husband,
if this
woman em-
In
with
all
whom we
have to deal
or, to
put
it
better,
we
woman
are
all
And
was
it
family
ties,
com-
mencing with the conjugal tie, that the assured pledge of salvation was supposed to be found?
52
JATAKAS AT BARHUT
XIX.
Among
our
bas-reliefs
we
find
still
another
fairly
(Jat.
539).
son, born in
widow of
over
the adventures
which finally
re-establish
which
for
and
at
him
the
hand of
What
is
of
eftorts to
which
him
in the world.
At
he departs; but his wife belongs to that variety of woman which our writers of vaudevilles call cHnging
;
steps.
Vainly does a
various
remnant of politeness
symbols
in order to
lead
him
to
make use of
mark his decided intention to deprive himself henceforth of a companionship which he looks upon as an obstacle to his deliverance she will listen to none of them, not even the plainest, such as the one represented, with the names of the persons to vouch for it, on the railing at Barhut (pi. VI, 5). The king, who has
[:
is
standing,
still
followed by
the queen, in front of an armourer's bench and with the two first fingers raised is speaking in parables. The arti-
about to straighten an arrow which he has just put through the fire, and, closing one eye, is examining with
is
zan
the
other whether
it is
straight.
To
a premeditated question
that
much
two
for,
except in solitude,
one can judge the straio-htone eye than with there is no salvation for man.
is,
however, susceptible of a quite touching revulsion, or rather of quite gracious oversight. Evidently
it
was impossible
great
collection of folk-lore to
bring
all
the narratives
JATAKAS AT BARHUT
within their narrow range of edification
a delightful story of love
:
53
and thus
it is
that
in their
eyes.
It
is
not preserved to us
Barhut, except by a
it
is still
on the Boro-Budur of Java ('), where the human bust of the kinnara is no longer terminated by foliage, but by the body of a bird. The king of Benares,
existence
while out hunting, perceives a couple of these marvellous beings covering each other with caresses and tears.
He
woman always
learns
more
talkative
Now
it
will
a thou-
sand years
and
What an
king and
;
it
you
Buddha forthwith
reconciled
much
in love
with one
another,
504;
reject
VI
The Bodhisattva and
a
the castes.
tale.
This
As
exam-
friars
of the Middle
The
five that
54
JATAKAS AT BARHUT
They
:
seem
to
but in India morality must always have its turn. In them the Bodhisattva is constantly reborn in the state of man,
that state so difficult to attain,
we
all
the
to
the
acquisition of
for
merits,
one
in
may
skill,
be his caste,
wisdom and
but
it
is
should say, the nobihty of the sword, to which their Master belonged, above that of the Brahmans
triya, or, as
:
we
have to follow the order established by them in the hierarchy of the castes.
naturally,
shall
we
all
social positions,
even
which
in
consists in being
as is the case
under the ban of society, with the pariah. However, in the lowest posibas-reliefs
tion
of
Barhut, he has already arrived at the third class, that of the Vai^yas, that is to say, of peasant proprietor or town shop-
son of a citizen of gravasti that by an ingenious stratagem he consoles his father, who was still
keeper.
It
is
as a
inconsolable tor the death of his grandfather Qdt. 352; Cunningham, XL VII, 3). He brings water and food to the dead
when
trate
of the town ; and informed by friends, runs up to remonswith him, he answers him in the same tone and has
his father,
at the gates
not
much
trouble in proving to
is
him
that the
more
foolish
is
of the two
folly,
people think. For it according to Buddhist ideas, to weep for the dead.
whom
JATAKAS AT BARHUT
55
Naga conceives a fancy for hearing him make more sure of him being brought
pretends to have a
the husband
desire , that
speak. In order to
to her, the undine
much
disturbed
As well ask
moon
he remarks Qdt. 545). But what is there that women cannot do ? The four panels of one pillar are consecrated
to the description of how the daughter of the
long
how
the
young
to play,
wins
his minister
how he vainly endeavours to kill the latter by throwing him down from the top of a mountain; and how,
from him
in the end, he decides to take
him
alive to the
house of the
mother-inlittle
who thus
as
is
mouth
private lecture
And,
XXIII. But, as
Bodhisattva
is
it is
especially
when
the
born again as
which he
to offer a perfect
model
Once,
at a
time
when human
ance of his
to
was exceedingly long, he renounces the throne and the world from the moment of the appearfirst
white hair
as
(JAt. 9).
His barber
it
:
is
ordered
it is
show
it
to
him
soon
VI,
as he perceives
6,
and
for
on
pi.
live,
56
JATAKAS AT BARHUT
son
apparently
and
own
XXIV. Another time he does not wait so long to abandon his throne, and he is still in full youth when he yields place to his youngest brother (Jdt. i8i Mahdvastu, II, 73). The jealousy and suspicions of the latter soon force him to go
;
The
bas-
moment when, by
means of an arrow
a
mango from the very top of a high tree (Cunningham, XXVII, 13). The continuation ofthe story makes him again
protect his
princes
who were
or
he
of
he
departs
into religion.
XXV. Once
gives evidence
this world,
even
it is
from his
of his resolution to
know nothing
lyzed (/flL
to prove
vain are
many experiments
tried
him
nor
fear,
a gesture, a cry, or
sensibility or intelligence.
That
is
The
latter
alive. Thus, at the bottom, we see Prince Semiya standing near an empty quadriga, whilst on the
hollowing out a grave. However, the prince suddenly decides to move and speak
a hoe,
busy with
JATAKAS AT BARHUT
but
57
when
by the
formed by the providential intervention of the king of the gods into an ascetic, and sitting in the shadow of the trees
of his hermitage: and this forms the subject of the third
and
last episode,
on the
The
Bodhisattva had realised the perfection of determination in the hfe of Vidhura (XXII) that of wisdom , in that of
Mahajanaka (XIX) of
heroism
detachment
in that
, in that
of the
stag (VIII) and the elephant with six tusks (VI) of generosity
;
a detached
in
fragment that
at
of his goods,
celebrated jdtakas;
and
of
the
ten
cardinal
virtues
are
only
patience , benevolence
and equanimity
we must
not forget
Cunningham have
:
collected scarcely
more than a third of the railing the rest had been carried away and destroyed by neighbouring villagers, and this vandaUsm justifies the precaution, taken by the English archaeologist, of transporting all that
at Calcutta. Inversely,
it is
Museum
that
which
not
all,
for
want of an
tion.
Some
58
jAtakas at barhut
:
and
this is a salutary
warning
be, is far
though
it
may
number of discordances
this collection
in detail, as
and the
bas-reliefs,
known under
of gdthd
(').
But
rize
echoed in
memory
or was transmitted
among them.
:
I will
as
upon the past, the costumes, weapons, tools, furniture and vehicles employed in India two thousand years ago and thus in one hour they have given you through your eyes more concrete ideas about that civilization than you would have been able to acquire in a year's reading. But the greatest service that they have rendered us for from it flow all was when they carried their foresight to the the others
;
What
them
of
to feel towards
talent, so rare
among
some remarks on
JATAKAS AT BARHUT
art.
59
So much modesty,
far
sincerity
not go
skill? I
am
you
if
this respect
lities,
and
than your
you
PLATES
V-VI
The Barhut sculptures here reproduced are borrowed, with the permission ofthe Secretary of State for India, from the beautiful publi
cation of General A.
of Bharhut
(London,
1879).
PI.
V.
(C, 2 (C,
I
pi.
XXVI,
XXVII,
s) 9)
:
described
:
pi. pi.
(C,
XXV,
i)
4
5
pi.
pi. pi.
XXXIII, 4)
XXV, XXV,
3)
4):
PL
VI.
>,
,,
JATAKAS AT BARHUT
PL. V
IN
MEDALLIONS
JATAKAS AT BARHUT
PL. VI
<*>
The
visitor to
the Indian
Musee Guimet
BerHn, cannot
exhibited a
there
is
in Paris, or the
fail
to notice
Museum in London, the Museum fur Volkerkunde in among the objects therein
monumental
himself to casting
passing.
towards
it
in
moulding
European eyes or
before
awaken
in
us bring
will
remain
as puzzled
and,
if
he
Do
not, however,
hastily
sculptures have
we were
set
down,
for example,
opened
them
You know
no
one would have been found capable of this and in the nineteenth
it
meaning of
the scenes
and figures
vaults,
painted
by
du
de Vulgarisation
XXXIV,
62
same
for this.
who
you
it,
enigma.
invite
to join
me
in investigating
meaning.
I
will
add
that,
is
we may no
missed
was
in
fact
the original
and not
to
Paris.
the
coming
was
In
1867-8 the
Begum
of
Bhopal
instigated
to
oFer to the
Emperor of
the French
is
the
most
beautiful,
whole
that
we
The
are as
Begum,
all
indifferent, desired
we
the
more ready
of time to designate
it
through
was
fortunately
government
From
869
it
caused to be executed
mouldings
of the eastern gate, one of the only two which had remained standing; and with great Kberality
it
divided
them
Paris, etc.
fell
to our share
it
had already
at last
found an asylum
the
known some
if
not a shel-
in the courtyard of
63
France the object of any special this too prolonged neglect that we are about
in
made
to endeavour to repair.
The Great Sdnchi Stiipa. The numerous ruins which are scattered over the environs of the village of Sanchi-Kana-
highway between Pataliputra (lla/aioepa, Patna), the capital of the Maurya emperors, and Bharukaccha (Bapjvavz, Bharotch or Broach) by way of Ujjayini ( 'OCVij Ujjain).
Sanchi has
now become
But
it
down
few
tourists.
is
to
we
shall so often
have to compare
it,
villagers of the
who made a business of exploiting it, the monument at Sanchi was still in an excellent state
when
it
of preservation
was
compensation,
it
had much to
inflicted
upon
it,
without
mercy for
and without
profit to science,
by some English
64
amateurs
From 1881
to
1883
the
Archaeological
Department exerted
breach,
itself to repair as
grievous devastation.
They closed up the enormous, gaping which had been made in one third of the central
it
some fragments of
gates, the second of
which had
fallen
with
whole
site,
without
view taken from the east in the rising sun will explain to you
better than long descriptions the state
of the building
Q.
it
is
composed
raised
upon
pediment
of steps.
flight
which
still
in its turn
a thick layer
of mortar,
existing in places.
The
4^,25 high and 1^,70 wide, served evidently as a promenade for the perambulations of the faithful.
a kind of giant
reliquary,
The dome
though
measures
The only
is
3 2"^,
30.
developed tumulus
as a
the
which served
crown but
:
in
thought
these points, see the Journal of the Asiatic Society of Bengal, 1834, p. 489, and IV, 1835, p. 712.
(i)
all
On
I
III,
(2)
owe
to the kindness of
the communication of this photograph and the following ones Mr. J. H. Marshall, the distinguished Director General
of Archeology in India.
65
easy to complete the whole by the aid of the bas-reliefs (see pi. VII. 2). They frequently reproduce the characteristic
silhouette
of
this
it,
pinnacle,
with
the
honorific
parasol surmounting
According
sanctuary
ted
It
to
the
invariable
custom
railing,
in
India this
is
surrounded by a stone
which protecmassive
fence. In
in spite of its
weight,
evidently an imitation of a
wooden
form
slightly oblong,
43'", 60,
it measures across from east to west and from north to south i" 10 more, in order
to leave
for the flight of steps. In the uprights, high, were fixed with mortises and tenons three 3, 10
room
cross-bars
latter
o, 68 high. Atthefour
in such a
as
was arranged
to the eye,
way that
it
the breach
masked
was
in
When
was thought
it
entrances,
was necessary
jamb of each
:
of these
in this
by
in at the sides,
ponding
These four
work of carpenters
masons; and
it is
They
rest
on two square
pillars,
are
surmounted by two
and
in
great capitals,
and
two with elephants. These latter in their turn support no less than three lintels slightly curved, projecting
66
on the two
becoming smaller
impresentire
whole
i).
The
at
capitals
with the
horses
first
women,
with their
with their
drivers formerly
should be remarked
at
once that
these statues
are
of sculpture
us;
as
artists'
had
elicited
all
lintels,
coins and
jambs have
The
sent.
question
to discover
repre-
II
Means of Identification.
to be susceptible of the
At
first
sight the
problem seems
most simple
solution. In fact
one
left
to right;
to
come
close
and decipher
them But,
in proportion as
we
cut
in
II,
pp. 87 sqq.
Epi'-
67
made
a gift of
such and such an upright or cross-bar, in short, of the piece on which, precisely in order that no one might be ignorant of the fact, they have taken care to have their names inscribed.
As
a type
we may
:
take the
left
one displayed
right in the
;
it
(This)
the)
gift
a native of Kurara .
all,
they
tell
us that,
if
not the
monument
subscription,
whh
modern religious foundations. Moreover these votive and somewhat ostentatious epigraphs enlighten us indirectly on many points for example, as
tions, as in certain
who
nearly
all
belong to
class
the middle
class,
merchants
laity
were
execution, as
when one
gate
is
same time the ex-voto, of the carvers in ivory of the neighbouring town of Vidi^a; or lastly, concerning
and
at the
on
to
this
same
second,
or
first,
century before
means ofensuring at all periods the comprehension of their work, counted on their artistic talent as illustrators; wherein
68
much
less far-seeing
and
less
mo-
the balusit
futile to
of their bas-reliefs.
awakening
of objects
remembrance of
a text, a determinate
all
number
no doubt, in the end have opened a way to the interpretation of some of the Sanchi panels but it is doubtful if these isolated discoveries would ever have gone
;
beyond the
matter
to be looked
this
tific
upon
as
d'esprit.
If in
we
It
is
character,
we owe
it
to the
worthy image-makers
of Barhut.
indications
us
of Sanchi, where
we have
to explain a
monument
closely
it
connected in
spirit, as
in space
may
thy
and trustwor-
necessarily be our first and constant forming a fund of interpretation acquired resource. While
data
will
in
furnish a firm
we may
it
expect that
one
will
of their proximity.
On
the whole,
we must not
come
by degrees under an
II,
p. 29.
69
expressive mimicry, they will end by making, us understand the message which it was their mission to transmit to posterity
Ill
If
we approach
it
in a prac-
tical
manner
will immediately
appear to us that
we
written
evidence
except
so
far
as
concerns the purely decorative bas-reliefs. It is a matter of course that the natural intelligence is always and every-
where
sufficient to
is
to classify these
as they
ornaments into
are
different
according
or
borrowed
from
the
fauna,
flora,
the architec-
Our
archaeological
knowledge
of them,
number
winged
surmounted
by two animals
the contrary, a
set
We
shall find,
on
smack of
more learned
distinctions tell
us
anything
scenes any
all
From
the
moment
that
we
70
tification
becomes
infinitely
as re-
we cannot
We
must
in
whether human or
on
earth or
heaven
then
proper
name
very
to each.
little
It is
we have
difficulty
recognizing in
a
frequent
feminine
figure,
seated
on
lotus
modern representations of
(').
we
known what
were not
who connect the jamb with the first that we find them again on the Barhut
retained, here as there, in addition to their
pillars.
They have
their opulent
written,
to lean,
their
to
bend
their
willow-forms Hke
full
bow
and
flower, displaying
II,
bosoms
like
golden
jars
QBuddhacarita,
52 and IV,
35, trans.
Cowell). But
there,
little
in addition to
label
what we
an
which teaches us to
is
true,
belonging to those
whom we
persons
prove that
should
call fairies .
in the lay
at all
we have
The frequency of
this figure at
Sanchi, where it recurs as many as 9 times (see above, p. 18, n. i), the manner of its juxtaposition to the Bodhi-tree, the Wheel of the Law, and the Stupa of the Parinirvdna suggest, on the contrary, that we are dealing with a symbolical representation of the Nativity, when the two Ndgas (here elephants; see below, p. 109), simultaneously bathed the mother and
the unseen child. Accordingly, this scene should have been cited and dis-
we
moment
hypothesis
still
awaiting verification.
71
who, upright
part the
ries
at
we learn to
recognize demi-godsand genii, guardians of the four entrances to the sanctuary, as also of the four cardinal points (*).
Elsewhere, as
we
may sometimes
facade
is
way of
interpretation. Let
Its
we
may
taken by
itself tells
us absolutely nothing
but,
if
we
set
we
number alone
is
further to lead
that here
him
we
see,
on
this pillar,
the
first six
stories
of
Bud-
domain of sensual
our senses.
also,
It is
we
on the balcony of the highest terrace, half-length figures of the Gods in the heaven of Brahma, who belong
to already another sphere
;
who
have become
plastic
The
it is
identification
justifies
itself,
then, admirably,
and
the scenes
for
we know
very well
that, if the
is,
torments
according to the
fc
and 9
fl,
and
ct.
Cdnn(Ngham, Barhut.
XXI-XXIII.
72
more monotonous than the happiness of the heavens. However, the hypothesis becomes quite convincing only after a comrepresentations which have been attempted, nothing
Gods
at
Barhut
(').
is
One
other example
from
this point ot
view
still
more
gate
trees,
characteristic.
(pi. VII,
On
same
2)
is
figured a
There
are seven of
unfortunately
it
would be easy
to
enumerate
still
more of them. The analogy of certain series in Gandhara or at Ajanta would to-day furnish a much more satisfactory explanation by suggesting that it was a symbolical manner of representing the seven traditional Buddhas of our aeon, the last being ^akya-Muni. But you perceive that this conjecture would remain suspended
literally in
the
it
air...
show
us in
these
same
trees,
of easily recognizable
same worshippers on
a label the
;
name
it
evokes
was indeed
represent
the
which they
sat in
(^).
cf.
pi.
XVI,
i.
i,
and XVII,
i,
XXX,
10
XXXand Fergusson,
ibid., pi.
b, and cf. Cunningham, ibid., pi. XXIXIX and Xa (medial lintel of the north gate).
73
You
we may resume
in a single
observation.
trail,
we
shall
symbolism of the tree, which betokens Buddha's attainment of Sambodhi, that of the
wheel, which signifies his preaching, and finally that of the
stnpa or tumulus,
which
is
the
emblem
of his Parinirvdm.
stelae
Amaravati
our ideas on
all
same time
we shall
liarized
Sanchi bas-reliefs
we
shall
moreover be
sufficiently fami-
IV
The Legendary
Scenes.
are,
Omniscience, the
First
Sermon
the four
it
chief episodes
Buddhist legend.
all
Now
is
the scenes at
Sanchi
the illustration
of this
categories, according
lives,
as
their
sublast
from the
II.
74
To
it is
sufficiently well
known
and
time also
we
in
could not
put
ourselves to
For we
only,
mind
that
all
without words
Ages, did not shrink from placing the incidents in juxtaposition or repeating the characters within one and the
same
it
panel.
a
Once we
are
aware
explain
of
their
this
procedure,
is
mere pastime
to
works and to
follow the edifiying thread of the story through the apparent disorder of the actors and under the accumulation of
the
more
skill,
attractive
we
cannot
of our sculptors
(").
we
shall,
of
were
it
not that
we have
already been
made
it is
aware of
it;
or rather, to
employ
a better expression,
II.
We have not
it
but,
in order that
may
let
tory of Sinchi,
not be thought that they were excluded from the reperus point out those of the elephant Saddanta on the poslintel
middle
VIII),
once by his one frontal horn, and of prince Vi^vantara on the lower lintel of the northern gate (Fergusson, pi. Xl-Xa and XXIV, 5), of the Mahakapi and vyama on the southern
pi.
75
pictorial com-
is,
which
is
wanting in
it,
nothing
less
these illustra-
Buddha we
Buddha
himself.
It
is
already a
reliefs
on by
surmounted
marked by
symbol,
is
One
The Sanchi sculptures, which on the whole are better preserved, tell us more on this point than do the ruins of Barhut, From these latter we already knew that the ancient school of Central India had not at its disposal a type of the perfect Buddha the facade
:
(pi.
X,
i),
proves
to us, in
turn, that
it
refrained
no
less rigorously
from
it
when
so easy to lend
some
other
him crown
prince .
We
have here a
new
fact
To
two
feet,
awheel or some
less
other emblem,
we must now
(').
add the no
strange
a;
cf.
likewise,
Cunningham, Barhut,
XX, I, and Fergusson, Tree and Serpent Worship, Amaravati, pi. XCVI, in our first etc. These are precisely the facts of which we have sought
76
It is,
of the
last
The
and always
the
same
by the
tree, the
wheel
illus-
or the stupa
they have
fulfilled their
undertaking to
were not enough, they imposed upon themselves a further one, which has not up to now been we mean the law to which they sufficiently emphasized
prime
difficulty
;
Thus they
not only without our seeing the founder, but even without
When we
accomplishment of
not too
this
much
regret the
The
itself to
showing us
typical speci-
at
teristic
we have
indica-
ted,
On
same
series of
the inundation,
Henceforth
we
77
who
is
One, Bimbisara. the famous sovereign of the neighbouring town ofRaiagriha(Rajgir) and thefahhful
friend of the Master.
at
same
if
we
reflect
namely Bodh-Gaya, is likewise very near to Uruvilva (Urel), where all the episodes of the conversion of the Kacyapas take place, we shall be at
last successful in
the artist
whether on
quence of the
intention
was
of the country of
may
have been
monotonous
Buddha,
it is
self-evident that
its
system of composition
subsequent
accommodated
became
quite plausible. If
regular
development had not been very soon interrupted by the adoption of the Indo-Greek type of Buddha, which came
would probably have been by the natural course of things to assign a growing
it
importance to
this
sort
of historical
pictures,
side
by
we do
not hesi-
(i) See below, Catalogue, 8 et 9; also the interior face of the norKapilavastu (Cat. 7), is consecrated to
the front face of the eastern pillar of the northern gate to the Jetavana of
Xand
XI), etc.
6
78
tate to
this
kind at
Sanchi, notably
among
which
lintels. It is scarcely
We shall
on the southern gate that vivid representation of the famous war of the relics, which by an ironical return of the things of this world came near to being precipitated
We
know
town
that fortunately
at last
was
Ku^inagara
in
It
its
was these eight original deposits or rather seven of them that towards the middle of the third century B. C. the famous Acoka, piously sacrilegious, violated, with
honour.
among
the innum-
be scattered
all
over India.
to have
As
Rama;
grama,
it
seems
been already
known
to be
who were
its
guardians.
Now
such, surely,
is
gate, iMd..
XVIII
et
XXXVIII,
2)
is
this scene
first
It was the same with the three on the other hand Cole had in his drawing and the third.
79
central lintel of this very southern gate ('). hundred years are amply sufficient, especially in India, to create a
complete cycle of legends. Reflect, on the other hand, that at a few paces from the future site of the gate A?oka had
already caused his famous edicts to be engraved upon a
column. According to all probability the erection of this column was contemporary with the building of the stupa, which may very well be one of the 84.000 religious foundations ascribed to the devout emperor. Finally,
we have
latter
:
had remainit
district
at least
is
in
Mahdhelp
his
may
on our eastern gate may in the same way be borrowed from his cycle. The one on the reverse side of the lower lintel (pi. VII, 2) must have some connection with the
Ramagrama
the legend
stupa,
if it
is
which we have
As
on
the
believing that
(pi.
X, 2)
is
If at
we
have
is
now
arrived
we
cast a
(i) F:6rgusson, pi. VII; for the tradition compare Divyavadana, p. 380;
Fa-hian, ch. xxin, and Hiuan-tsang, xi, (2) See below, Catalogue, % 12 a and
3''
Kingdom.
and
cf.
h,
Divyavadana,
p.
397
and sqq.
8o
our studies,
that
we
shall be as surprised as
we
is
mute language.
inten-
There
now
scarcely apart of
it
whose meaning or
from the genii which mount guard at the foot to the Buddhist symbols which decorate the summit.
may,
therefore,
We
consider that
I
we
have accomplished
shall confine
myself in conclu:
this will
way of summing up the various kinds of interest which these sculptures may present. at least for those The keenest is to be found, perhaps in the very among us who have a taste for antiquity
be the best
tools,
etc., all
these
And
side
by
which
is
so precious,
life
we
who
98) these women attend to their domestic occupations (page 95) these
;
pomp
to be
through the
streets
of
and 93),
etc.
What is
no
less
worn
in popular imagi-
manner
which the reHgious conscience of the time conceived the written tradition of Buddhism! But these are questions reserved for speciahsts, and,
doubtless,
tic
many
monuments. From
worked
at
who
them, and
do not
so remarkable espectheir
problem
is
do
a direct expres-
And
in
making
this
statement
am
proposed to
treat
even as regards
its
specially technical
proceedings, that extremely deeply incised rehef, that constant search tor
swarming
effects,
that
systematic over-
by accesgold-
wood and
its
if
ancient
native
Buddhist
soil,
art is
roots to
its
should have to be wilfully blind not to see the foreign shoots which have already ingrafted themselves on this wild stock. A quantity of decorative motives have
we
appeared to us so directly borrowed from Persia that their importation can scarcely be explained otherwise than by
82
not
all
figures,
in the
detail
harmonious
of the work-
word, in the
we
detect
growing
traces of an influence
more
poli-
and more
artistic,
difficult to disentangle,
but incomparably-
more
tical
which
in fact
Hellenistic models.
close to their
town
the
on
behalf of a local
rajah in
king Antialkidas (about 175 B. C.) by the envoy Heliodoros, son of Dion, a native of Taxila (').
But,
if
know
of India
it is
also
own
themselves.
You have
first
surely observed
in every
among them an
to that
at a
employment of symbols,
exhibited by the
way analogous
Catacombs
time
when
The
still
parallelism of the
further
:
two
on,
and
later
when
tely fixed,
would be no
less
known
to
(i)
The
is
due to Mr.
J.
H. Marshall,
A. S. 1909, p. 1053.
83
were
a question
made from a living model. Another feature which you must also have noticed in passing is the narraof a portrait
tive character of the bas-reliefs,
forthwith
employed
to
and
it
you
either that
we
find again
on the
of the Middle
first
Renaissance
for
Florence
were already
in use at Bjirhut
and
at
Thus
these old
monuments, in exchange for the trouble which we have taken to become familiar with them, offer us ample material for comparisons of an interest more general and more
closely connected with us than
we
It is
of this that
wished
in conclusion to
remind you
as a
com-
which circumstances,
posed upon us.
as told in
SECOND PART
the more or less sucshort notice with a detailed account of been made whh a view cessful attempts which have already
of Sanchi. The princito the interpretation of the sculptures after the first essay of pal publication treating of them, Bhilsa Topes (London, 1854), is that of
Cunningham, The
Fergusson,
London, 1873
of
by Beal, Journ. reproducing the identifications proposed V, 1871, pp. 164 and sqq.) the Roy. As. Soc.new series.
84
been too
much
value.
India,
and of H. Cole,
:
Monuments, India
to the text of F-
its
remains
(Lon-
Museum
in
fiir
Volkerkunde
in Berlin,
manner
sor Griinwedel
Chapter
1900; revised
J.
We
are
in
perfect
method
to be followed
at the
on
we have
theirs.
arrived at conclusions
somewhat
it
from
If this treatise
whatever
is
entirely
J.
direct
photographs which
Mr.
our disposal.]
The
may
two orders of
subjects
is
at
times very
Many
lical
value, and,
a great
number of the
edifying representations
distinction
is
pure
in
decoration.
The
shall
justified,
however,
if
practice.
We
avoid
many
useless repetitions,
we
decide to classify
85
category
all
all
those motifs
is
whose
character,
being before
ornamental,
sufficiently
emphasized by
beams
Thus itisthatthe two jambs of the of the north and of the south, or bear on more simply, of the and you
I.
that
right
left as
enter,
two of
tary.
which
are evidently
complemen-
is
we
know, play
is
ornamentation
and symbolism.
ers,
To
enclosed within two waved garlands of these same flowgraced with buds and leaves.
To the
left
the principal
whose decoration
and
a tortoise
branch
in addition Indian
swans
are intermingled
b) In the
whh
the flowers.
figures placed opposite each other at
two male
of
whom
Dhritarashtra
(cf.
above,
turbans and
adorned with heavy jewels, earrings, necklaces and bracelets of precious stones. The ends of their long loin-cloths hang
in close little pleats in front; as for the second part of their
costume, the
scarf,
whose
usual function
is
to drape the
86
negligently tied
the ends of
it
round
with his
their loins.
left
The one
pi.
holds up
hand,
whilst the other has placed his awkwardly on his hip (see
VIII, 2).
The
latter
Both
are looking in
2. Capitals.
The great
capitals
tame
ele-
such a
way that
their heads
form
round embossement
front
(from which
pearls,
hang
in
in
of the ears
a
two pendants of
tasselled
and
kept
saddle-cloth,
their bodies
place
and
form knots on
necks
The person
of distinction
was
holding in his
was
his
own
driver
and, in
we know
that in ancient
of driving elephants
education.
formed an integral
part of a complete
who
doubtless,
the
belly-band.
As
for
their trunks
they
are, as usual,
An
inscrip-
on whosoever
the railing.
remove a single stone of the gate or As regards the two caryatids, see below, 5 fl.
3
.
87
Decoration of the
lintels.
The three
lintels likewise
repeat
on both
symmetrical forms of
decoration.
rt)
On
kmds
we shall note first three of false capitals, of a character quite Iranian, which,
the
contmuing
two uprights, break through each lintel. two lower ones the decorative designs consist of winged lions, two of which are seated back to back,
On
the
while
its head and two front-paws through the space between them. On the topmost one
a third protrudes
they consist of two great fully harnessed draught oxen, likewise seated back to back, but furthermore ridden by
two men. a) On
same order two pairs of goats, with or without horns; two pairs of two-humped camels, likewise seated; two pairs of horned lions, standing and passant. All
jects are in the
One
of those
at the
sum-
hair, tied
with a
fillet,
and
hand
^)
a piece of a vine-stock.
The
ted both
tendril,
on the observe and on the reverse by a kind of long rolled seven times round itself and attached to
:
this
makes
twelve
snails,
and produces
this
somewhat unfortunate
an attempt to imitate
effect. If it
is
would have
to be
acknowledged
that
it
The whole
is,
by these
decorations
scenes. There
is, it
upon the
88
two
latter
pairs of peacocks
is
The former
a
which
to be found also
and the
by wild elephants.
4. The supports.
We
a)
right
On
and the upper one to the left both represent a feminine figure seated, with one leg hanging down, upon a lotus
issuing from a lottery vase (bhadra-ghatd)
:
she holds in
at
her, or are
at the
We know
preserved
but
we have
The
subjects of the
two other
The one on
the
left
represents the
preaching of Buddha
Law
wor-
placed
on
as is
tree,
a throne
under
among
the usual
the right
shippers,
human and
divine.
The one on
us
shows
of his
lised
by
this
Mesua Roxhurghii).
a')
On the reverse side of the gate (pi. VII, 2) the lower supfrom
a bha-
i.
89
upper ones return to the legendary scenes with two stupas emblematic of the Parinirvdm of the Master, and quite similar to those on the front, of which,
as
a raihng
columns surmounted by
lion simply.
b'}
Wheel of
the
Law
or by
all
tion, in
To exhaust the
in full
list
of symmet-
subjects,
nothmg
than
to
enumerate the detached figures page 66, and pi. VIII, i).
a)
p.
relief (cf.
above,
The most
cf.
above,
who, with the curve of the mango-tree from which they hang by the two arms, form so ingeniously deco70),
rative a bracket.
Only
the figure
on the
dhoti;
right
is
preserved.
only
it is
made of
is
more transparent
material.
Her
in the
spread
the
plait, as is
a). In
come
and the
woman's
toilet,
is
The few smaller figures to be found on this gate which we may complete in our thoughts by analogy
90
fairy in a
mounted by two
As for the symbols at the summit, they were three in number. At the top of each upright two, of which one is
c)
still
on a pedestal probably formed of four lions, stood flanked by two worshippers bearing fly-flappers finally the ancient solar symbol of the wheel, placed at the
middle
service of the
Good Law.
The Legendary
Scenes.
we
upon
a necessarily
much more
it is
detailed
examination
it is
For
self-evident that
emin-
We
faces,
which
jambs.
are figured
namely the
the place of
honour
We
one decorative
left
a).
As
no space on
little
bas-reliefs,
we have
:
already noticed
taken all together, ^ 4 a and fl') they represent in the same stereotyped manner, by the
supports
(cf.
tree, the
stupa,
the three great traditional miracles of the Illumination, the Preaching, and the Death of Buddha.
6. Front face of the right jamb.
This facade
:
is
decorated
one story; the middle ones have two, both covered with a rounded roof, in which are open bays in the shape of a
91
uncovered
a
terrace, which is surrounded on three sides by group of buildings. It is difficult in the present state of
the stone to judge of the distribution of the persons on the lower panel; but the five following ones, divided
likewise
into
compartments by columns with or without Persepohtan capitals, are all composed in the same manner. The centre is occupied by a divine personage, as is proved by the thunderbolt which he holds in his right hand and
the vase of ambrosia in his
left. God though he be, he is for the rest conceived in the image of an Indian king. Behind
three
the bearers of his parasol and fly-flapper, insignia of his royalty; on his right, in the same surroundings, but
him stand
on
left
is
At
his
It is
well
known
according to Indian
a
accompaniment of
happy mun-
dane
life. Indications of trees form the background. On the upper terrace, as on a balcony, lean two other gods,
We
Four
Great Kings
necessity of housing
absence of bayaderes in
lower panel,
racter
at
the
same time
would
(2)
and (3)
Gods over whom Indra reigns, by Yama; (4) for the Satisfied
92
upon
of their
own
creations;
(6) and
As
who
Mara,
God
would represent
eyes, those of
visible
to our
human
Brahma's world.
7.
This
to us
.
face,
according to
being the
only subject
at
Sanchi that
it is
bute to Buddhism, as
we known
To-day
it is
better
known; but
Maya
,
bosom
in the
form of a
little
remains certainly in
We know that
it is
part of the
dove in our
Annunciations
:
by the Bar-
hut inscription
The Descent
of the Blessed
One
Consequently,
we might
moment when he
prepares to be
born again in the royal family of Kapilavastu. But the sculptor prevents us from going astray in that direction by
the care which he has taken to represent before and behind
same
which we
referring us to
we
of
composition
this
same
king, about
^5
town of
pomp from one of the gates of his good Kapilavastu. He is in his chariot, accompanied by
As
is
the three usual servants, the driver, holding the reins and
cus-
tomary, the horses, whose head-adornment is very high, have their long tails carefully tied up to the harness,
doubtless in order that they
may
and
in
march the herald and the seven musicians of the royal orchestra, blowing oblique flutes and shells or beating drums. Behind we perceive, emerging from the streets
of the town, a brilliant suite
ele-
Through the balconies of the verandas spectators, mostly women, protrude their heads, curious to see the procession of the feudal cortege of king ^uddhodana and
phants.
his peers, the noble lords of the race of ^akya.
Where
idea
is
Not
far,
it
theatre of the
Nativity
Conception
But
nothing to corroborate
this hypothesis.
The king
and the ^akyas appear indeed all occupied in contemplating with clasped hands some miraculous event: but their eyes are raised into the air, and the object towards which they are
turned
is
above
their heads.
in this slab
the a
(Skt. ratna-cahkramd)
on the occa(').
town of Kapilavastu
Mahdvastu,
p.
113;
Commentary on
st.
Fausb0ll, p. 334;
Mahdvama, XXX,
81, etc.
7
94
The legend
between the
known on the occasion of this meeting father, who had remained a king, and the son,
well
:
had arisen
other
first?
The
Blessed
One
well as he could
representation of
b)
Buddha
Apparently he was
somewhat
distrustful of the
more preleft
from the
on the
jamb)
is
ardma
Quddhodana assigned to his son for a residence. Henceforth the meaning of the upper bas-relief
sion king
It
represents in the
same
under
tage;
eUiptical
this
manner
the
Buddha
seated
upon
a throne,
same nyagrodha,
in the
before-mentioned hermi-
and the
always to be recogniits
place
by a
renders gems on the top of his turban homage to him for the third time , whilst the ^akyas, whose pride has been broken by the miracle, imitate his example. As always, the tree is adorned with garlands and
surmounted by
a parasol of
two
divinities,
mounted on
down.
But what
now
is
Con-
95
is
at
Kapilavastu ; and
it
is
just this
in
it is
treated in so secon-
dary a manner.
What
else could
he attached a
label, as at
Barhut
He
summary
is
rest, that
spirit
trusting in the
at
our
gonists
and,
if on this
we
have, as
we believe, arrived
to the docility
at a definite interpretation,
it is
solely
owing
with which
we
refer to
^ above.
8. Inner face of
the left
jamb.
of
them we must
a)
refer to
what was
on pages 76-7.
We
inner
face.
Apparently
it
town
months previously
after
Buddha's
first
journey to Benares
left,
of the conversion
are
women
a
doing
their
their huts;
one is husk;
huge
pestle
;
another
with a fan in the form of a shovel two neighbours are one of them rolling out pastry-cakes and the other
winnows
grinding curry-powder.
The
96
the
man
down
to the right
their hips
two
are
upon
where
are
a third is already
stooping to
fill
her ghati.
coming and going, the bamboo-pole on their shoulders laden or empty. It is the village hfe of two thou-
Some men
it is
life
we
have
Troops of oxen,
the invisible
buffalos, goats,
its
to the picture. In
this, that
what does
edification
is felt
consist? Simply in
Buddha
and on
a throne,
behind
and the
only connec-
Unk between
decidedly a
little
sacrificed.
fully
them
sed
One
to,
but distinct
Ka^yapa
of Uruvilva. This interpretation not only has the advantage of connecting the subject with the series of ders
wonfor
which
in the
Brahmanical ascetics
it
moreover
Mahdvagga
the night,
ally
(i,
If it is
objected that
ignored this
was
below, 11 a).
97
However
the case
may
be,
below represents patently the miracle of the victory over the wicked serpent , the first in the version of the Mahdvagga, the last in that of the Mahdvastu.
Buddha has been allowed by the oldest of the Ka^yapas to pass the night, at
his
own
risk
and
peril, in
The
latter
once attacks him, and the two struggle together for a long time, smoke against smoke, flame against flame,
until the final defeat of the dragon.
This
is
why we
.
here
if it
were
prey to
fire
Through the
(or rather
fire altar
hood of the serpent you see the throne of the invisible Buddha. On either side Brahmanic anchorites, characterised by their high conical-shaped head-dresses and their bark-garments, are contemplating
three
young novices
Gandhara
b,
are hastening
if
go and
fill
we
Art
greco-
bouddhique du Gandhdra,
224, 225
etc.), is
to use
them
in extinguishing the
fire.
On
made his report to the old Ka^yapa, seated on a rolled-up mat (brisM) on the threshold of his round hut, with
has just
its
is
row of
which
trees
The instruments
two
antelopes,
buffalos,
their
heads with an
air
of alarm, trees swarming with monkeys, complete or close the picture of the hermitage. On the whole, the miracle
is
related as minutely as
was possible
to the sculptor.
The
98
whole question
river
indicated
as usual
an
by waved
adult anchorite,
who
water.
by-
we remember
that
Buddha
bath,
in order to
warm
this
we cannot
I,
we have not
here
at least
one allusion to
vagga,
c) In
20, 15).
case,
any
understood, the
from being
manner
After the
life
of the village
the
life
we
On
the right
two anchorites
are splhting
wood by means
of
axes which,
if
we may
spoon, whilst two novices are carrying on their shoulders the one a fagot of logs and the
his
a sacrificial
hand
at the
is
rounding
it,
(i)
We
may
is
which Indian
art
circumference (along shell, a double basket (?), and a large conch) we should be disposed to see like the oar planted by the companions of Ulysses on
the
99
have
The texts tell us, in fact, that according to the will of the Blessed One these
signiHcation.
logs and these fires alternately refused and consented, the former to allow themselves to be split and the latter to
let
is
continues to hold his axe in the air, without being able to lower it ('); whilst his neighbour has just succeeded
by a lucky stroke
for the
wood.
It
is
also
are
same reason
who
them with
esparto screens,
row cannot succeed in obtaining any flame whatever, whilst the one in the first row sees his fire
blaze up brightly. These
the Mahdvagga
(i,
20,
two miracles are related to us by 12-13) in the same breath. But what
left?
We
426,
(III, p.
suffices
by
itself to
which
is
perfectly analogous
which
at last
at first will
consents to
sacri-
up
into the
IX,
i)-
9.
left
jamb.
it
to be
(i)
1.
We
borrow
this interpretation
III,
p.
428,
may
just as
100
placed
upon the
it
Mahdvagga
time there
.
(i.
wanting
At
this
fell
out of season a
heavy
rain,
and
a great flood
followed
henceforward
why
and even of a
crocodile.
On
hastens
ascetics
attended by
two
at
But the
a
has
left
bottom
promenade
feet
dry
of his host
the
when we
make
see
bank with
us, in order to
anjaliQ).
imme-
diately below.
capital
:
Once more
chariot,
similar to 7
t.
Only we
right to
notice the
way
in
the top of the panel, in order to separate the city from the
appears to us that the ingenious suggestion that he has prostrated : for in that case we could not understand how his disciples could remain standing ; besides, the ilowers placed near him are
(i)
It
scattered almost everywhere in the picture and are found likewise on one of the preceding bas-reliefs ( 8 h). Also, the analogy of 7 is in opposition to the identification of the cankrama ot the Blessed One with the
great washing-stone brought to
him on another
loi
first
outskirts.
The
thing
is
to
know the name ofthe town but this time it is to the neighbouring scenes that we must address our questions. We have
already seen above (p. 77) that they reply unanimously it is the capital of Magadha. The texts for their part agree in
:
telling us that
immediately
after the
head of his
griha,
new community
the gates of the
and
at
town
solemn
visit
of King Bimbisara Q). In accordance with the usual custom the king advanced in his good chariot as far as the
road would allow a carriage to pass; then he descended and
went on foot towards Buddha. This is what he is doing at the top on the left, followed by one sole companion, whose duty is to represent in his own person the king's innumerable cortege. Before the
wood
As
Q.
must
naturally
first
homage ofthe
question. If
we
see nothing of
is
because the
all
representation
(i) Mahavagga,
etc.
I,
22; Mahdvastu,
III, p.
441-449
140
Dlvydvaddna, p. 393.
the position of
(2) Cf.
CoNNiNGHAM, Arch.
Reports, III. p.
I fixed
the
Bamboo
hill
lying
between
Gate
. It is the hot-springs of Tapoban and old Mjagriha makes Hot Springs (tapoda-dvdra) that the Lalita-Visiara, xvi, of the
precisely
by the
Buddha
for the
first
102
monks
(cf.
above,
series of epi-
(Fergusson,
fig.
pi.
LXX,
or Art greco-bouddh. du
Gandh.,
228).
c) Finally,
at
same
tree
surmounted,
genii, the
as usual,
by
a parasol
One
gous
same
tree the
is
ted by the
Barhut), and,
sky.
is,
We may
tuary
built
at the
earliest,
that
tree,
:
accustomed in the
of
all
times and
has not
analogy of
it
the
whole
it,
above
at
the four
happened
at the
moment
and
of
the
also recogi,
XIV,
for the
103
nize in the four worshippers at the bottom the four great kings , whohve in our atmosphere, to the right those
left
The
first
who
seen,
would represent
show
us (cf above,
p.
71).
intrinsic
on the symmetrical
10.
two jambs.
same
Upper
lintel.
We
carefulness
side
on the two
where, side by
above, 3), great will begin Buddhist compositions also are to be found.
We
at
method which
will appa-
Thus
it is
is
occupied from
XXI,
p. 235. Let us
notice also on
the front face of the lower lintel of the western gate (the back face of the same lintel in the restoration of to-day, and the front face of the upper lintel
Cole ap. Fergussom, pi. XVIII) Buddha is represented beside a Bodbi army by
in the plan of
that
tree,
which
is
already sur-
104
seven
Buddhas of the
by the
tumulus of
their Parinirvdm
and the
two trees at his disposal, considered it his duty to give the honour of being placed on the fronton to the first and the last Buddha of
(pi. VIII, i).
The
the series
in fact,
side,
one can
distinctly recognize
on the
called
the sacred
fig-tree of
Gautama, otherwise
^akya-muni.
On
the
upper supports
(cf.
two com-
stupas in a
row on
the facade,
as
on the other
b)
do with the
For the
it
will be sufficient to
bas-reliefs at
Barhut, a
list
Bodkidrunias.
Here they
are, in the
left
of the spectator
Vipacyin
(Pfl/z
Vipassin).
Qkhin
(P. Sikhin).
Pundarika (Mangifera
[and not nymphaa]).
(^a.h (Shorearobusta^.
Krakucchanda (P,
sandha).
KakuKona-
Qirisha (Acacia
sirissa).
Kanakamuni
gamana).
(P.
Udumbara
rata}.
{Ficus
glome-
Nyagrodha
(^Ficus indicd).
Gautama
It
(P. Gotama).
A^vattha (Ficus
religiosa).
105
of the tree
on one of the upper supports of the facade, of the eighth and future Buddha of our age,
Maitreya
(cf.
4 a).
The middle
lintel,
which
is
closer
to the
pictures
by two episodes, borrowed, the one from the youth, the other from the career of ^akya-muni.
a) Front
face.
We
p.
75)
On
a
the
left
we
streets
and
at its
windows
F)
:
to be
seen
(cf.
7 a
and S
least
about the
fact
knew
as well as
we do
which of
on
his
The
latter,
is
(Mahdhhinishkramand)
less
.,
and we
but on
the
same
Chandaka, the
faithful atten-
Gods
it
was thought,
;
that the
sound of
his
shoes might not give the alarm another has taken possession of the fly-flapper
:
two
others,
who
at first are
dwarfs,
by degrees
When
io6
the right
series
it is
jamb of the gate forces the sculptor to end the of his repetitions, the attendant and the horse are, as
But the
latter is
figured only
his feet^
marked by
surmounted by the fly-flapper and the parasol. the bottom on the right, Chandaka is returning
(in
hand and
in
The three
are,
who follow,
whom
Such
still
is
the manifest
meaning of
this
long scene
but
we
mounting
are a proof
of this sacredness
panel. Assuredly
this position of
it is
symmetry
it
but
honour demands
this
also that
shall
have a
meaning
and
meaning
will
it
come
to us the very
moment
ningham,
jambu
art,
that
we
recognize in
XLVIII,
r) a
meditation of the
notice
still
young Bodhisattva.
We
shall
how
three persons,
Thus
in
summary
indication
of the
commencement, and
ddnoue-
107
ment, of the religious vocation of the Predestined. And who can say even whether the quadruple repetition of the horse and the procession leaving the town were not connected in his mind with the intervening episode of the famous
, which by the successive encounter with an old man, a sick person, a dead man and a monk,
four
outgoings
Buddha
good sculptor had still further intentions, may we be pardoned by his ashes, if we cannot perceive them! May he pardon us above all, if we
cannot grasp exactly with what episode of the legend we must connect the scene that covers the whole reverse side
of the middle
lintel. It is,
h)
Rear
face.
In case the
muni who
is
supposed to
which
shelters it is a Holy Fig-tree, exactly which decorates the left projection of the
upper lintel.
much
to
kingdom of phantasy
and two
as to the
kmgdom
buffalos
of nature. First
of
all,
two seen
in
full face
and antelopes,
;
more
birds,
some
see
with, and
some without
on the
crests,
bearing
flowers and fruits in their beaks. Side by side with these real
animals
we
faces
human
and forgetting
dream-monsters
right, bulls
with
their natural
enmity
in the
a great polycephalous
enormous vulture Garuda, whose ears are adorned with earrings on the left Tibetan dogs, with manes and claws. To sum up, nearly the whole of the
;
lo8
Buddha
:
left his
com-
munity, in order to
retire
into
solitude
and he was
among the
him (Mahdtraditional
we
find
none of the
it is
Then
bear on
its
two
faces scenes
Buddha.
a) Front face.
now
so
well
known
quite cerat
One was
Bodh-Gaya
manner
It
in
commeis
how
it,
the great
emperor evinced
a special
upon
so
many and so
as a rival,
became
spell
upon
it.
The
tree
would not survive it; fortunately the queen, being undeceived, was able in time to arrest the effect of the witchcraft; whereupon the emperor decided to do what
that he
past, neither
Bimbisara nor
to
come
in procession and,
109
with pitchers of scented water QDivydvaddna, p. 397-398). Now what is it exactly that we see here (pi. X, 2)? On the right a king, accompanied, as
and his guards, dismounts languishingly from his elephant, encouraged, it seems, by
his
usual,
by
latter is
pro-
like
who
we
Solomon, Agoka
the right of the
commanded the genii. Immediately on sacred tree we see again the same king,
homage
to the
faithful
preceded by his
On
sound of another
and
solemn procession of
(in
their midst
This
last detail
has
won
our conviction
fication
it
(cf.
would result that this time the indication of the temple round the tree open to the sky would not be
an anachronism
b)
is
Rear face.
Besides,
(cf. p.
102).
as
we have
seems to us to have inspired the image-makers of Sanchi, Concerning the tumulus of Ramagrama two other
that
stories
were
still
current
among them
in the other
it
:
was
who
it
we
from beheving
pun gave
rise to
two forms of the tradition. However that may be, the the other, we believe, first is figured on the southern gate is here. Besides, whatever may be the name by which the
the
:
is
no doubt
as to the
meaning of the
no
which
are
marching
in procession
lintel
and
it is
indeed as
still
We
shall here
we wished
to
on
this
and we might
The
Httle that
we have
said
double allegation
which we believed might be put forward regarding this gate it seems in fact upon investigation that these (p. 80)
:
most
part deciphered
fact that
more
PLATES
All the photographs of
VII-X
which
all
plates
VII-X
are
India,
Mr.
J.
H. Marshall, and
the stereotypes by
M.
E. Leroux.
Pi. VII,
'L.
VII
1.
GENERAL
PL. VIII
W u
<;
Q
<
a w
> Q
W <
>
H z
Cm
cr;
W H
<;
PL. IX
P H <
< J
0.
s
<
^'
^^
O H
cc;
o
<
u
cc
w K
C]
PL. X
1.
2.
of
Buddha 0.
One
of the
appreciated by
which they
must
ture to
open
their
to begin
liberty
by asking pardon of
their usual
on
subjects so far
for
removed from
occupations and
drawing
in
them
from those
which
You
be aware of the
this
fact that
me
Buddha
in the
home
of
Buddha. For,
table house,
he
is
haven of
exotic
gious
art, I
principal tenant.
it
To whatever
conse-
half-
and
wandering
du Musee
Mus^e Guimet
[Bihliotheque de Vulgarisation
112
from image to image, does not too much dissipate your attention,
and
if your
diversity of the
you
and everywhere,
modelled
minute or
wood, cut
in stone,
he continues to be astonish-
of this
first
observation,
you
these
common
prototype, from
which
they
And
thus in the
I
more or less remotely descended. end you are inevitably confronted by the
have to-day
set
question which
ing. If
it
shall
way and
in
rather unexpected
more distant origins, it is well to define exactly what we mean by the name. Europeans commonly make
ing their
the strangest abuse of
it.
heard
and
How many
times
have
not
the
no matter what statuette, Chinese, Tibetan, or Japanese, however monstrous it might be, thoughtlessly designated by the name which ought to be reserved
raged, and
for
^akyamuni and
his peers!
think of an
Asiatic
who
should designate en
Our
all
Lord,
God
Holy
all
the angels,
having
lege
:
first
laughed, you
is
would soon
113
ing together under the name of the one Buddha all the inhabitants of the Buddhist heavens and even hells. Therefore, let me implore you, once for all especially the
ladies
no more thus
applying
it
to profane the
name
of the Blessed
One by
bristling
indifferently at
at
title
ought
whom,
for
my
part, I
should not
who was
who
life
of a mendi-
cant monk who, after six years of vain study and austerities,
finally at the foot of the ever-green fig-tree of
Bodh-Gaya
human
beings from
who
by the suppression of desire, the root of all suffering who died and was cremated whose ashes, regarded
salvation
;
;
as
we
still
find
them to-day
whose image,
finally,
is
still
enthroned
altars,
murmurs of prayers, in all the pagodas of And, doubtless, this effigy served in its turn
model for
ing for
him
in
unlimited
numbers,
through
infinite
ii4
as
moment move
the
But such
is
may
and
say
tial
There
is
Now the
essen-
everywhere, through
it
most important fact to be borne in mind. As for the particular signs which prevent our ever faiUng to recognize the type, the first statue or photograph to your hand will
is
familiarize
together
we
sonal
beauty,
exercized
over
his
contemporaries
an
we
call
Buddhism. At the
first
seem so very complicated. Granted that all these representations seem to descend from a common prototype, the
question resolves
itself into
first
most ancient known images of Buddha. Theoretically, nothing is more simple; in practice we
which
are the
is
Ceylon, the
first
115
Blessed One. Most often he restricts himself to an excursion along red roads losing themselves in
larly
, the distance under a slowly diminishing arch of green palmeries, to the singu-
modernized temple of Kelani, a little to the north of Colombo. But, even if he pushed on as far as the ancient ruined towns of the interior, he would be no more successful in finding in their old statues the original type
which we
still
greater reason
it
idea of encountering
only an
Indian colony,
and,
became so later than did Ceylon. The hundreds of Buddhas who have given a name to Boro-Budur
doubtless,
are attributed only to the IX"' century of our era.
The even
more
are
Siam and Burmah shows only too clearly through their tinsel and their gilding. The most ancient Lamaic images could hardly be
still
venerated in
Cambodia,
Buddhism
tell
in Tibet
you
that
the figure of the Master was not introduced there until the
came from China through the intermediacy of Corea. Nor do the most ancient Chinese images known to us, those of the grottoes of Long-Men or of Taand that
it
t'ong-fu,
just
made known by
century
(*).
reproductions,
the
IV"'
(i)
E.
Chavannes, Mission
archdologique dans
la
Chine septentrionak,
Paris, 1909.
n6
desert of Turkes-
were we directed in advance to seek the plastic origins of Buddha in the very places which saw the beginning of his doctrine. And, were it not of inte-
Thus
clearly
rest to
we might have
is
spared
The
the serious
commencement
of our quest
Magadha, otherwise
est imperial
that province of
which has
at
been
altar
site
for the
most
Musalmans
in the
our
era.
The
excavations
of Sarnath,
the
carved in a
at the
More
to the north-west
Ama-
still
mention on the former of the Indo-Scyths, on the second of the Andhras carry as far back as the 11** century of our era.
in Idikutschari
example, in Grunwedel, Bericht uher archdologische Arbeiten und Umgebung im Winter 1902-1903 (Munich, 1906), pi. IV, fig. I, a specimen from Turfan, and in M. A. Stein, Ancient Khotan, pi. LXXXII, 2, another example from the environs of Khotan.
(i) See, for
117
like as brothers,
and everyone will agree that they are desancestor of blue slate and native
cended from a
common
The
moment
the thread
which guided us
art
by
step
breaks
off sharp in
after,
if
not before,
Upper Panjab
as
i)
we vainly seek
One
it
(pi.
XI,
mo-
numents of central
era.
hope of ever
either better
finding
carried out or
more
successful.
While on
all
the bas-reliefs
One is represented
standing in the
middle of the panel, on the balustrades or the gates of Barhut orof Sanchi he is totally absent even from the scenes of his
own
is
too well
known
wish to
to be again
experi-
we have
already
I
made an
are those
mental verification of
to-day
is
it (').
All that
insist
upon
the
known Buddhas
which
we have
encountered in the
House of Marvels
, as
museum
of Lahore.
it
To
whom
whence these Buddhas come. The former keeper many of us know from the fine portrait drawn by
Ii8
the
Kim
piety of
is
Rudyard Kipling
there to
at
;
the beginning of
no longer
tell lis
we
regret to have
heard
ago.
last
But
all
these car-
Peshawar, on the
at its
Rud... And,
that, after
doubtless, your
astonishment will be
whole of
saw the
founder,
try
images of the
we have finally
discovered it in a
Musalman coun-
What
have trodden
in every direc-
Gandhara
after all
such was
its
Sanskrit
name
shows us
a belt
only a
vast, gently
where
left
by them on
;
and
(now Peshawar);
;
Pushkaravati,
town of Panini, the great legislator of Sanskrit grammar Udabhanda (now Und), where the great river was passed, in winter by a ford, in summer by a ferry, and whence in
^alatura, the natal
;
three days one reached Takshagila, the Taxila of the historians of Alexander...
And
immediately you
feel
how
in this
119
two antiquities, Hellenic and Indian, from the ground at each step. Even if history had
not preserved for us any remembrance of the memorable encounter between the two civilizations, the mute witnesses in stone, which
ate,
we have come
you
purposely to interrogit.
would be
(*),
sufficient to estabHsh
To
cut as short as
possible
let
me
lead
little
garrison
will
show
room and no
most
ed to
Buddhas which
(pi.
it
me to
at
encounter
at leisure.
XI, 2).
Without doubt you will appreciate its dreamy, and even somewhat effeminate, beauty but at the same time you cannot fail to be struck by its Hellenic character. That this is a statue of Buddha there is not the
it
;
Look
least
doubt
all
was speaking
it
identity j/Is
neces-
upon that ample monastic robe, that pretended bump of wisdom on the crown of the head, that mole between the eyebrows, that lobe of the ear distended by the wearing of heavy earrings, and left bare
lay your fingers
make you
These
indeed a Buddha,
it
we
archaeological sites,
refer
and
Sur
we
1905-1914).
120
is
no
Your European
with
full
bow
of
All
these
technical details,
and
still
more perhaps
the
harmony of the whole, indicate in a material, palpable and striking manner the hand of an artist from some Greek
studio. If the material proofs of the attribution constitute
what
should be prepared to
call
neither will
Thus
with
all its
have a name,
Greco-Buddhist
II
Such
is
the
result of
the
we
is
of Buddha; and
ledge that
as Indian.
call for
its
when
at last
we
find
it, it is
to
acknow-
appearance
at the least as
much Greek
The fact is, doubtless, sufficiently surprising to some commentary. What historical circumstances
Buddha?
can have rendered possible, and even spontaneously engendered, this creation of the Indo-Greek type of
What attracts
is, I
will warrant,
how
121
me
to call
crow flies, from the mouth of the Hellenized Euphrates than from that of
further, as the
like the
Gandharais scarcely
To
account for
was
union.
And it is
be
At the present time not only is this unfortunate Gandhara, which had always so much to suffer from its situation
on
no longer
Buddhist;
Iranian in
fact that,
more than half Afghan in race, language, and withal Musalman. It is a curious
according to Strabo,
at the
has become
Gandaritis
did not
form
at the
a part of India,
which
at that
said to
have ceded
it
by
historical
emperor
call
whom
formed part
latter's
on
up
i),
XII,
recommended
it
to his peo-
to animals.
From
him Gandhara was a frontier country, still to be evangelized. "We know, on the other hand, the zeal of this Constantine of Buddhism for the propagation of the
122
Mahdvamsa,
was
more than two hundred years to spread from Magadha as far as the frontiers of northern India, We see no reason for contesting the authenticity of a tradition in itself so probable.
Besides, whatever
tion of
may
Buddhism
into Gandhara,
specially
successful.
We
shall
which
country.
Some
on the scene. It was, they said, the Master in person, who had overcome the terrible Naga of the Swat river, and had limited the disastrous inundations, whence this aquatic
genius derives
years. In the
at
all
his subsistence, to
it
one
in every twelve
at Rajagriha,
same way
was no longer
but
one stage
Blessed
One
is
now
insati-
Thanks
to the
want of orthominds
doxy on the
dren
is
part of mothers,
when
A small quantity of
is
from
case, usually
still
infantile
epidemic
and
it is
was
able
to
of this
miracle.
However,
it
was
125
might
in
justly
as those
which,
At that time,
our Lord Jesus Christ was travelling in Brittany... For the purpose of localization in the country they preferred, it
seems, to
fall
we should say to-day, estabUshed a record perfections. The monks of several convents in the
for
in all
neighdivided
instance,
among themselves, by
monomaniac of
charity.
whom
Gandhara proper, or
one existence
soon
body
made
the
first
to
buy back
tigress,
dove
last to satisfy a
famished
and the
not
two
its
whose
practical utility, if
And
its
came
mages . It is not in any way an exaggeration to say that Gandhara thus became (after Magadha) as it were a second
pilgrims
there,
without
Ganges.
124
Only this local prosperity of Buddhism can explain to us the number and the richness of the ancient religious foundations
of the country.
plains
Some
on every
and
are used
by the
some
spur.
Among
the former
name
to
you
in particular those
still
with their
artistic spoils
enrich
museum which has lately been established in Peshawar, capital of the new North- West Frontier Province .
second
I
Among the
will
show you
as a
brated ruins of Takht-i-Bahai with their equally inexhaustible reserves (pi. XII, 2)
on the platform above the imposing the dismantled chapels where once were
;
You are
free
them
borrowed
from the colours, and even from the gold, with which in
former days care was taken to increase in the dazzled eyes
of the faithful their appearance of
life.
But, above
all,
you
walk
country you
literally
scarcely a corner
with the pick-axe will not bring to light some Buddhist basor statue. Evidently Hiuan-tsang was scarcely exag-
gerating,
when he
at a
numbers,
Gandhara.
you
now
anti-chamber
125
had embra-
ced with so
much
zeal.
The numerous
doctors
whom
it
more metaphysical and pietistic, which its adherents adorned with the name of Mahayana. But the important
racter
is
not so
much
its
donors.
It
was
all
probability,
took the
initiative
artists,
whom
And
his-
Ariana.
thus
they
Of the two
we
comprehend then already the second. It remains to explain the intervention of the first. But this is a story already familiar
to you,
and
it
will be sufficient if
I recall it
in a
few
words; or rather
and, as
it
should
like to give
you an
illustration
of the documents
or, if
you
mean
the coins.
In the
era.
We
too
much
forget that
was on
his part a
notable
folly
to
venture during
the hottest
of the
months of the year on the burning plains Pan jab; that he was soon forced to retire, and that
126
so
only
we
replace
the
snow by
results
tria,
Much more
fruitful of
was
kingdom of Bac-
on the confines of the north-west of India, about 250 B. C, in open revolt against the Seleucides. The beautiful coin of Alexander, son of PhiUp, which you see in pi. XIV, 2, was struck not by Alexander himself, but in imitation of his by king Agathokles, whose name and titles you read on
the reverse, encircling the image of Zeus. Everything in
this
medal
is still
purely Greek.
quers and
that helmet,
made from
latter
the
head of an elephant, as
were a
XIV,
2).
This
must, be-
An-
and made himself master of Bactria; so that, as Strabo tells us, there remained to Demetrios nothing more than his
Indian conquests, and he was henceforward
the
known under
name
I
of
This
is
a capital fact, to
which
could not
a century
your attention.
During
way
as
it
to say, a handful
itself,
became mastery
there,
and
You may
kingdom
was
127
beginning with soldiers of fortune and mountebanks, and passing by way of merchants to the artists who took
upon themselves, among other tasks, that of making the superb coins to which we are indebted for the survival of the classically sounding names and the energetic features
of those so-called
Basileis ,
rajahs.^^^
Of all
der (pi.
XIV,
he
is
known
to us not merely
A
of
curious apologetic
treatise, entitled
The Questions
Milinda and composed as a dialogue in the Platonic manner, brings before us in the town of Sagala on the
one
hand
Hellenism,
represented
by Menander,
the
Buddhism,
monk even
Athene continues
still
seem
in
any way
to care
how
little
his pre-
(between 150 and 100 B. C.) for planting the germ of the whole subsequent development of Greco-Budhis reign
by the creation of the Indo-Greek type of BuddhayWhat, iVfact, is that beautiful statue which I showed
dhist art
yoii just
now
?
(pi.
Eu-
ropean style
into
all
simple for
art, as
artists initiated
128
those magnificent medals, than to adopt for the representation of the Indian Saviour the
most
beardless
Olympians? Thus we
we were
is
analysing
which
it
a Hellenized
as
an Indianized
Apolloj/^
Thus must nave been created under the industrious fingers of some Graeculus of more or less mixed descent
and perhaps,
also,
of
who knows?
at
the
command
or an Eurasian convert to
Buddhism
of a Greek
earliest
the
we
are forced to
touch
upon
at last
it is
only,
must con-
makes
its
And
certainly his
cc
name
is still
acters
Boddo
Greek,
we
XIV,
2).
His
name
is
he
is
Kanishka, he
who was
after
emperor
whom M.
S.
either
just as the
Frank Clovis had no part in Gallo-Roman art, you may easily ima-
gine that the Turk Kanishka had no direct influence on that of Indo-Greek art; and, besides, we hold now the certain
art
not decadent.
All the Chinese Buddhist pilgrims
who
from the
IV"' to
129
Purushapura
the highest
pagoda
of the country
Now in the
course of
my journey
on the
Indo-Afghan
the
frontier,
numerous tumuli simple refuse of brick kilns or vestiges of ancient monuments which are scattered over
the
(pi.
its
flat
outskirts of Peshawar,
i),
thought
recognized in one
its
XIV,
by reason of its
site, its
form,
composition,
tions
not
which soon
the remains
mound, which, if in circumference it measured three hun-. dred metres, was not more than 4 or 3 metres above the
present ground surface, did not look very promising.
ever, when the Anglo-Indian
How-
government did at
last
reorgan-
and Spooner
was
at least
The
son
907-1 908, were most disappointing. Fortunately the English archaeologists were not discouraged in March 1909 they at last determined the dimensions of the base of
;
the sanctuary
us were deposited
is
there
by
so proud of
XV,
is
first,
that this
box does
130
name, and
perfectly legible
decadence
and this
in the
seated between
Hd.
back
at least a
before
and
our
One.
Ill
Thus, then, we
sions, that of
are
where and when, from the rencontre of the two inverse expanHellenism towards the east consequent upon
the political conquests of Alexander, and that of
Buddhism
all
ended. But
we have
as yet
accom-
its
entirety an elucidation.
We
La-
first
glance at the
Museum
at
image of Buddha
Gandhara.
tured.
It
is like a
was
its
itself
manufac-
the time of
composition the
:
among
defini-
which one
tely
emerged from the foundry? This we have still to analyse, at the risk of passing from one surprise to another.
131
What
in fact did
I tell
you? Here
is
a creation
which the
experience of centuries and the exploration of Asia have taught us to regard as one of the most widespread and the
it
And yet we
from the beginning the people must have felt the attractive charm of its ideal and serene beauty, it must at its first
appearance have been the object of just and
bitter criticisms
on the
even,
if
new
in
we
what
first
by the ambi-
repeating?
is
not we,
it is
tradition
which poses
:
for
dilemma
Either
in the
was
XI,2)?/This person
how
could one
monk, since his head is not shaven? If he were a bhikshu, he would not have retainif he were a cakravartin, he would not have ed his hair donned the monastic gown. A monk without tonsure or
maintain that he
is
a real Buddhist
'
from a king without jewels, decidedly these strange images, whichever side one approaches them, are frankly neither
flesh
artistic
point of view
we
have
already
132
Greek nor Indian from the iconographic point of view we must admit that they are neither cleric nor layman, but
still
elements.
we lean over the crucible in which the formula of this new compromise was elaborated, and try to reconstitute from the monuments themselves how things happenShall
(pi.
XV,
2)
the critical
moment when
crisis
he
is
vocation.
The moral
which has
him out of
by night
made him
flee
from
by
a
his native
town, must, in
fact,
be translated occularly
Now
we
read,
and we
see, that
back to his
rich turban
a
home
which
all
his
princely jewels,
including the
up
in
us,
his
clothes,
which
are
no longer
suitable to his
all
new
state, for
There
is
artists
all
the
with his
sword cut
but to this
last
exigency of Indian
its
consent.
Whether
it
the
height of his
in
all
ascetic macerations, or
whether
it
shows him
his
splendour, at the
moment when
was before
his
When
at last
he
133
there
is
crowns
life,
latter,
wear the
we may
One
clients.
your
leisure
The
sole
person, and
Buddha
gown. On the other hand, the only characteristic difference between the Master and the monks of his order lies in the privilege, which he alone enjoys, of retaining his hair.
At
(pi
Buddha
after the
mode
.
of Gamihara presents
I
itself
spontaneously to you
body of a monk, and surmount it with the head of a king (or what in India comes to the same
XVI,
thing, a god), after having
earrings.
first
stripped
it
of turban and
These
dients of this
two necessary and sufficing ingrecurious synthesis; and you divine immediately
are the
Were
it
and
this simple
monk would be almost inevitable consideration may help to explain why the
abstained
On the other
hand, were
'
134
it
puzzled
is
when
wear that
on the remote Japanese images. But join together the two elements, however incongruous, a layman's head on the body of a cleric and
moustache which you
find
:
this
combination will
at
ficiently
marked to answer
well.
Buddha
you doubtless consider that we have examined and dissected it more than sufficiently for to-day; and you
may
be,
conclusions which
we
might
even
at
this analysis,
however
superficial
and summary.
if
all, it
would be
chic,
sufficient to prove,
was
created
by strangers more
than
theologians,
I
moment of its
and
all
precise icono-
him been
lost; but
among
the
mount towards
his
superhuman and,
character.
tara)
At
we
could
whereby the
him from the beginning a physionomy, derived from, and at the same time
at
remaining
monk
and
135
from
with
Olympian
,
Great
Man
we except the detail of the distended lobe of the ears. And this would to some extent excuse the defect that many of these images are not exempt from some academic frigidity. Finally, we
no borrowing from
living reality,
if
which
later
gener-
We
how
mechanical a manner
has suddenly
caused to stand out on the top of the crown the boss called
ushnisha, a
what should I not have to tell you concerning the diffusion in India and the Far East of the idolatrous worship of Buddha, parallel to that of the images But reassure yourselves sufficient for each hour
this is
!
And
its
subject,
and
will
Moreover, as
easier than to
prefer, less
we remarked at the beginning, nothing is or, if you see how much better preserved
deformed
at all
times and in
all
places
I
was
shall
One
on
of upper
and lower Asia by this irresistible propagator of the IndoGreek school of Gandhara. But you would not forgive me,
if I
did not
show
two
in conclusion
how
this
Buddhist school
art.
finds itself
by its origins
in contact with
our Christian
XVI, 2); the one represents /Christ, and the other Buddha. The one was taken from a sarcophagus from Asia Minor, and is to-day to be found in
A.ook
at these
statues (pi.
comes from
and
is at
136
arm
dants of a
common
Greek statue of
the Lateran
Museum,
which we have
that,
is
long recognized
a Sophocles. It is
not to be doubted
cousins-german.
is
The one
Greco-Buddhist
Buddha. Both
are,
by the same
will, doubtless,
seem
to
you
us
proved that
this figure of
at
exotic, nevertheless
came
originally
from
mean the conclusion arising from the documents at present known and such, at the point at which archaeoI
logical researches
to-morrow. Must
facts,
we
the
Facts are
to take
them
as they
come.
It
was
recently
custom to triumph
artistic
accepting
ready
made from
tion of their
tic bias
or to nationalist rancour,
the fashion to
make
for
its
manifest superiority by
blackening of
its
noblest production.
We
new
make.
It
;
is
who
has formed
the child
it is
The
Indian
mind
a case
It is
where the East and the West could have done nothing
137
would be
when
so
'
U o
.
(U
U w u
2
wi
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"s
a
s>-t:
O
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3 B
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t
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5 S
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(U
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!
1)
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13
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PL. XI
ID
w
CO ID
o
<
w X
<:
p Q
ID
-'V
PLATE
XII
124.
I.
An
Sur
Tour du monde, Nov. 1899, p. 543) executed from the author's photographs. On the left, beyond the ploughed land, is seen the village of Shihbiz-Garhi. In the background rises the hill of Mekha-Sandha, once sanctified by the legend of prince Vi^vantara (cf. ibid., p. 55 ; Notes sur la giogrdphie ancienne du GanHachette
1901,
fig.
11
cf.
dhdra, in 5. . F. E.-O.,
I,
1901, pp. 347-59; and above, p. 123). rugged hill-side, on which is still to be
(cf. p.
121).
at
Ph. Vogel
(cf. p.
we
the
monastery
little
of the
range of
same
ibid
,
site
cf.
Sur
du monde,
p.
Gandh
figg.
PL, XII
1.
PLATE
Cf. p.
XIII
124.
I.
AnengTzvinghorro-wedfvomSur
;
lafrontiireindo-afghane,
fig.
15
(or Tour du monde, Nov. 1899, p. 544) after a photograph taken by the author. The eminence, increased in height by the slow accumulation of the dust of the past, is still surrounded by a magnificent wall, now buried in the earth. The people of the country continue to maintain a
hill
of Takht-i-Bahai, situated
124).
II.
J.
Spooner
ical
in one of the neighbouring tumuli of Sahri-Bahlol(cf. p. 124). These excavations have been described by their author in the Archxolog-
explorations of the
the Euxuf^^ai
Survey of India, Annual Report, i^o6'j, pp. 102 -118. For previous Bellew, General Report on same district see H.
W.
G.tielteer,
Peshawar District
for the
more modern
researches (1912) of
Aurel Stein see, on the other iund, Annual Report of the Archseolog ical Survey of India, Frontier Circle, 1911-12 (Peshawar, 1912, with
map).
PL. XIII
2.
PLATE XIV
Cf. pp. 126-129.
(or
lus
Tour du Monde, nov. 1899, p. 556). The identification of this tumu Pagoda of Kanishka (cf. above, p. 129) was first devella geographie ancienne
du Gandhdra
{B. . F.
.-0., I, 1901, pp. 329-333, with maps). Of the excavations by which it was verified an account has been given by Dr. D. B. Spooner in Archxological Survey of India,
Annual
II.
Indian Coins in
Kings of Bactria and India, by Percy Gardner (London, 1886), pll. IV, I II, 9 XI, 7 XXVI, 8 a. Head of Alexander, son of Phihp ,
;
;
wearing a
on
and on
126).
b.
Head of
king, wearing a
diadem and
King Demetrios , inscribed on left hand the club and the lion's skin and with the right hand crowning himself with an ivyDiademed head of the Saviour King wreath (cf. p. 126). c. Menander on the reverse, Pallas Athene, bearing the aegis and hurling the thunderbolt round her the same inscription, but this time in the Indian alphabet and language of the north-west (cf. p. 127). d. Full-length portrait of the Shah of Shahs, Kanishka the Kushan ;
head; on the reverse, mention of
spear in the
a standing
left
on the
reverse,
nimbus
(cf. p.
128).
PL^
XIV
1.
PLATE XV
Cf. pp. 129-132.
1)
-O
Si
U
-^
4-t
J3
CO
o, OS
I
u 'O u G _D
rt
"^ Ji
3
c75
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<u
a '^ V o -^ U V o s -^
Jl
O.
4-.
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a> tn <U
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'^
^ ^
00
113
n
J3
to
OS O- _
M
1)
O
3
'"
u 3 3 J. o
J2
Ji
rt
ill
DC .2
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o
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p
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in
r-<
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^o
PL XV
PLATE XVI
Cf. pp.
133-136.
I.
The
Buddha
are
borrowed from
;
a frieze in the
ih.tofthe
museum of the Louvre (cf Art g.-b.du Gandh., fig. 134) monk from a bas-relief in the British Museum. For the
cf.
pp. 133-134.
II.
The image
of Christ
is
;
it
has
from the rest of the sarcophagus. In contrast the image of Buddha (no. 527 of the Lahore
0,60)
is
left
noticeably squat.
The
gesture of the
and
Buddha of this same plate XVI, i, of the seven which are ranged on the base of plate
again in the
XXVI,
museum may
P.IIDDHA
TYPE
PL XVI
^^M
1.
*^#*?)'"5 l^ifWWWfB
2.
The Tutelary
in
Pair
(')
Gaul and
in India
When
busies
de la Gaule
romaine of
figure
M. Esp^randieu, we see again and again a usually entitled Abundance or Goddess Mois
ther
better con-
Fortune,
it
shows
itself
from time
to time in Aquitaine
;
then multi-
where we have
:
counted
no
less
the se-
us whether
it
enjoyed the
type, very
left
same favour
a horn
most usual
hand
3225 (Langres) we see moreover on either side of the goddess two little genii, one of whom dips into a purse placed between her
sisters,
feet . If it is
is
it is
one of her
who
elsewhere
arms, like aMadonna(nos. 1326-1334, Saintes), orwith a sack on her knees, from which drop coins (no. 1367,
Ruffec). At times fruits are also placed actually
on the
lap
Mont Auxois
3237, Langres).
II,
pp. 341-9'
140
IN
GAUL AND
IN INDIA
by a goblet of the special form called an o//a (nos. 1161, Puy-de-D6me; 21 12, Beaune). These last attributes seem to be only borrowings from another Gallic divinity, or rather two
Bourges),
the
more debased
pieces,
and likewise of frequent occurence. Their usual attributes are the olla and the purse, often difficuh to distinguish from one another but local and barbarous variants represent them as holding Hkewise
others
who
are masculine
money
(no. 1555,
full
Chalon-sur-Saone).
One of the
it
types
is
bearded
like Jupiter,
whose long
of a mallet.
sonality
sceptre
replaces, as
we know, by
the handle
his perrela-
The
other, beardless,
tionship
Abundance is certain for a proof we require only the numerous groups in which they appear in company, standing on the same stele or seated side by side on the same seat. Some represent the god without a beard, and indicate clearly from the wings on his feet up to the peta-
his assimilation to
;
Mercury (nos. 1800, Fleurieu-sur-Saone 1836, Autun), or give him the appearance of a local Mars (no. 1832,
Autun). The majority resort to the model of the bearded
god with
Dijon
etc.).
mark of
office,
the
as to his
same
olla
(no. 21 18,
is
we will
IN
GAUL AND
IN INDIA
141
two
No
take
more closely to identify Gallo-Roman divinities or even to distinguish very carefully between them but perhaps he may be allowed to point out the existence, on the oppo;
site
known
fectly
XVIII,
and
2).
As
in
was
it.
Gandhara no
vogue than
in
Lyonnaise but
;
there
we possess more precise information concerning The Buddhist community showed itself more receppopular superstitions than the Christian clergy.
its
tive to
It
assigned a place in
its
fairly
low
extraction, created
middle
classes,
the
man
it
gnate
is
him
as their general
by
a lance.
These Yakshas of
our
how
etc. It
gods are again found in the company of the same goddess on the triades of nos. 21 31 (Autnn) and 2357 (Asile-Sainte-Reine). (2) Cf. Dr. J. Ph. VoGEL, Note sur une statue du Gandhara, in B. E. F.
E.-O.,
Ill,
1903.
142
IN
GAUL AND
IN INDIA in
which he holds
even
if
would
sufficiently prove,
we were
from
riches.
was undergoing a parallel evolution, and from an ogress was becoming a matron. Originally she personified some terrible infantile epidemic; and, although herself a mother of five hundred little
liberal geniu"^, his wife Hariti
elves, she
in
the children of
art,
men; but
is
when
she
she
suppos-
to accord to the
vows of the
faithful a
numerous
progeny.
If
we
myth
into Greco-
Roman
Most
called
terms. Lamia
is
often she
represented as holding
on her knees, or
Buddhist Madonna
Q,
whilst
numbers of
Italian
The
XVIII,
traditional
man-
They
forget only
one point,
that according to Indian ideas a horn or any other remnant of a dead animal (except the black antilope) is an unclean thing, and that only people of the currier caste,
namely
who
by such refinements of
from
mind
ideas of fer-
THE TUTELARY
tile
PAIR IN
GAUL AND
IN INDIA
143
is, indeed, how the Indo-Greek sculptors understood it, and the mere choice of this symbol would be sufficient to prove that
they were more Greek than Indian but the meaning of these abridged versions remains evidently the same as that of the more ornate repHcas, which encumber with urchins
:
same persons (cf. pi. XLVIII, i). The mere sight of the god leaning lovingly on the arm or the shoulder of his companion, and the latter not fearing to caress his knee in
public, leaves us in
no doubt
and
dis-
who grants
must
posterity.
We
same ney
itself
answer to the
eternal desires of
humanity
mo-
civilization
seems to detach
from the one to the advantage of the other. As far as the god is concerned, whether it be a question of the Gallic Mercury, who, we are told by Caesar, controlled the
gains of commercial transactions, or of that Dis Pater,
who
seems
in all
languages an
emblem
and
by whatever
fecundity. According to
was more particularly destined to fulfil the aspirations of the men, her task was to satisfy those of the women and thus in Gaul, as in India, both sexes must have found satis;
faction in the
ficient or four
worship of
it is
suf-
be incontestable.
What
chiefly interests us
is
the analogy
144
IN
GAUL AND
IN INDIA
artists
of
such
in
retains the
the place
goddess
ac-
that being
left,
The
of the persons in
pi.
XVII,
lacking in
pi.
XVIII, landa;
but
pi.
it
exists
on other
pi.
group of
likewise.
i,
The
scaly decoration
XVIII,
made of
The double
on
pi.
their
four
feet,
perfectly familiar to
our western
local diflFerences,
If
what
re-
we
gings and the large earrings of the Indian genius, his cos-
tume
is
not so very
different
Art greco-houddhique du Ganis that two Gallo-Roman groups, to be classed among those which have best retained the accent of their birthplace, also place the goddess on the left of the god; they are nos. 1 3 19 (Saintes) in which the god with the purse is crouched down a I'indienne near the goddess with the horn of abundance, who is seated
(i) For other conjugal pairs thus placed
cf.
in the
European manner, and 2334 (Auxois). We may ask ourselves if the custom of the Gauls was not the same as that of the Indians on this point, exactly as we know that it was the common custom of the two nations to
count past time by nights and not by days,
etc,
IN
GAUL AND
IN INDIA
145
To
a
enough
god of
form of
pi.
mace
(pi.
XVIII,
i).
As
2, he, we are told, holds in his left hand a lance, and in the other an object scarcely recognizable, perhaps
XVII,
a purse
ing person in
XVIII,
2.
least,
the
women
have the same pose, the same attributes, the same draperies, even the same headdress in the form of a (c bushell ,
or
basket
asserts itself,
and there would be no exaggeration in saying that, from the banks of the Indus to those of the Seine, it would have
cheated even the eyes of the donors.
Such
is
it
for certainly
no one
between
Gaul and
the goddess
concerned,
is
memory of instructed
figures
:
readers
by a number of intermediary
at
need
it
We shall
prudent generalities and confining ourselves to the introduction of our Indian repHcas into the discussion.
If it
were
new
It
fact,
and
propose
is
it is
features in
common
may
146
IN
GAUL AND
IN INDIA
employment of the same grammar, verbal or decorative: and in this particular case no speciaHst could turn over the leaves of M. Esp^randieu's
collection without noticing, in support of the cousinship
nothing
is
more
the
public than
lary, especially if it is a
common
significant
word. This
believed
is
just
the kind
of contribution
that
we
we
same
same
religious
which,
human
nature.
Such
contemporaneous
and spoke from one end of the ancient world to the other the same common language, the same artistic koin^ .
PLATE XVII
Cf. pp. 141-145.
j-^ -a _^ -a ,-lh O ;S
_ri
^
i
u o ^ r; ^ -^ rt J <, ^ C
J3
to
"J
n-T
.S3
-G
.ii
^
>> (f
ro oo
"
^ g "^
,-
bb
g
Vj
"5 T3
"^
-!!
U "
t3
I| g^ S^ 5 '^ n
"'
g
4-*
<-w
P 60 U
J3
2 3
-T3
-i
e o
-G
53
H
-a
n. ao
-G
tJ
2 a ^
60
"^ Ut a; r<
'^
rt
"13
J3 .S
O
5,^
(u
nl
G
1)
(-t
-G
4-*
?
S>
O - "3 o O u O
Q-^_.
u S "^ tr r^ G
'^
"^
5
-^ t;
o a
l-
73
. to to 4)
o
'^
<u
JG *-
a o ^
'u
(JO
en 4j
_2 ex
-"
o
-
.
.
t:
J "/S
*-
--^
_s jj
"
fe
^
"" _.
CU
Vw
a> OJ T3 -^ rt -G -G T3 -^ "
OJ
w O
>5
tio
^
<u 1)
g 00 :s
CO
C ^ ^ G -s U ^ -a
-"
-G '^ :5
b
rt
_ 3
-S - <u - 13 -S -G
c/3
rt
"^
:2:
Oi
is
^"
c .y tn
i2-g
1/^
5;!^ M s
-Tj
S
^ -3
^^ugHuU-C O
EI^
S,
D JJ^=^-G
.
^
W
6i0
'"
G
3
13 -S
rt <u Ui -=>
4-
u G g
CX
1) rt
c J2
C1--G
-ri
_G -G
.ti
j_j
'*^ G 2 ^ ^
'
>
^
V
O
ft!
~
"^
<
is
<!
t^
"s
CO (U
-3
"? rt
>-
a. 60
i^
.-I
O uj ^M _o -G a O O ^ p wh a ^ o o S O -K
2."
rt
i-
M TS -G
o c
_0 .y _G
(-t-i
O^ ^
G
cL)
-^
^ ~
K J3
" .S
n V G
-G
a o
a
8
"5
-c -S -G -5
^
Ji
r^
>.
O
1^
~^
*-(
60 -G o .y
I'
CA
^
-
JS -G
.2?
'a
ti
-a
>-.
'S
H g
-G *-i
'^
bO .^
VI
<j V)
P a
<u
*-
*-!
E .P -G W
.^
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rt
rt
G S
l-H
rt
C n O
PL. XVII
PLATE
XVIII
>
a.
J W O
00 rj 00 "S
(U
--5
c/1
1> ^-
*-
^-
^ a
">
m
>"
>
'S.
'T3
S O
>-,
H
n
.ap at
i)
3 O ^
'
I-
-^ -n
rt
Soty
0/3
(U
2 =
03
i!
t/1
o
>-.
i
*-'
Ui rt
*^
C ^
<U
CD
,
> .B 3 .-tS
'o
^
_c
U O
-a
^
3
iii
1)
W3
^
^
B 3
3 a
< s-2 B 00
o
'.5
O S
PL. XVIII
<
<;
X Q
<
>"^'4)
/i
--^
..A
at
Qravasti (0.
The
that after
his ashes,
and that they deposited their several portions under as many stupas. We see no reason for disbelieving tradition on this
point
first
:
is
not
the
at
historical eight
grand
caityas (").
We
know, indeed,
towns
among
themselves, not
supposed
they formed as
many
of
whom
It
still
survive
in India
appreciable source of
definite choice
income.
proved
1894,
at
once
in
Une
no lack of opportunity for these confusions we find poesie hconnue du roi Harsa QilMUya, restored from
S,
Chinese transcription by M.
I,
p. 188,
Hymn
,
to
Caityas
which enumerates
more. The
eight reliquaries
of stanza 5,
-\-
urn
and the
ashes
VL
62,
do with the
12
148
and hesitations. At
first
from the
an undisputed recognition.
Mahdparinibbdnasutta, already
and the Death, of Buddha (') On the square bases of the little stupas of Gandhara and the stelae of
First Preaching,
IV)
only
we must draw
Kapilavastu
is
latter case
abandonment of home Q) However, neither the cities of Gaya and Benares, nor certainly the obscure frontier market towns of Kapilavastu and Kucinagara could pretend to monopolize
his birth into the spiritual
.
we mean his
Through
Jati,
Cowell
1.
18.
For the
fig.
stupas of the
north-west,
cf.
Art greco-bouddhique du
J.
Gandhara,
Stupas of Amaravati and Jaggayyapeta, pll. XVI, 4; XLI, 6 (with the departure on horseback; cf.
Serpent-Worship, pi.
to
XXXII, 4; XXXVIII,
J.
LXXV
on the
right),
and
pi.
XVI,
Chandaka;
cf.
Fergdsson,
ibid., pi.
LXXV,
is
to the left).
On
all
those
stelse
which
constantly symbolized by a
may connect
XLV, 2 and 4; XLVI, XCIII; XCIV, i, 4). The 1-3 3 most curious of this kind are those which shrink from representing not only the Buddha, but even the Bodhisattva, and wherein the Mahdbhinishkramana is no longer represented, except by a horse without a rider (Fergdsson,
pll.
XXXVIII,
and 6
XLVII,
XLVIII,
Fergdsson,
ibid., pll.
ibid., pll.
XCIII, to the
left
XCVI,
is
and XCVIII,
2). It will
be observed
67, 2 and
.besides that
on several
stein;
pi.
same
framework.
THElGREAT MIRACLE
the documents
149
we seem to
two domi-
nant forces which brought the number of the great pilgrimages up to the sacred figure of eight. Sometimes the pre-
ponderant element seems to be the prestige which a certain miracle had very early acquired in the popular imagination.
Thus we
from heaven
separate itself
;
but
its
we
keep to
(*).
On
ofMagadha, Rajagriha, and the wealthy free town of Vaifali easily, by reason of their preeminent role in the Buddhist scriptures eclipsed the
,
there
is,
among
pass
it
all
was
more
particularly to
interest
is at
come to commemorate. At
once concentrated
Cravasti even,
where the
unanimdoes not fall, as might have been expected, on a great miracle , the triumph whereby its immediate the environs had been rendered famous Q. In the face of the
the Master's favourite sojourn,
ity of choice
(i)
at at
It is
known
and Fa-hien
(cf. S.
Levi^
loc. cit.,
p.
190)
Kanyikubja; the Mahdvyutpatti ( 193) and Wou-k'ong (trans. S. Levi and Ed. Chavannes, Journal A siatique, sept-oct. 1895, p. 358) do not give
definitely the place of this
Descent
of Buddha.
in the Jetavana of ^ravasti (the
(2)
The Mahdprdtihdrya
somewhat
is
placed,
incorrectly,
by Fa-t'ien
Divydvaddna [pp. 151 and 155, 11. 12-14 and 17-18] specifies, in fact, that the theatre of the scene was situated between the town and the park) but
;
Wou-k'ong
Mahdpmjmpd-
same way, at Rijagriha, in direct antithesis to the vague he places the preaching of the Saddharmapundarika on the neighbouring hill of the Gridhrakuta. At Vai^ili both agree to call by different names the touching episode of the rejection of life {dyur or dyuhsamskdra-utsarjana), which supervened three months before the Parinirvdna. But we shall see that, guided by considerations of a pictorial and technical
ramitd-sutra. In the
teachings of Fa-t'ien,
ijo
monuments
us to make out the list, and to sketch the traditional scheme, of the four supplementary great scenes, the miracle of Qrathe descent from heaven at Sankacya, the monkey's oifering at Vai^ali, the subjugation of the savage elephant
vasti,
at
RajagrihaQ.
It is true that, in
scheme,
we have
in Nepalese
and Bengali manuscripts of rather late date (Xl"'-XIir'' centuries). At the most we had been able to compare with them only a few carved slabs, which came
we may
be permitted, thereat
fore, to
the
same
scenes (pi. XIX, i). Let us say at once that seven of these
bas-reUefs only confirm what
jects
we
already
knew
of the sub-
which they represent and the conventional manner of treating them. Besides, Mr. J. H. Marshall has completely
identified
them.
He
which the identification )), he says, doubtful, but which appears to have taken place at ^ra of
))
vasti
Q. And
it is,
in
fact,
the traditional
accoums a quite
ibid., II
We
/. R. A. S. 1907, pp. 999-1000, and take pleasure in here thanking the very distinguished Direc-
151
manner of representing the Great miracle of gravasti that this new document will furnish us with useful evidence.
II
The
as
vasti is incontestable.
The Divydvaddna
which every
gives
it
expressly
acts of
perfect
(').
Buddha must
It is
likewise
that
is
to say, as
MM.
S.
to
we
of the
most ancient and most detailed account miracles whereby on this occasion Qakyamuni
find the
his rivals, the six chiefs of sects.
is
triumphed over
Thanks
too well
known
We
shall restrict
ourselves to
few minor miracles, which were mere preliminary and refusing to allow anyone,
trifles,
monk
in
or layman,
man
or
stele
its
(i) Divydvaddna, pp, 150 151 no Buddha of the past has failed in it ibid., p. 147, 11. 24-27); according to the Tibetan testimonies the Buddha of our
;
age accomplished
the
it
(Rockhill, Life of
79). (2) Divydddna, XII and Bdrnouf, Introduction a I'hist. du Bouddh. indien, pp. 162 sqq. The XIII" story of the Avaddnakalpalatd, deplorably edited
Buddha,
p.
indeed in the Bibl. Indica, V, 1895 (see, below, p. 174, n. 5), adds, in accordance "with the usual custom of Kshemendra, nothing but poetic graces
RoCKmL(^Life of the Buddha, pp. 79-80, following the Dulva) and Schiefner
Qdkyamuni's, p. 293) restrict themselves to a reference to BuRNOUF. For the connections of these various authors with the
(^Eine tihet. Lebensbeschr
.
Prof. S. Levi, Journal Asiatique, July-August 1908, pp. 102 and 104.
152
woman,
Tirthyas
by the exhibition of
a supernatural
power, the
Blessed
One
At
two kinds of
is
which consists
in
walking the
and waves from the upper and lower parts of his body
the second place, multiplying images
in
of himself up to
heaven and
in all directions,
A violent
convert-
An immense multitude
is
now after the Sanskrit version we consult the Pali tradition, we find that the mahd-prddhdrya of ^ravasti is there
If
for
example, give
latter, as also
mese
(') accounts,
Buddha
by accoma
endeavouring to imitate
is
mango
and
covered
But then
this is
even a curtain-raiser.
divinities assemble,
When
(i) Cf. Mahavamsa, ed. Turnodr, pp. 107, 181, 191 ; ed. Geiger, pp. 137, 241, 2S4; Jdtaka, ed. Fausb0ll, I, p. 77, 1. 23 88, 1. 20, etc.; ambamule, or gandamba-mtile, is written ; Ganda has become in the commentary of the
;
Gandamba in Sp. Hardy (Manual of Buddhism, i^' ed. name of the gardener who suppHed the mango see also
:
153
The Master, having accomplished the yamaka-pdtibdnya, and having recognized the believing dispositions of a great number of people, redes-
taught the law ('). analyse this brief r^sum^ of the scene, it is not difficult to recognize in it, exactly as in the overelaborate version
seat,
we
of the Divydvaddna, the distinct and successive enunciation of the same two moments, that of the pair of miracles
Of these two
diately as the
manifestations the
original
that
first strikes
one imme:
more
must have
thrust itself
on
whose duty it was to decorate the Buddhist monuments with edifying scenes, or to compose pious ex-votos for the use of the laity. As a matter of fact,
we have found
Gandhara
at least
;
one indubitable representation of the twin miracles and even at the present moment the special attribution of
this bas-relief to the mahd-prdtihdrya of ^ravasti
seems to
us not in the
least untenable,
on the
we
mark well
its
it
11,
13-14
3) of
seems to us to be a
lapsus calami,
going directly against the meaning. It will be noticed that the Pali, like the Mah&vastu, makes use of the technical term oi yamaka-p; Bigandet, be. cH., p. 207, gives us a very clear description of it (perhaps even two descriptions,
cf.
below,
p.
157);
it
is
through the
tejo
and
apokasina-samdpatti o( Sp.
Hardy, he.
p.
297.
(2) See Art g.-b. du Gandh., pp. 516 and 535, and fig. 26^(=:Anc.Mon. where we give the reasons which led us us to prefer this
one of
154
we may
judge from
image of the
regularly
great miracle
at least,
they represent
it
side
upon as many lotuses ('). Now the stele recently exhumed from the ground of the ancient Mrigadava testifies, five or six centuries earlier, to this same manner of conceiving
the subject
:
we know beforehand
shows
us,
This
the
new
fact supplied
by
this discovery,
and
it
we must
can sucartists. If
it
we
i),
we
XIX,
seems
that
we may immediately
standing posture
legitimate
in the alternation
sitting
ment
new
stele
(i) See Icon, houddh. de VInde, I, pi. X, i (cf. Bendall, Catalogue of the Buddhist Sanskrit Manuscripts in the University Library, Cambridge, 1883, pi. II, i), and cf. ibid. p. 205, no. 82, and II, pp. 114, no. 4.
155
us remember, that
(cf.
we
complete
First Preaching
Parinirvdna
Buddha seated
Descent
from Heaven
Miracle of Qrdvasti
Buddha standing
Buddha seated
r J
Buddha seated
Buddha standing
Nativity
Perfect enlightenment
Maya standing
Buddha seated
It
is
scarcely necessary to
is
remark that
this reason,
valid
The
bearing.
does not, in
fact,
The
general introducas
makes
it
to be
wrought by Buddha
early as the eighth day after the Bodhi, and specifies that
he repeated
time of his
his father
it
at the
visit to
and
time of
his
monk
Patikaputta,
and
The
(3) at ^ravasti, at the foot of the mango-tree ('). Divydvaddna attributes it further to a simple monk
the Mahdvastu to Yacoda or Ya^ as, the converted son of the banker of Benares; the Sutrdlahkdra to the five hun-
the Jdtaka-
Davids, Buddhist Birth Stories, pp. 77 and 88; trans. Rhys of the three other occasions cf. MaMws/w, III, pp. 105 and 123; on the first second the Manual of Sp. Hardy, p. 33Ip, 115, and on the
(i) Jdtaka,
I,
156
mdU
One,
finally, the
Mahavamsa twice
yamaka-
places
etc. (').
We
prdtihdrya has
classic.
become hackneyed
after
consequence of being
it,
Moreover when,
seats
having accomplished
Bud-
moment
is
Tathagata
common to all the disciples of the Q. Hence it may be conceived that artists and
to
wonder anything
and preferred
:
is
realizable
only by
the special
Finally,
power of the Buddha and the gods Q. must conceal nothing, we seem if we
to
to
all,
been
at
We
must be understood
(i) Divydvaddna, p. 378 ; Mahdvastu, III, p. 410; Sutrdlankdra, trans, Ed. Hdber, p. 399; Jdtakamdld, IV, 20 ; Mahdvamsa, pp. 107 and 191 (Tdrno0r), 137 and 254 (Geiger).
1.
13
sarvafrdvaka-sddhdrana.
The
text of the
conamentary of Jdtaka, n 483, IV, p. 265, 11. 12-13 Asddhdranam sdvakehiyamaka-p", which seems to mean the contrary, becomes in consequence
most suspicious,
at least if the two texts are speaking of the same miracle. Divydvaddna, p. 162, ad fin. The power of holding a dialogue with a (3) magic double is likewise stated a little further (on p. 166, 1. 11) as a privi-
157
combined
fire
alternation of the
:
of water and
but
it
1880 Prof. Rhys Davids understood it to mean making another appearance like unto himself In the Burmese
.
Buddha
does, indeed,
begin by making flames or streams gush forth alternately from the upper and lower parts of his body but very soon
:
he hastens to create a companion for his conversation and his walks, and sometimes it is his turn, and sometimes that of his double, to walk or to sit down, to question or to reply.
It
is
vaddna also makes the magically multiplied images of the Blessed One assume varied attitudes, and whilst some
repeat afresh the marvels of water and
fire,
others either
them
. It
even goes so
Buddha and another self, created expressly for this purpose Q. Thus it manifests at least a certain propensity to amalgamate the two successive moments which it at first endeavoured to distinguish, and
chapter, a dialogue between
is
not
all.
same
p. 207.
11.
11.
3-1
cf.
the description
of plate XXI, 2.
(3) The same confusion seems to be reproduced with regard to the miracles attributed to the monk Panthaka as regards these last I am indebted to the
;
Divydvaddna,
p.
494; Anguttara-Nikdya,
p.
I,
14
114
7),
Mahi^^sakas
(c,
158
Now
:
he no longer
o!
And when,
at Qravasti
by the Blessed
array of
Buddhas which
mounted up to the heaven of the Akanishtha gods, at that time I was there, and I saw these sports of Buddha (') . Here it is no longer a question of anything but the second
miracle. Finally,
we
latter,
reduced to
its
in the Buddhacarita of
Agvaghosha,
whose descriptions
translation
monu-
we
made by
Buddha
restricts
himself
In this version
it
by
to press further
the mahd-prdtihdrya
:
His
and
his
the light
Ill
may
first
somewhat
Burnodf, Introd., p. 398) it will be noticed same terms as are employed on two occasions the previously quoted suira (Divyavaddm, p. 162, 11. 16 and 26).
(cf.
:
P. 401,
1.
to St.
Matthew
XVII,
2.
159
as
we
said above,
no
room
panel, no.
of plate XIX,
On
a lotus,
waves
rolled
hands are joined in the gesture of instruction; on his right and left, again, there rises padjna with long stalk,
a.
a.
bearing another smaller Buddha, similar in all respects to the first... Now it is written in the Divydvaddm that at
that
moment namely, at a second invitation from Prasenajit and when the first series of miracles was already accomplished Buddha conceived a mundane thought
it
Brahma
left,
while the
two Naga
kings,
wonderful lotus,
seats himself.
Nanda and Upananda, create entire a on the corolla of which the Blessed One
the
force
Then by
above
this lotus
Buddha was
and thus in
hold-
heavens (*).
The
:
bas-relief,
unable to juggle,
but by
now there
is
for us
no question
that
we must
however
is
know that the heaven of the Akanishthas (1) Cf. Divyavaddna, p. 162. the highest heaven of the Riipadhdtu, at the 2y^ story of the Buddhist
We
paradises.
We
remember
,
Nanda
play a part in a
number of episodes
Buddha,
beginning with the bath which followed the nativity. We shall find information concerning them extracted by M. Ed. Huber from the Vinaya of the
Mula-Sarvistividins in the B. . F. E.-O., VI, 1906, pp. 8 sqq.
i6o
With
as that
abridged version
we may
connect
immefrom
diately other
more developed
totally covers
example,
which
('),
another
stele originating
Sarnath
less 2),
than four
On seeing
we might
Thus we
One
been
combines
on the
right, in
of the Calcutta
Museum (Anderson,
4; Anc. Mon. India, pi. 68, i), the left upper division of which unfortunately broken) represents similarly the great miracle of
Qlravasti
It
opposite 10 the
descent from heaven (cf. below, p. 164, n. i). on two other stelae of the same origin {Anc. Mon. and 68, 2 Art g.-b. du Gandh., fig. 209, and Iconog. bouddh.
:
de rinde,
I,
fig.
same
miracle decorate the borders of the stone and enclose the scene.
(2) See Griffiths, The Paintings oj Ajanta, pi.
XV
(cf.
and X,
ibid., pi.
IV and
pl.
on the Bauddha Rock Temples of Ajantd, p. 17 ; the paintings of this cave are usually attributed to the W'^ century. in Cave II the walls of the ante-
Buddha,
coun-
make
:
M.
Griffiths
m. 20 high and covering a surface of he has reproduced some of them, pl. XXIV (cf. p. 28,
p. 35,
cit.,
XVIII ad
fin.).
thousand Buddhas
Arbeiten in Idikut-
pl.
XXX
and a
i6i
it forms a pendant to another of the eight great scenes, the Perfect Illumination , symbolized on the left wall by the Mdradharsham. The high rehefs of plate XX merely
reproduce
it
stone
failed to
fill
and buds of pink lotuses, of the same kind even as those which bear his superposed rows of Buddhas ('). Only
will be observed that the
figure, at the
it
stem of the
bottom,
is
kneeHng
their
ndgardjas, both
pent heads. As
we have
names immediately occur to our minds they are Nandaand Upananda. Thus we find ourselves in possession
of an explanation satisfactory
positions.
of the com-
We have not,
as
was thought,
do with simple
we must here recognize representations on a vast scale, by reason of the space which the artist had at his disposal, of the great
indeed, if one reflects only orthodox method of explaining the simultaneous presence of several Buddhas in the same picis
upon
the
ture,
when an
(i) All the necessary particulars concerning this sculpture are given opposite to plate
XX.
XXXVII,
found a drawing of the opposite wall of the same vestibule of the sanctuary, with its eight rows of Buddhas, seven of
2
(cf.
ibid., p.
52), will be
worth while
to observe that
nowhere, either
in these represen-
we found any
see rays
trace of an attempt
an
artistic realization
?
yin-yuen king
Never, in particular, do
we
the navel
is
i62
more than
It
one
at
follows that
we must
we
find ourselves in
:
not, certainly,
where they
are
isolated in
same action
discover a
(*). If
from
this point of
view we examine
shall
we
not
fail
to
whole
series of replicas,
somewhat
most
less prolix,
but
not
less
Here we
typical of these
variants. It
seems that we
shall
On
left
adytum
a
ot cave
II],
a large
Buddha has
seated
and
Bodhisattva on his
left
is
we must
reckon
Secondly,
pi.
we must
i) of the
not forget
the relatively
:
(cf.
XXVI,
,
but
we
that there
may be
rows
a close connection
between
this
grand
miracle
latter the
i
Buddhas prefer to
affect the
number
7 in
161, n.
and
p. 163), or
tions of the a
seven Buddhas
is
are
mahd-prdtihdrya (as
in contrast to pi.
late
XCI of Griffiths,
fairly
LXI). Finally,
we do
period there
but
it
is
our opinion
must be sought
where
its
it
necessary to
make
and say;
:
sattvas
a
but that can be decided only on the spot. Let us remark also that mango-tree cannot be a Bodhi-druma. The letters E-F mark the place of
this panel
II,
pi.
XX.
Wmust
163
is
below a
little
On
each
Below
borrow
it
these,
on each
side,
were two
pairs
this description
would not be
miracle
same
subject
which
in
Cave XVII,
the descent
on the
a pendant to the
no
;
less
famous miracle of
<c
from heaven
tional detail
(')
and
very
much damaged,
:
The
right
, says
Dr. Burgess
(^),
is
Buddhas
right side
destroyed, except
at the
The
portion remaining
bara
Jaina
helping
forward
pichi,
an
a
old
fat
one,
besom
to
sweep
and
away
insects, etc.
Most of them
are shaven-headed
stark naked.
One
or two,
On the
By now
extreme
left are
not
difficult for
us to recognize
exactly
as
is
approximately dated
.
by an inscription painted
in the
there represented in three stages, as on the pillar ot Barhut (Cunningh/m. Stupa of Barhut, pi. XVII) : at the top is seen the Descent from Preaching to the Trayastrira^a Gods , in the middle the
The DevAvtt&ra
is
Heaven , at the bottom the' Questions to ^anputra two episodes are represented on Ghiffiths' plate LIV Cave XVII cf. his plate LIII. (2) Loc. cit., p. 69, XXXIII,
.
;
Only these
the
last
for
plan of
13
64
on
of India (')
at
the
an indication ofthe royal presence of Prasenajit, to the right the demoralized troop of Tirthyas and doubtleft at least
;
less the
whose
to support,
whom
the
Buddhist
is
about
again
ignominious suicide
(^). It is
left
he
the
whom we
believe
we
side of
by
his
monk who
on the whole, representations of monks belonging to other sects are rather rare in Buddhist art, even where their
presence would be most expected
:
more desirable that we should possess a good reproduction of what is still to be found of this Ajanta fresco. Lacking this, we must content ourselves with giving a sketch of one of those which adorn the principal archway of Cave IX (pi. XXI, i). We know the curious aspect of that
little
its
three naves,
its
portal
:
gallery and
stupa
altar
the
left
we
perceive,
of
is
two
left
nagarajas
who
are holding
up the stem
i^t, at
the
who
facing him,
upon
form of a
fat,
naked man,
companions.
g.-b.
We
who is supported from behind under the arms by one of his may connect with this type that of the same person in Art
(fig. 261 and 225 c), and read, ibid., pp. 529 and 537, remarks on the rarety of these representations of sectarians . (2) Divydvaddna, p. 165
du Gandh.
1^5
Above the
pillars,
be,
represented by our plate, has the advantage of uniting only the essential elements of the subject,
is
which
namely, the three Buddhas with their feet placed on lotuses, and at each side of the one in the centre of the picture, who is teaching, and of whom the two others are, and can only be, illusory emanations the two traditional divi-
nities,
humble
role of flyflapis
holders. Is
exactly the
same
distribution of persons
?
that
we
find again
on the
which we have just been speaking, both from Benares and from Ajanta, can in bulk be dated,
in accordance with the alphabet of the inscriptions
on some
V"
We
shall
spite of
with them the numerous groups which decorate the principal wall of the highest sculptured gallery of
(IX"* century).
with variations
Boro-Budur Almost the whole of this wall is covered on the theme of the Great miracle of
pll.
The only
differences to be
(cf. p.
observed consist,
capricious detail
2""!
not for a seat, but only for a footstool. This kind of throne and although they are not
mode unknown
and although
we may
They
constitute
all
the proposed attribution since the central lotus, while treated as a simple
nevertheless usually supported by the
two
XXXVI,
Buddha
XXVI
i66
Qravasti
fied
and
this profusion
of replicas
is sufficiently justi-
monuments had
at the left
We
we know was
it is still
XXII).
On
more complex and contains no less than seventeen images of the Blessed One. The general arrangement of these doubtless imposed by compositions is a compromise the dimensions of the rectangular panels, which were
much wider
by
plates
between the
plate
line taken
i
:
XIX,
XX
and that by
XXI,
but on
one
by
Inevitable, again,
is
many
of the
remote in time,
but not
from
We shall note
especially,
among the
M. Chavannes, which,
he informs
owe
them open to the second Buddha standing at the left of the great seated one, the acolyte on the right has disappeared in the fallen debris
and the innumerables figures of the Blessed One, superposed upon a kind of band, which form nimbuses and aureoles on the
is
:
crumbhng of the rocky facade has left sky (pi. XXI, 2). The presence of a
tejas,
finally
convince us
167
we have
in the traditional
(*).
more or less, in fact, to make use of the expression employed in Hterature, the vaipulya method of sculptured tradition. Let us return to our starting point, I mean to the quite summary lesson
nese, Japanese, or Indian, represent
XIX, i) we shall see connected with it also a series of replicas no less sober than itself. A carving, which we
:
them,
tus
at least as far as
Magadha
is
concerned
(pi.
XXIII,
i).
on
a lo-
whose stem is flanked by two Nagarajas, is inserted between two other images of himself, with feet also resting on lotuses. The only novelty introduced is that the two acolyte
Buddhas, instead of confronting the spectator, as in plate XIX, I, or being turned towards the central person, as in
plate
XXI,
2, are
C), will serve as a perfectly natural transition to the miniatures of the Nepalese or Bengal manuscripts of the XP-XIII" centuries.
rather rude
late date
workmanship and
(i)
We should
later,
like to
taken in the
which decorate the grottos of the pass of Long-Men brought back photographs (Ho-nan), of which also M. Chavannes has in China (see, already, Toung Pao, course of his last mission
somewhat
Journal asiatique, July-August 1912, figg. 1-4; Bull. but here the two acolyte Buddhas Ecole jr. Extr.-Or., V, 1905, fig. 36) monks The transformation might in into two simple
Oct 1908,
fig.
4;
cf.
strictness be explained
by scrupulous orthodoxy
(cf.
of an analogous group, of the same provenanee (2) For a reproduction of Calcutta, see Et. sur I'Iconogr. and likewise preserved in the Museum these three Buddhas are placed just below bouddh. de I'Inde, I, fig. 28, where a representation of the Nativity.
68
of Qravasti
by three Buddhas back to back has become the constant rule Q). The identification of our plate XXIII, i, which
already flowed naturally
stele
of Sarnath, receives, on the other hand, an interesting confirmation in extremis from these latest indigenous manifestations of Buddhist art.
Whilst definitely taking this turn in eastern India, our subject became in the West by degrees stereotyped under
a
different.
The
place
now,
Buddhist
great miracle ,
it
on the
hands their
fly-flappers.
As
sit
to the central
in the
Buddha,
at
one
time he continues to
padma
XIX-XX;
on
i,
frequently, he
installed
manner of
We borrow from a
first
ano
less
summary specimen
of the
second would be furnished by one of the caves of Kondivt6 O- But, above all, we must recognize that all the cave(i) Cf. above, p. 154, n. (2) See Bdrgess, A. S.
Cf. the fuller replicas of
i.
W.
pi.
XLIII,
I, left
part
(cf.
iUd., p. 71).
fig.
Kanheri,
ihid., fig,
60,
LVI
(cf. ibid., p.
169
On this
point
it is
gusson and Burgess. Along with them we might gather an ample harvest of rephcas of the great miracle . If
we do no
tions or
found occasion to
of subjects
IV
We
its
variants
from the
V""
we
not now,
after
its
history as far
its
down
as
just iden-
The
and there
is,
seems to be no way of
Such fortunately
so far as
The Buddha
of the mahdprdiiharya of Qravasti makes the gesture of instruction, exactly as does the Buddha of the Dharmacakra-pravartana of Benares nothingfurther was required to provoque confusions and exchanges between the two motifs
:
one by the lotus with the Nagarajas, the other On plate 164 oi Anc. Mm. India, by the
we
find
some
First Preachings
Great Miracles
From
168) the gazelles have even been intercalated above Nagathis it may be conceived with what precautions we must
lyo
Buddhist iconography
second part of
our
task,
it
distinctive feature
common
will
to
all
Now,
is
afresh,
you
very
all
characterizes
them above
a
lotus
with
thousand petals
the
broad as a chariot
,
wheel,
stand-
pHnth.
Whether supported
it
whose masterpiece
is,
it
or
at least as a footstool
to
Buddha eated in the attitude of teaching. By this sign we must henceforth retrospectively identify a whole series of Greco-Buddhist stelae, the greater number of
a
XXIV-XXVIII,
i).
The most
two
standing divinities
(*),
11.
who,
9-1
:
like
1.
Cf.the epithet of
Kshemen-
IX,
54
Bhunirgata-pratata-kdncana-padma-prstha-
padmdsanastha...
(2)
We
this
(</oMr. of Indian
group that of the British Museum, reproArt and Jnd., no. 62, 1898, pi. 8, 2
:
=zAnc. Mon.
the teaching Buddha and the two on the enlarged pericarp of a lotus flower. In the acolyte at the right we recognise Brahma by his head-dress and his water vessel, in the one on the left Qakra by his diadem. The two worshippers are withdrawn to the bottom of the stele and separated by what is
India, pi. 92, in the
middle)
is
We
pay no regard to another image (that of the Calcutta Museum), likewise published by Dr. Bdrgess(/. 7.^,/., no. 69, Jan. 1900, Hg. 24= Buddh. Art
lyi
(pi.
XXIV,
i).
On
plate
XXIV, 2 we
which
lytes
:
on
feet of his
two aco-
One
of their shoulders
tween the two gods and the two magical Buddhas, it is evidently the same group as on plates XIX, 2 (first row) and XXI, I At other times the ingenious art of the sculptor
.
XXV)
doubtless
we must
we remain
free to
admire in
it,
together with
skill
of Vigvakar-
man
(').
At one time
(*) it is a
XXV,
2^.
At another time
(pll.
XXV,
and XXVI,
land,
i).
On
two
divinities,
again
which we
hands on
(pll.
all
the reproduc-
tions that
i).
we
still
have to examine
those
XXVI, 2-XXVIII,
at the
The
latter, like
first cited,
or
in the
open sky
most, they
in India,
fig.
112)
on
here Buddha is indeed seated between the two worshippers by an exception which, for the rest, is
since the last excavations of Takht-i-Bahai (cf. below, p. 172, note i) not unique he is making the gesture of meditation, instead of that of instruction. (i) Divydvaddna, p. 155,
1.
18
1.
10.
arrangement of the attendants we (2) From the point of view of the fragment published by Dr J Ph. Vogel in may connect with this plate the Archxol. Survey Report, 1^0^-1904, pi. LXVIII b (with the Nigarajas) and c.
172
some small figures under aerial sediculse. However, the number of divine spectators increases in a striking manner. Now they are placed one above the other on their lotus
shelter
supports, profiting
by
all
At the same time the central Buddha becomes bigger, and his figure still more disproportionate to his surroundings. The garlands which used to hang above his head no longer suffice; there is now added a crown, borne by two little
with or without wings; once even other marvellous beings, with their busts terminating in foUage, hold still
genii,
among
the images
if
which
better to
emphasize their supernatural and magical character, are surrounded by an irradiation in the form of an aureole
we
artist,
plate
XXVIII,
and compare
fig.
78 of
Art. g.-b du Gandh., and especially the panel recently discovered by Dr. D.
B. Spooner at
Takht i-Bahai and published by Mr. J. H. Marshall in the/. 3. Here again we recognize the mdha-prdtihdrya.
slab
The
lotuses
have almost
that
is,
five
little
Buddhas
whom
among
is
foliage),
Byway of an
exception the principal Buddha affects the pose of medicuriously adorned with a crescent
The
moon,
peacock's
tail.
It is
known
that Sir
Rawak
in
62-65
cf.
173
of the
The
series of these
examples adjusts
ture,
surroundings of Buddha,
etc,
itself
without
to that in
which we
great
of Qravasti.
By
which we have often had an opportunity of noting between the Greco-Buddhist sculpture and the tradition of the
Mula-Sarvastivadins
we must more
two
who at times
2
;
;
XXVII XXVIII,
cc
we
old acquaintances
junior
, either
accom-
we
human
bystanders.
It
two lay devotees without nimbuses and of different sexes, who on plate XXVIII, i surround the seat of Buddha, are not merely donors of the stele Q. But it will be notither the
is,
reason
we must
:
refuse to see in
shippers
rather should
we
seek here
exactly XXIV,
that
Luhasu-
(i) This identification was proposed incidentally by Dr. J. Ph. Vogel, A. S. I. Rep., 1903-1904, p. 257 but, in a general way, we believe it safer
:
to look for donors only on the bases of stelae (cf. pll. XXV, i XXVI, i, and On the other hand, the hypothesis of XXVU) or the pedestals of statues.
;
which suggests the identity of the four nimbused figures seated on the lower row of the same stele (pi. XXVIII, i) with the four Lokapilas, seems to us most probable and confirmed by analogy with plates XXVI 2, and XXVII.
Dr. Vogel {ibid
,
n. 3)
174
datta
mother of Riddhila
('),
who
in
One
plate
to
accompUsh
on
varna
asked, and
refused, the
same
authorization.
rather than
prefer to
then, these
ready to
commonplace worshippers, whom we should recognize on plate XXIV, 2. We should be equally find King Prasenajit, the impartial (') president
:
but, even
(*).
four
2, it
men
XXVI,
seems
I,
we
are rather, as
on
the
plates
XXVII and
divinities
XXVIII,
in the
Among
crowd of
we
shall recognize
whom
by
is
given
ten the
denouement
Q. The
(i) On this updsaka and updsiM information taken from the Vinaya of the Mula-Sarvastivadins will be found in the already quoted article of M. Ed. HuBER (B. . F. E.-O., VI, 1906, pp. 9 sqq.).
(2) For this title given to Utpalavarna, cf. on the Dhammapada, ed. Faosb0ll, p. 213.
(3) For this impartiality
cf.
commentary
Divyavadana, p. 146,
i.
1.
23.
(5) According to the Divydvaddna (pp. 163-164) the yaksha-sendpati who, understanding the impossibility of otherwise overcoming the obstinacy of
is
him Vajrapini
(XIII, 57).
Only we must
175
greatly, did
an edified witness of the miracle which will henceforth assure her fame it is in no other form that, for example,
;
the native
town of Buddha
is that, if
is
most
observed
we
two
fact,
the right of
on
this identification
school to the
:
by the indica-
tion of a water-vessel or of a
book
(*).
it
is
v, p. 427, has
opposite page.
It
by the help of the Tibetan translation on the should read (the corrections are indicated by the italics)
:
/Titpto^ravii/avrtavarsavarai^ cakara
|1
We
should translate
and forced them to seek a shelter in the hollows in the earth . (i) See Art g.-h. du Gandh., figg. 183-184 a, and p. 360. (2) Cf. the procedure of distinction employed ibid., figg. 152, 1J4-156, 164 fl (cycle of the nativity), 197 (march to Vajrasana), 212 (invitation to
heaven), where
the preaching), 243 (preaching to the Trayastrimgas), 264 (descent from we know that we have to deal at the same time with ^akra,
(cf.
fig.
which we
XXIV
with plate
XXV and
note 2), either because on this point the tradition was uncertain or
176
It
plates
The
first
in the school of
it
here
we
is
a lotus
with a stem rising from the ground or from the waters, that
serves as a distinctive
mark
for a
whole
series of series
monufor more
on
plate
XXV,
its
2,
peri-
by
cushion
and,
if
padma
is
therefore,
we may
rank this
attended by
side
two Nagarajas
to
use
heraldic
terms,
by
back to back or face to face specific symbols of the great events of Buddha's
gazelles, either
among
life.
the
In the
second place, this identification seems to us to confirm another rule which we had thought ourselves in a position
to lay
down, and
in
is
scarcely
any Gandharian bas-rehef, however passive and motionless the characters therein may be, wich does not, even under
is
and the
of the statue and those of the spectator. (1) Artgr.-b. du Gandh., p. 607.
left
177
be the
some episode in the legend of Buddha. We more readily excused for recalling the fact,
shall
inas-
much as we are the most to blame for having once ranged among the simply decorative motives, in default of finding a better place, several of the stelae which now assume
for us a definite
value,
But
the
at the
same time
and
this third
observation
is
most important of all it is to be feared that we must relinquish the idea of indubitably distinguishing, in the whole repertory of the Greco-Buddhist school, an iconolatric group of Buddha between two Bodhisattvas .
far as
As
heaven
nize in the
two divine
Brahma and
same
identification?
Then
side of
our
last
the Blessed
One
ju?ri, as plates
XXIV,
us to do. In
we
can say
is
that
we beUewe we
discern already
on these
stelae in
and to
differentiate
:
nic divinities
but methodically
we may
urnd, so distinctly
in plates
XXIV,
and
XXV,
fails
to induce us to lay
178
velleities
more we advance
we
V
It
will be felt
how
far this
article,
whether
it
ancient
monuments
Now
it
seems indeed
one of those conventional and summary pictures of which it possessed the secret. The pillar of the southern
entrance in the railing of the stupa of Barhut has three
of its faces decorated.
first
Of
represents,
we
tree,
of the
last
named, from
which we
a
all pi.
XXVIII,
2).
At the bottom
:
mounted
in his quadriga
the
(i)
pi. XIII.
179
epigraph, by informing us that he is called king Prasenajit of Kogala , gives us at the same time the name of the
town and
going
ing appearance, which shelters a wheel surmounted by a parasol, and bearing a heavy garland suspended from its
nave. For
is clear
:
all
him
that
it is
indeed
is
Law
of the Blessed
therefore, if
is
One
which
represented.
The symbol,
the exact
converting, Buddha.
attitude with joined
On
hands,
a personage in splendid
ceived
its
kings or
its
gods
(').
Accordingly
impossible
Cunningham, with
his
accustomed
in his
good
chariot
to the presence of
the Master but he did not follow out the identification to the
end
Q.
In truth,
we
see
no reason
way.
(i) For
some
XVII.
It will be noticed that the visit of Ajita^atru to (2) Ibid., pp. 90-91. Buddha, which on the pillar of the western entrance forms a pendant to this
one,
is
(ibid,
pi.
XVI
and p. 89).
14
i8o
Evidently
a
was not
know from
a sure
source,
namely the
is
scene, that
One
the bas-relief
finally,
two attendants standing beside Buddha and the great hall which shelters him
relative to the
We shall
such indeed was the subject which the sculptor had proposed to himself.
The
counter-proof
is
easy
;
let
us imagine
the cus-
had been
set
him granted
(').
see
how he
otherwise
to
it
and which
sured out.
until
now had been too parsimoniously meaWe are now in a position to sketch its history
from the
ed allegorically
native school,
and
Buddha
its
by the old
it is
own
advan-
by Indo-Greek
art.
From
Cunningham. should be quite willing to connect with the representations of wheels on pillars, like that of plate XXXIV, 4 (cf.
We
pi. XLll, i). Perhaps it would even be necessary to see a reference to the mdha-prdtihdrya in the wheel which, according to the evidence of Fa-hien and Hiuan-tsang, surmounted one of the two columns raised at the entrance to the Jetavana.
i8i
adopts that mudrd of instruction (') and espeof the lotus with a stem, both
of which
it
from end
to
most
restricted aspect, as at
:
but on
It
is
chiefly
these latter
by the
later
stelae
example, by the
commencegoing
ments. All
being taken
into
account, without
we
:
pro-
great
mi-
Barhut,
pi.
XXVIII, 2
4, etc.
pi.
XXXI,
i,
perhaps
B.
XXXIV,
:
(Ancient Indian
style,
2''
century
C);
2.
Gandhara
pll.
XXIV-XXVIII,
pi.
/.
pi. 8,
pi.
LXVIII,
andc; Artg.-h.
du Gandhdra, fig. 78 (with an exceptional mudrd) J. I. A. I., no. 69, 1900, fig. 24= Buddh. Art in India, fig. 112, and /.
R.A.S.,Oct. i9o8,pl.VI,3(Indo-Greekstyle,
turies
3.
i^'
A. D.);
:
Benares
pi.
XIX;
pi.
68,
(in the
to us
cf.
p. 170, n. 2,
and 172,
82
left
borders) 67,
3,
and
68, 2
4.
(Gupta Style;
Ajanta
;
:
4*''-6'''
centuries)
pU.
XX-XXI,
24, 39
XXXVII,
2 (Calu-
kya
5.
Magadha
I,
pi.
XXIII,
bouddh. de
rinde,
6.
pi.
fig.
28 (Pala
:
Konkan
I,
pi.
XLIII,
and
fig.
fig.
60;
cen-
style, S'^-io"*
Henceforward the picture of the mahd-prdtihdrya would we await only that not be missing from any school
:
of Mathura. This
is
just
Blessed
One
worthy of
name.
It
no
Our
hypothesis
fills
a real gap;
and
it is
only just
of ^ravasti
should advanta-
number of known
repHcasis concern-
Why
it
then
and
on which we
are
why has
its
been so
tardily
which had
pre-
vailed,
we have abundantly
;
experi-
enced, to anything
ment,
if
not of picturesqueness
instant recogni-
183
it
monkey or the
of the triple
and here we have, doubtless, an excellent reasdn. There is room, in our opinion, for adding another. We are
ladder
;
we no
longer think of
it;
in order to
we have
:
That
is
the case
on
this occasion
explicit as
which
ed too
interests us here.
Miracle
many remembrances pell-mell for the Great not to be swamped in the crowd of those which
through the mouths of the guides,
interest. solicited
on
all sides,
their
devout
that the
when
the pilgrims
One was
(i)
We
believe,
in
of
Qravasti, marking the locality of Buddha's victory over the other chiefs of Fa-hien and sects, was the temple (vihdra), 60 or 70 feet high, which
Hiuan-tsang both saw and mentioned at the west (that is to say, at the towards the Jetavana, right) of the road leading to the south of the town in front of the eastern about 60 or 70 (Chinese, therefore double) paces
gate of the park, opening from the same side
(trans.
I, I, p. XLVii, and II, p. 10 ; Watters, of the texts (cf. situation corresponds fairly well with the indications this
Beal,
84
why the
ized.
sentations of the
Great Miracle
we
are
still
even
at the present
we
are certain
ven ) their names of Brahma and Qakra, or whether they ended by transforming themselves, in the eyes of the
faithful, into Bodhisattvas,
at
what moHiuan-
ment
tsang
their
us nothing concerning
this.
Onefeels howvaluable
its
mean
elements, form-
we
this is
and
thenceforward
its
all
that
to follow
direction,
downwards
upwards to
the
sources of Buddhist
For
this let
us thank the
Archaeological Survey
above, p. 149, n. 2)
the
it
seems that
it is
its
favour
preaching hall
built
which
is
men-
tioned by Hiuan-tsang only. As regards the latter, Walters states that he did
not
know where
of the
great
all
is
miracle
stupas;
he forgets
for
that the
not necessarily
at
we know,
Bodh-Gaya
same
explicity told us
^
e*
CT"
"a-
S^ S"
c; Sb
s i: o s
-
r^
sa
ts
o"
bo
ai
I
?!.
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g a- c^ f^ '^ c jr rt
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fb. ^-
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p. cr
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o p
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cr
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n
r^
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ft
5l 3"
P"
s
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cr
p
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fi
, a 3
s o o
;
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p.
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|.
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5 ^
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re
cr
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& ^3 3
cr
re
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w
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iT.
p
t^ g-
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P re a ^ 3 a re O3 re
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re
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cr
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p
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PL.
XIX
oi
AT BENARES
PLATE XX
^
Pl:ue
XX was
at
made from
in
photograph taken
in
as well as
we could
It
manage
Ajand,
September 1897,
left
the
We
it
XXXI.
a description
We
limit ourselves to
borrowing
Notes on the Bauddha Rock Temples of Ajanid (Bombay, 1879), p. 45 The sides of the antechamber are entirely covered with small Buddhas, sculptured in rows of five to seven each, sitting or standing
on
lotuses,
The
the
upheld by two kneeling figures wi'h royal head-dresses canopied by many-headed ndga behind each; on the left are a kneeling figure
a
Buddha
is
behind the
it
him
The
is
diversity
on
which
is
not
Nanda
and Upananda
cf.
above, p. 161.
PL,
XX
AT AJANTA
PLATE XXI
Cf. pp.
164-5, 166-7.
CT
-I
<t
B"
>Cfq
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3
cu
li;
n>
n>
a
J?
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I/,
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5 OB"
cr
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la
3
n.
Er
Su
a2.
ft
3
ft ft
^ ?
rt
Cf<5
3 p
a-
re
n 3
M
3
CfQ
2-
m i^
3-
'^
BO " c o o B
p,
B-
O O
B^ to
-^
cw
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o -1 n o cr a" w
ft ft
ft
5-
p-
n.
ft
ii
w M
3-
^
("5 "^
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Sci.
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5r^
< n -
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ct,
Dd
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-a "^
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ft)
Cu 3-
Gfl
i-t
3 B
e-
?r 3" M
<; ft
>^
-1
R O-
PL.
XXI
iVA-^-^M
^^v'--^i-1^A. V.-m.A>"i;^^4|
<
K
3
u.
c\]
a;
-< <:
<
PLATE XXII
Cf. pp. 165-6, 255.
o s
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ft
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p
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a. Bft
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21.
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ff"
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Cl,
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B^
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Si.
ft
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9
ft
g:
s" S-
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cr
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3. ^ [Jaq K-1
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CI-
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5: 2. 5.
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2.
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5" p ft
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ui
B,
s o p ft
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ft
o a. w 2 3 c" 3 3 w S 2 W
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2
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p 3 O n (A o B
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ft"
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^^
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PL. XXII
Q
ID
m o
cc
o m p
PLATE XXIU
Cf. pp. 167-8.
j=:
PL. XXIII
2.
IN
THE KONKAN
1.
IN
MAGADHA
PLATE XXIV
Cf
pp. 170.
r.
173.4, 177.
'
3 s*
"
311
35i'
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PL.
XXIV
<
<;
X a
< a
PLATE XXV
Cf. pp. 171,
173-4, 177-
The
is
it
stele
of plate
XXV,
and
museum, measures
metre;
Ind. Art
152) and
du Gandhdm,
form
fig.
Here we
stele in the
restrict ourselves to
fitting
little
base
p.
191), the
columns
women
in
the pp. 223 -224^ the Cupid garland{ibid., pp. 239-240), the lion-headed bearers of the lower framework
brackets similar to those of plate
compartments
XXV,
:
2, etc.
is
outlined against an
above his head, a twisted garoblong aureole and a round nimbus a double streamer; under his right foot, which is land hangs under sole upwards, a knot of stuff forms a round protuberance, which is also
to be seen
on
plate
XXV,
lotuses
2,
is
only
plait.
medi-
on inverted
and under
vihdras,
seem
to
form an
integral part of the composition; perhaps the case is the same with the three others lodged under the two-storied arch of the gable in any the other great case, the group at the top recalls by its arrangement
;
The
hand
and
left
China and Japan. The turbaned attendant on the left, leaving his sandal and c), on the ground (cf. ^rch. Surv. Rep., 1903-1904, pi. LXVIII, b XXV, 2, have rested his plate has bent up his right leg and must, as on his hand, while at the same time he holds in his left the forehead on on plate XXIV, 2, same looped object as does the right-hand attendant newly discovered statues we should from the analogy of some guess a bending purse.
female devotee
strangers,
monk and
a lay
donors, perhaps
i,
two
and 173-4).
II.
The
original of plate
XXV,
2,
museum. It has already been published by Dr. Burgess ij. Ind. Buddh. ^rt in India, fig. 147). and Ind., no. 69, 1900, fig. 22
^rt
Here the lotus which serves as a seat for the teaching Buddha is supported by the two Ndga-rdjas, Nandaand Upananda, who are visible only as far as the waist. The one on the right (in relation to Buddha) and volumiis of a curious type of Brahmanic ascetic, with his beard an object which reminds nous chignon; he holds in his right hand
us very
ers
(cf.
much of the dolphin similarly carried by certain ^rl g.-b. du Gandhdra, fig. 126), but which, in
coming out of
left
left,
of his congenfact,
seems to
his neck.
As
for
we cannot
hand
pi.
a bent paddle
or
hooded serpent
1^0^-1904,
a
LXVIII,
b).
On
Nigas kneel
(cf.
monk and
p.
above,
174).
The two
rest their
on
rattan
seats
both
fortheads,
know
upon the tip of one finger we by Sino-Japanese art to Avalokite^vara. The attendant on the right, who, like Brahnii, has no head-dress other than his hair, holds in his right hand the book (in the form of a palm-leaf manuscript) which will be one of the attributes ot Manju^ri the turbaned one on the left holds in his left hand an object which, from its granular appearance and the fold which it makes at
marked with the Arnd,
recline
:
the bottom,
in the
we
a
form of
attendants
on the
plate
of
pi.
c,
XXIV,
XXV,
but
'^
which on
LXVIII,
plainly a lotus.
To
conclude,
let
porch which
shelters the
at
the
on brackets decorsited whh lions' heads. As usual, birds are represented on the roofs. (Cf. above, p. 171.)
PL,
XXV
IN
GANDHARA
_;M-
fK'-'B'y'zg;
in-
3^
;l-
H-t
;^
-1
EJ
05 3,
a.
i'
W^ ^ w 5^i I
'^^
. s: g r- 55-3
.. i:
-r
,
><j r -
CfJ
,
.
=>:
w,
Oo-g
- a-
>s
p o
;5.
fu
^^
g-^ a
PL.
XXVI
PLATE XXVII
Cf. pp.
171-4.
The
it; it
which
is
unknown,
is
preserved in the
museum
at
measures m. 0,85
in
Lahore (no. 572), where we photographed height. As yet it has been published only by
Ind
,
^rt and
pi. 8,
i).
Only the middle Under the large lotus two persons, whose bodies are only half seen, but who are not otherwise characterized, and who are leaning back to look at the Mister, must be the two traditional Ndga-rdjas. Above the
part of the stele is
is
of disproportionate
size,
two
little
On
XXV,
i,
Buddha
XXVI,
2) surrounded by a radiating halo, and beneath a group consisting of Buddha in conversation with a monk. The two usual attendants, standing
pll.
on
lotuses
with bent
i).
stems,
hold
up
their
garlands
(cf.
XXVI
and XXVIII,
Above them, on
is
often
to
worn by Indra
(cf.
fig.
him, wearing
resting
a turreted
(cf.
above, pp. 174 5). About ten other gods are seated in various attitudes,
all
row
are
on lotuses, except those (who also have haloes) on the first bottom (the four LokapA'as, two of which on the right damaged cf. pi. XXVI, 2)
at the
;
transfiguration of the
is
Buddha
a
low
with a cushion.
bas-relief in the
From numerous
{y4rtg.-b. du
of a
Gandh fig. 164), we seem to recognize the samcodana of the BjdhisattvaSiddhartha(Ln///fl vistara, chap. XIII), a pendant to \ht adhyeshana of Buddha [ibid., chap. XXV). The point to be noted
,
here
is
attitudes of the
gods
thj
in thi
On each
same garland-bearers on lotuses; at the twj bottom corners are same attitude as on plate XXV, 2; the first attendant on the left at the same level is turning round to express to his neighbour his admiration,
as on plate XXVI, 2, etc. At the bottom is depicted the adoration of the pdtra, or alms-vase of Buddha, placed on a throne (cf. Art g.-b. du Gandh., p. .^19) and surrounded probably by donors.
PL. XXVII
IN
GANDHARA
D
o
ft
<
crq
c
l-t
G3
w s s a
t^
'
o a
"S-
Cu
CI-
CfQ
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r
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cr 0^
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ET
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p
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a:i.-a
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ft ft
n
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ft
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cr
ft r.
a-
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cr
CO
5
^=5
P
ft
tr o_ E!
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o 5 3 o a V ft
3 -J
&
a s W
5.
ft
c
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ft
p CfQ o
f
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&- 5.
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a- -
i:
cr
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3
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n ft a
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3
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ex.
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2. D.
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Vi)
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1
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n 3 2 =^ ft S
cr
ft rt* ft < X H--
w
rt
tn
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3 3 ^^ "S ** P s g cr w o o 5' ft r.
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ixi
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00
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ti, Si
S^
srt-
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2.
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n>
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a- ^ 2 Icr 5-,^
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re
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p
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7\\
'-*'
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3:Su 3
o K S o b
-.
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fT
Zi
S rt 3o ^ S
^
t-*
cr
ft
^ 9
PL. XXVIII
ID
X
cd <;
<
<
X Q <
An attempt
at
a chronological
classification
of the
The
close relation
which
exists
known by
;
those narratives of Buddha's miracles whereof no illustration has yet been discovered still more rare are the images
which do not
at
once find
their
commentary
in the texts
already published.
is
and monuments reciprocally lend Q). All the same, to be observed that until now we have principally
made use of the first to explain the second. In fact the two sorts of documents seem to be unequally matched
and the muteness of the stones
writings.
However, there
is
one
mony. Such
as they
left
(i) Extract from Melanges Sylvain Levi, Paris, 191 1. in the Annuaire de Vcole prd' (2) Cf. Une lisle indienne des Actes du Buddha Hautes Etudes, Section des Sciences religieuses, 1908, a paper of too tique des
technical a character to be translated here.
15
i86
workman, such
to-day
or at
least, if
they are
strictly
likewise subject to
no attempt
at rifacimento
their
case pass
own
authors,
who
their
technique.
It
results
from
arranged
in this sense
that
we
in such a
coun-
...immeasu-
rably
more
It is in
seem
some
service to
short, after
same legend. In
on
this
monuments, we should
application of the
texts.
like
monuments
For
this
purpose
we
will direct
it
our attention to a
cele-
may
(Skt.
was none other than one of the innumerable past incarnations of our Buddha; and
course, this marvellous animal
(i) Fergusson, History of Indian and Eastern Architecture, Preface to the edition, 1876, p. viii {z^ edit., 1910, p. x).
Of
first
187
he lived, happy and wise, in the company of his two wives and of his troop of subjects in a hidden valley of the
Himalayas. However, the second wife, wrongly beHeving
herself slighted for love of the
first,
gives herself up to
for his
supposed want
becomes, thanks to some remnant of merit, queen of Benares, and possesses the gift of remembering her previous birth. She astutely obtains from the king permission
to despatch against her former
skilful
man
does, in
fact,
succeed
at
in strik-
ing the noble elephant with a deadly arrow. But the soul
of the Bodhisattva
is
not
to rob him.
When the hunter finally brings back to the queen this mournful trophy, she feels
Such
is
and
is
known under
it
that
appears in
collection
M.
L. Peer has
compared with
two Chi-
nese editions, taken, the one from the Lieu tu tsi king (Nanjio, n 143) and the other from the Tsapao tsang king
(Nanjio, n 1329); but, with perhaps excessive prudence, he was careful not to draw any conclusions from this
detailed
comparison
(')
More
(i) Journal Asiatique, Jan.-Feb. 1895. For the version of the Kalpadrumd-
88
M. Ed, Huber from the Chinese of Kumarajiva, has made accessible to us a new and most important version (').
Finally, a publication
at the
two
texts
Ta
che tu
hen (Nanjio, n
ii 69), ascribed
to
Nagarjuna
('). If
Q.
So
much
our study
we now
a a
we
(*),
observe that
we
have been no
having preserved to us
at the
same time
Q,
from Sanchi C), a fragment of a frieze from GandharaQ, and finally two frescoes from Ajanta, the one
vaddna,
cf.
27, fol.
Nationale and Raj. Mitra, The Sanskrit Buddhist Literature of Nepal, pp. 301We refuse to take into account the commentary of vv. 26-27 of the 303.
Dhammapada, which,
as
common
(i) Ed.
(2) Ed.
HuBEa, Sutrdlahkdra, Paris, 1908, ch. XIV, n 69, pp. 403 sqq. Chavannks, Cinq cents contes et apologues extraits du Tripitaka chinois, three volumes (1911). The story n 28 (I, p. loi) represents the passage in question from the Lieu tu tsi king; the two other extracts will appear
one might connect with it the story n 344, which also presents the characteristic trait of the gift of the tusks, but in quite different surroundings. are happy to take this opportunity of thanking
in vol. IV. Strictly
We
M. Chavannes, whose great kindness permitted us to make use of the relevant pages of his work prior to publication. (3) As to no 49 (not yet published in the Bibl. Indicd) of the Bodhisattvd-
we cite it merely for record for this narrative is missing from the only ms. (Sanscrit 8) of the Biblioth^que Nationale (see below,
vaddnakalpalatd,
:
p. 204, n.
i).
XXVI,
6.
1887,
XIX,
cf. J.
Fergusson,
fig.
189
in
Cave XVII
for
(*).
The
identifiis
fortuexcept,
no longer matter
reconsideration,
perhaps, in detailQ.
From
taken their place side by side with the texts in the capacity
we
find
than
six
and
by
are, if
we may
:
say so, so
many
the precise
problem
logical order.
to the his-
would be
from the
it
almost desperate.
It is
of Buddha himself;
it is
much
less
easy to replace
by
more
more ancient
at
mentary
the
monks
its
present form
march of a
n
1 1
staircase,
hill
of
56).
(i) Ajanti,
Cave
J,
I,
pi.
41 and
fig.
21
cf. J.
Bdrgess, Notes on
the
Buddha Rock-temples of AjantS,, 1879, pi. VII, 2, and Arch. Survey of Western Cave XVII, Griffiths, ihid. fig. 73 and pi. 63. India, IV. pi. XVI.
majority of the (2) Cf. for example, infra, p. 194, n. i and p. 195. The published descriptions are in error in speaking of more than one hunter
:
it is,
190
(').
Of
the
all
that
we
impru-
made and which, according to the information kindly communicated by M. Chavannes, extend
from the end of the
era,
IIP''
V*
of our
quern.
Thus,
as far
we
It is
or?'
are
century B. C.
Q.
by
era
common
accord attributed to
to the
of our
Q.
It
is
same epoch
at
on the
and
of Cave
at
Ajanta
decoration of Cave
XVII down
Vl* century
dates
:
(*).
only approximate
good thing to have even so much, and we must consider ourselves fortunate, if we succeed, by using
but
it is
Rhys Davids, Buddhist Birth-Stories, 1880, Introduction, pp. i-ii, See above, pp. 4, 34, 67. (2) (3) Cf. Art greco-houddhique du Gandhara, p. 42. (4) For the Cave X see Griffiths, loc. cit., pp. 5 and 32; Borgess, A/o/, p. 50; for the Cave XVII Griffiths, ihid., p. Burgess, ibid., 5
(i) Cf.
;
p. 61 (cf. p. 57).
191
monuments
as so
many
land-marks, in dating
some
unutilized auxiliaries,
would be wiser
at historical classification.
II
Certainly
we
it
would be our
better, to
some
inter-
an order
if
at least theoretical.
draw up genealogical
call families
to
of tales
But,
possible,
and the pastime permissible, it goes without saying that the result can be of value only upon a double condition,
namely
that
we
shall
have
known how
to
choose
the
which must act as main-spring for the estabUshment of the series, and that we shall have well observed
topical detail
this
series,
the
Shaddanta-jdtaka
case of the
discover at
it.
well recognized law that successive versions of narratives of this kind have a tendency continually to outdo each other in the direction of increasing edification. The
usual effect of this pious inclination
to destroy
is, let
us say in passing,
with
its
by degrees the whole salt of the story together probability and its ingenuousness, while substituit
ting for
is
sweetened to
152
no rehgious
liter-
and the Buddhist less than any other, which, its original raciness once evaporated, escapes this deplorable and fatal invasion of convention and artificiality. Now what, in
the theme with which
essential
we
point,
wherein exactly
edification
Ues? In
order that
we may
and to
Lalitavistara,
which happens
to
sum
it
up
at
(it
Gods themselves who subsequently remind the Bodhisattva, in order to encourage him to follow his vocation)
the
thou didst
sacrifice
ity
was saved.
This
it
perfection of morality
or better,
of goodness
(^)
it is
tusks,
ter
to
hunis
who
has just
mortally
there
more than one way of returning good for evil, and it can be done with more or less good grace. In this particular
case the virtuous elephant
allowing his
enemy
to
work
or, better,
;
he might
have
facilitated the
operation for
him or
evidently
rafubhadantd na ca
tyaji (ilam.
1.
Parityaji
te
rudis
Naturally
it
is
this
same point
that
this is
I,
p. 45
trans.
Rhys Davids,
I,
p. 55)
pp. 97 sqq.).
i93
we
adopts
moment
I
me
of the Jdtaka
let
it
him
repeat
the invitation.
to add a
little
The
Lieu tu
tsi
king considers
only right
size so
is
only
man succeeds
in raising himself
up
to the root of
tusks,
have
been
disastrous
to
the
ivory) he
now
uses
more
self
saw
his victim
him-
must come
make
things
more
pathetic, the
recoil
is
before the
most
flagrant contradictions.
The
elephant
already so
weak that he cannot raise his silver trunk to take hold of the saw and he has to call all his senses together, in order to beg the hunter to give him the handle of it; after which
;
as
it is
is
by
his
in-
(')
they are
no more
in
like the
tender stems of a
(i)
M.
L.
Peer
(loc. cit. p.
i) has
of the
name
of
six-toothed
word
154
Ta
che
tu
lum
(which besides
is
simply a very
trouble himthe Tsa pao tsang king, the hero does not even
self to
borrow from
his
two
accounts against a rock, according to the third against a big tree. But to the Sutrdlankdrahdongs the palm for spontaneity in the action of the martyr
:
it is
simply
by
slip-
them
him
it is
to present
them expressly
our
to
impossible to go.
texts.
is
unassailable; practically
its
we must
not
as to
we
monuments
accord-
assume immediately
that already
we
upon us by the purely archaeological data. At the head of them there always comes, in its simplicity, the medallion of Barhut
his
:
on the
left
down
bow and
saw
Q. The
latter
danta occurs in the text very frequently in the plural and not in the dual.
On
it is
unfortunately impossible to
texts of
by
know what was said on which we no longer possess more than the
it
Chinese translation.
(i) See above, p. 39. Perhaps
is
worth while
is
first
to
remark
that, in the
kin^, that
is,
the
gift
of a lotus to the
as
is
said in
the Kalpadrumdvaddna, she did not receive two, one to decorate each of
is
cited
of thejataka
195
enemy and to render his task less difficult (pi. XXIX, i). The case is the same in Gandhara and at Amaravati, where in addition we see represented the episode of the hunter hiding in a ditch, in order to
down
elephant in
2
the
i).
stomach with an
arrow
and
XXX,
The
fresco of
Cave
of
(Joe.
huge six-tusked elephant lying down 32), and a hunter engaged in cutting off the six tusks It is,
.
as a
rated,
all
matter of tusks more or sepabut always carefully noted that the elephant has
fact, six
less distinctly
in
when we
is
on
to the painting of
picture
changed
which he
while a
.
man
In reality (cf
XXX,
is
whom
the artist
than his two normal teeth, has already torn out one, and
about, as
it is
turn.
And
magnanimous
and
it is
sacrifice.
There
is,
as
we
development
continued
two
series.
now we bring
the
two
lists
together,
we
obtain, always
and
ants,
tiie first,
according to which the great elephant one day, unintentionally, by shaking a fdla tree in full blossom, caused to fall on his second wife,
who was
while the
who was
is
and
green shoots
there
no more question
Barhut than
in the texts,
except
this particular
commentary.
96
by virtue of the same principle and by the simple intercalation of the various versions (') in the position respectively
stanzas
of the Pali
Jataka
off
the teeth
with a
knife.
Medallion of Barhut
7he hunter
(11^
century B.
\
C.)
with a saw.
III.
ist.ijnd
century A. D.
by Seng-houei,
is
d. 280):
not specified).
VII. Prose
VIII. IX.
KalpadrumSvadana
(trans,
against a rock.
Ta che tu luen
and 405)
The same version as
in the
Kalpadrumavadana.
(trans,
in 472)
The elephant himself hreah
against a tree.
by KumSrajiva
his
his
teeth
with
trunk.
:
XII. Fresco of
Cave XVII
of
Ajantd
(VIt
century)
the Sutralahkara.
(i)
It -will
final list
differs
slightly
we drew up
at the
On
we have had we
are
to
leave aside the lintel at Sanchi, which, treated too decoratively, did not
now
to
commentary
of the Jataka
has
shown
itself so
we have had
On
we
197
Such
least
as
it is,
is at
and the
hope occurs to us
we may have
restored, in accordance
differ-
fact, it is
not
we
all
the accessible
documents
it is
they, which,
when
interrogated
on
a defi-
As
far
as the
images are
is
on the whole
it
spontaneous
if
classification,
would be
still
further
increased,
we made
not, in-
manner of giving
details,
is
whole
group of concomitant
theoretically, for
which concur
in
determining
one
which comes
at the
that
is,
the
rhymed
account of the Jdtaka; you will observe that there everything takes place in accordance with the customary rules
of elephant-hunting.
cry of the
The hunter
all
hides in a ditch
;
at the
wounded animal
:
his
ing alone in the presence of the man, the elephant advances to kill him the fact that it stops on recognizing on
198
him
king (n
6),
it is
no longer
brown,
the
like
monk's coat
henceforward
man
monk,
in
now
:
employs
and in
this infallible
is
reach, there
fact,
no longer need
him
to hide in
ambush
8),
same time,
as
it
will be
defend
him
first
wife, if not
from the
fails
rest
of the herd
this is
1
).
Soon
with n 10
it
mind of
,
may
fall
from
his
1 1),
to these
interested fears
tance.
added a
real
Thus
is
seen
how
blage of details
for
if
and so
it is
an isolated reason, but by a whole sheaf of proofs, we had time to consider them more closely, that the
would be
:
justified.
for the
And
doubtless, of
all
of mendicant brothers
sest material
Buddha would
it
anything
else.
For
its
we do not see that the tradition had any meaning, can at the bottom signify variations in form cf. also Art greco-bouddhique du Gan-
dhara, p. 369.
199
mean
that
all
we must
features,
known documents
hand, in order to
its
and
that,
on the other
it
of every
new
version,
will
this
be sufficient to refer
on
monument we
it is
so,
provided that
upon inquiry verified whether by chance it were not a case of some more or less archaizing imitation. As soon as it is a text that is concerned, the question becomes much more
delicate,
and from the very beginning we For the most part the
fall
again into
our need
difficulties.
table furnishes us
to be correctly interpreted.
It
affirms, for
exam-
of the legend
this fact
and of
we
two indisputable proofs. The one, of an artistic order, is the fresco of Cave XVII of Ajanta (VI*" century). The other, literary, but by a happy chance dated
have, in truth,
exactly as belonging to the second quarter of the
tury, is nothing less than a passage
VIP
cen:
from Hiuan-tsang
Benares,
is,
as
M.
S.
on the Sutrdlankdra et ses sources, an exact and faithful resume of the story of Agvaghosha OWhat are we to deduce from these statements ? As the name of the author scarcely allows us to bring the work
admirable
article
lower
down
M;
than the
IP''
We
has-
(i) Cf.
S. Levi, Afvaghosha,
le
SutralanUra
et ses
Stanislas Jolien
(L
p-
360) translates
p.
The
and Waiters
(II,
53) says
his tusks . exactly the same. According to Beal (II, p. 49) he broke off second translation might literally be posM. Chavannes admits that this
sible
:
but, not to
is
200
ten to conclude, as
we might
only a
Now M.
pao
ki,
san
to
drawn up
in A.
we
feel to
what
must
at a
against interpolations...
This
is all
:
and after
all
the thing
is
possible
by
its
conception of
from
fact,
does
it
prove
That
assumed
VI"",
and
in
memory
it
And
we have
just seen,
was coherent
defi-
parts
zas
ohhe Jdtaka} Two or three centuries may not have been too much for this literary production to become popular in
turn
;
its
and here
its
we
find positively
no peremptory reason
invalidating
authenticity.
The
how
Chinese translation
is
tionary of Couvreur as a secondary meaning, it is that of tearing out which corresponds to the description of the attitude in the Sutrdlankdra, and its representation in the fresco of cave XVII of Ajanta.
PLATE XXIX
Cf. pp. 39, 194-6.
I.
From Cunningham,
cf.
Stiipa of
Bharhut,
pi.
XXVI,
for the
description
II.
From
it,
at
the Madras
museum
as
in
among
frames, give
cially
an espeto the
right,
we
between
two queens, of whom the first, on his left, holds over his head a 2. He on the right the second flourishes a fly-flapper. moves in the direction of the lotus pond, which occupies the bottom of
his
parasol, whilst
where we see him sporting with a numerous company pachyderm who is coming precipitately out of
;
pond on the left and who then seems to crouch in order to throw down some precipice, would perhaps be intended to awake the remembrance of the jealous wife and her suicide? 3. Whatever
herself
may
moment when he crosses the fatal ditch in which lurks the hunter, whose bust only is to be seen between the animal's legs. 4. A Uttle more to the left the elephant, whose fore. part only is shown, is kneeling, in order that the hunter may cut off his tusks by the aid of a saw furnished with a curved spring, much more
5.
a pole balanced on his right shoulder, the spolia ofnma of the Bodhisattva. It is curious to observe that the tusks are twelve in number, six (2X3) at each end of the pole Here and there indications of antelopes and deer, while lending anima-
PL.
XXIX
AT BARHUT
*^i
i^-<
%-
-J
2.
AT AMARAVATI
PLATE XXX
Cf, pp. 195-6.
I.
frieze
museum (no.
which formerly decorated one of the counter-steps of a staircase on Karamar Hill from a photograph taken by the author (cf. ^rtg.-b. du i. On Gandh., I, fig. 158). The elephant has only one pair of tusks. the left he is wounded in the stomach by the arrow of the hunter hidden in a ditch. 2. He then kneels down, to allow his teeth to be sawn off. 3. Finally, on the right, the hunter, twice represented, brings back on his shoulder his bundle of ivory, and then offers it to the royal pair of Benares. We shall note the striking contrast between the
;
distributive
order
ancient Indian
of Gandh^ra, there
crowded together inside the same pannel, here deployed one by one
along
II.
a frieze.
From Griffiths,
first
The Paintings in
the
63 (fragment). For the description and interpretation of the attitude of the great white elephant cf. p. 195. The hunter is repret
.yifantd, pi.
sented twice,
prostrate at the
still
on
on
his shoulder
PL XXX
1.
IN
GANDHARA
2.
AT AJANTA
201
is
to leave
it
now
that
we
may hope
for everything
On the other
we may
hand, there
a point
on which we
:
believe
we mean
the
com-
mentary (n
for the first
7).
This divergence
is
it.
Read
afresh
of Fausboll's edition
(V, pp. 37 sqq.), and you will quickly perceive that the editor of the
commentary in
analogous
its
present form
that
reflected
knew
in
a state of
the legend
to
the
works
numbered 8
was because he was hindered at each moment by his text, whose ancient particulars held him back, nolens voJens, on the incline down which he
right to the end,
asked nothing
better
than
to
glide;
and
that
finally
tween the
ornaments borrowed
of the
as
from the
later legend.
you
by point,
You
will
first
i),
(i)
It is
known
(still
that Prof.
of fragments
(2)
It is
unedited) of the Sanskrit text of the Sutrdhnkdra. sufficient to refer here to Prof. Luders in GoUingische Gelehrte
M.
E. Sekart's article
on Les Abhisambud-
302
little
six
tusks by
two
for
you know
pair.
mode
was
to ascribe to
will perhaps
seem
go
1.
rather
9),
and unblushingly essays to make you believe that knives are saws, in other words, that chalk is cheese. But soon you will content yourself with
shrugging your shoulders before this strange and systematic perversion of the text which he was supposed to
interpret
;
the fact
is
that
you read
his
hand
in
advance and
why, before allowing the hunter to descend into the ditch specified by stanza 23, he believes it necessary to clothe him in the kdshdya of a monk (p. 49, 1. 8) why,
see
;
when
is
scattered
to detain
9)
why,
few
lines further
down, he
has her brutally driven away, for fear she should punish the
assassin (p. 50,
1.
which
19), etc.
And when
finally to stanza 32
states
and departed
he openly opposes
we
have
an ancient popular plaint, which the barbarity of the proceeding employed by the hunter to get possession of the
ivory forces us to declare anterior to the Barhut medallion,
(i)See above, p. 193.
it is
It
on
all
Cowell,
rhyme)
W.
fidence in the
seems to regard
page 29
as a
duty to palliate
Thus it is that the beginning of The hunter then the tusks did saw etc.
becomes on
203
to say, to the
11""*
century B.
C,
it is
no
less evident
accommodated
by
a cleric
chasm of at
least
seven
desired to believe
contempo-
raneous.
Thus, whether
we
worth
first
results. It is well
is
known
accustomed
He
mohave
to
it.
We
would already be
draw up
a table
taneous generation
we have
We
may
au-
detail, in
proportion as excava-
new
come
by
a series of tests
that
we should
it
states. If
is
print prognostica-
tions
which
if
are
so vague,
we should
list
be very
much
surprised
we
fact, it is self-evident
204
mentator of the Jdtaka vainly endeavoured to construct a bridge. The six first are closely connected with the old native tradition
:
no
less
unanimously
Thus,
of the
upheavals at
last, a
provoked
been described
masterly fashion, by
(').
M.
Sylvain L6vi,
writing of A^vaghosha
Since the above article was written Prof. (i)Xoc. cit., pp. 73-74. Rapson has been so good as to have copied by one of his pupils. Mr. W. H. B. Thompson, under his direction and for our use, the version of the
the Paris ms.
Shaddantdvaddna from the Bodhisattvdvaddna-kalpalatd, which is lacking in (cf. above, p. 188, n. 3), according to the mss. Add. i)o6
and 91} in the University Library at Cambridge. The kind communication with the of this copy has enabled us to prove the identity of this version with that of the Kalpadrumdvaddna. It exception of three interpolations
appears that the author of the latter collection restricted himself to reprodacing, without
the
however
(in
work
This
any way) informing the reader of the fact, two points he has lengthened the
in his
it
which
much
abbrevia-
however unexpected
may
far as
:
only causes us to think that the Kalpadrumdvaddna and Bodhisattvdvaddna-kalpalatd agree in preserving for us the version of the canon of the Mula-Sarvastivadins, which, as we know (cf.
the successive forms of the legend
it
above, p. 151, n. 2), usually serves as a basis for the poetic lucubrations of
Kshemendra.
On
it
at the
beginning of
we are dealing with a well-known author, who wrote the XI* century, and who yet makes use of a version
Thus
it
part to consi-
between the stanzas of the Pali Jdtaka and their commentary. We are happy on this last point to connect with the already cited evidence of M. Senart and Professor Luders that of Prof. Oldenberg (NachricUm der
k.
Gesellschaft der
Wissenschajtm lu
Gottingen, Phil.-hist.
Klasse,
191
1,
Buddhist Art
in
Java
C).
Boro-Budur
that
(') constitute
indisputably the
island of Java.
We know
bas-reliefs
also
they alone
can
compete, in the
other
gem
In beauty of
they even
far surpass
Cambodia. Occupying
a detached position in
which forms a screen on the south, the eminence on which stands Boro-Budur domia small chain of mountains,
all
covered with
sides
shim-
by the
Sumbing,
in height exceeding
10,000
feet;
Mount
Mer-Api, the
in
Mount
of Fire, the
and
the northern
distance,
half-way to the
descried,
sea,
whose
hill
vapours
may
be faintly
the
nail
rounded
of
which, according
(i) Extract from the Bulletin del'Ecolefranfaised' Extreme-Orient, vol. IX, a result of a too brief stay which the 1509, pp. I sqq. These notes are author was able to make in Java during the month of May 1907.
17
2o6
BUDDHIST ART
IN
JAVA
The
have
yet
flat
and marshy borders of the Cambodian Great-Lake nothing to compare with this subhme scenery and
;
it is
a fact of
common
duces
at first sight a
general impression
much
less
profound
No
doubt,
we must
take account of
The
Khmer monument
215
has an exterior measurement of 187 by metres; the lower terrace of the Javanese building
1 1 1
forms a square of
attains
metres on each
side.
The former
summit
first steps.
an elevation of
older by three
Tropics
after all,
is
in a
we must acknowledge
that the
two monuments,
even
at the
common. Angits
kor-Vat deploys on
tiers rising
three
Boro-Budur encomits
summit of
a hill
at
by
stair-
and surmounted by a dome. At Angkor- Vat the eye ranges through the colonnades or follows in the distance
(i) Boro-Budur
is
commonly
Vat to the XII"'. The leaning walls of the Javanese Stupa threaten ruin to
such a degree that the Government-General of the Dutch East Indies has
been moved thereby. The friends of archseology will learn with pleasure that
a first grant of 60,000 florins (about 5,000) is at present being devoted to works of preservation under the expert direction of Major Van Erp, of the
Engineers.
BUDDHIST ART
IN JAVA
;
207
at
Boro-Budur
the
ways embraces in his view the grandiose scheme of the design. In Java, from the foot as from the top, nothing is ever
perceived but a compact mass confusedly bristling with
little
cupolas forming so
many
pin-
The
fact is that
Angkor- Vat
by the
god
its
in
massive
as a shrine
for relics. In
second
is
That the
is
infinitely
more favourable to the effect of the whole than that of the mausoleum, no one will deny. Still this reason is not entirely satisfying; nor does it suffice to explain what at first sight is wrong with the aspect of Boro-Budur
(pi.
XXXI,
at
i). It is
not
dome with
which
simple
stupas
at
Sanchi and
Manikyala. Neither
a super-
pyramid in
steps,
Nor has
it
the
lengthy slenderness of
its
(i) Cf.
pll,
XXXII,
2.
208
BUDDHIST ART
bell.
IN JAVA
it
an enormous
To
speak candidly,
unable to decide clearly whether to be conical, pyramidal, or hemispherical. The vertical indented walls of the
first
six
is
galleries
give
monu:
ment
is
about to
the
mount up
but with
three upper
this
start
suddenly frustrated, and the whole structure assumes a crushed and heavy appearance. Doubtless we must make allowance for the disappearance of the crown and
the depression of the
rains.
summit under
Neither must
we
forget
that
the wide
band of
first
terrace
as an afterthought
no
taken
into
account,
the
disappointment
none the less. That a great tumulus can never be anything but a kind of huge pudding, he is quite ready to admit but there are puddings which are more or less succesfuUy constructed. Without irreverimpartial observer exists
:
ence
we may
endless zig-zags of
on the whole
as
it is
minutely carved
in detail
Q-
(i)
We know
J.
Heer
W.
buried in
that the discovery of this peculiarity is due to an engineer, Yzerman. The primitive plinth must have very early been the new masonry along with the bas'-reliefs wherewith there had
it
to
way under
the thrust
of a terrace advantageous, thus completing in the most patent manner the sacred number of nine. This addition is indicated on pi. XXXII, i
(2) In case the reader should be tempted to think that these criticisms
are
made by
is
begged to
refer
BUDDHIST ART
It is
it.
IN JAVA
fact;
209
we must
skill
also explain
Certainly
we
of the architect
who who
ral
decoration,
who,
finally,
by an ingenious arrangement
made
sure of
an indefinite preservation
If,
at a slight cost
of maintenance.
therefore,
struction, he
it.
We confess
when
grahan
monument
stand
dark mass,
which
all details
where we were
archaeologists to regard
Boro-Budur
as
after the
reality,
it is
dome, according to the old Indian mode, but much more elaborate, being cut horizontally by a series of promenades
and
itself
it
crowned with
a second cupola.
its
The
it
influence
which
general conception as
not from
Gandhara, but, as
natural,
from southern
India,
where
to the opinion
of
Brumdnd
name
in Leemans,
Boro-Boudour dans
Vile de
Java,
for
p.
may
210
its
BUDDHIST ART
direct ancestor is called
IN
JAVA
this theory,
AmaravatiC)- And
the imposed on the most uninitiated by observation of monument, is confirmed beyond all hesitation by an examhave been ination of the plans and elevations which
drawn up by
lower
speciahsts.
The
Have
designs
the
goodness
in
at
to
cast
a glance
either
at
the
contained
the
grand album
accompanying
Leemans' book, or
ed under the care
from drawings recently executof Major Van Erp, who was kind
to us.
enough
to
communicate them
We
have restricted
the principles
of Boro-Budur will
strates to us in the
become
The
plan
demon-
lower
galleries,
circle,
within a
to an inner circle.
initial project
On
the elevation
we
him our
his
to try to
enter into
still
views.
;
hold good
but
58, a
model of
a stupa
from Amaravati,
the aid
monument with
promenade intended
to facilitate access
latter are
already borne
IN
JAVA
211
for defects
no longer appear
to us anything
initial decision.
was
in order to
sections of his
segment of a sphere
first
twenty
if,
band of
made
these galleries
far
circle. It is
because a semi-cir-
mount
like a
promenades, themselves
This explains at once the contrast between the steepness of the first steps and the gentle slopeof the last(cf pi. XXXIII,
2)
:
section of a globe
Q. Neither
is it
if,
top of the rounded sides, one can no longer see the foot,
just as
it is
sum-
mit.
If
we
of Boro-
we
shall
understand
why
mouldings he has
shall
no longer be astonished
The
difference
at the
symmetrical multiplication
between the steps at the bottom and those at the top from the first to the second gallery, for example, thirteen steps only go back m. 3,56 in rising m. 3,84, whilst the seven steps which lead to the first circular gallery, the sixth of the whole, have a depth of m. 3,40 in rising m. 1,80; Wilsen (ap. Leemans, p. 576) asks whether we must not, in the steepness of the first steps, see a symbol, suggested to the minds of the faithful by the intermediary of their legs, of the difficulty
(i)
is
so great that
of attaining to Nirvana
We
imposing upon them still steeper ones is one of the reasons which decided the architect not to conform in all things to the ancient Indian formula of
the air bubble on water
to his
,
monument
212
On the whole,
him,
in
every point
criticize
we must now, on
which he has
tradition
the
ancient religious
of
and
to
far as
possible to conform.
We
by
at
once
almost
six
metres above
much
better
and
in
an incompara-
which he very soon had to bury the original foundation of Boro-Budur, and which still to-day
gives the structure an
that
awkward look, we flatter ourselves we should have made fewer mistakes and felt less hesi-
II
wall of the
first gallery)
Whatever from an architectural point of view has been lost to Boro-Budur through the tyranny of religious tradition
is
The 2,000
ed
its
more or less, which formerly coverand of which about 1,600 still exist to-day,
;
are all
of Indian Buddhism
borrowed from the legend, or from the Pantheon' audit was the testimony of these that
BUDDHIST ART
from the
first
IN JAVA
213
established
the
abundance and variety of subjects the and epopee of India have provided for the labour of the sculptors of Angkor- Vat nothing comIn
monument.
Brahmanic
art
parable hereto. Neither can these latter vie in skill of execution with their confreres of Boro-Budur. While their chisels
could only moderately carve the fine Cambodian sandstone into rather shallow pictures, the artists of Java, not
disheartened by the coarse grain of the volcanic stone furnished by their island, have drawn from it veritable
high-reliefs of an astounding depth. Their figures, in spite
movements and
Above
skill,
is totally
owing
to
want of
artists.
apparently
more
archaic
Even
few chefs-d'oeuvre that we still possess of the schools of Gandhara, Amaravati and Benares,
we
cence of Buddhist
Among
interest
to arouse
of the
second
proves
is
gallery , but
which Heer
J. W. Yzerman's discovery
first.
This gallery
having an
interior
XXXI, 2).
It is
built,
of bas-reliefs.
Among those
anterior wall
214
BUDDHIST ART
S.
IN JAVA
number of
wall
jdtakas,
dha (0-
On the
itself
Leemans) Wilsen had early recognized in the upper row and scenes from the last life of the same ^akya-m.uni
;
Dr. C.
tion,
M.
it
120 panels
which
the greater
at
number
still
We remark
Q}
that
is
to say,
cir-
who
cumambulated the
stupa,
keeping
it
on
from
this that,
(i) S. d'Oldenburg, Notes on Buddhist Art, St. Petersburg, 1895 (in Russian, translated into
Society,
January 1897, pp. 196-201). (2) C. M. Pleyte, Die Buddha-Legende in den Skulpturen des Tempels von In general we are in agreement Boro-Budur, Amsterdam, 1901, in-4. XVIII,
I,
with Dr. Pleyte as to the identification of the 120 figured scenes, which in
fact
All the
in his mother's
womb
beneath the
to
moment when
him
just collected
in the preceding
by side with
the
Conception
(^Lalita-vistara,
ed.
Lefmann,
pp. 63-4).
that they represent twice the epiwith a single competitor, and then
all his rivals together (Lalita-vistara, pp. 152-3). This is why on 47 we see a single individual, and on fig. 48 all the young ^akyas, standing motionless and facing the Bodhisattva, who also is motionless and stand-
with
fig.
ing
violent
was the horror of the sculptors of Boro-Budur for movements. See below the additional note on p. 269. p. 268. (3) Cf, Art greco-bouddhique du Gandhdra,
:
so inveterate
all
BUDDHIST ART
IN
JAVA
215
left
from
to right,
while,
On
on the building, the succession is from right to left. both sides they accompany the visitor who makes the
in the
round
the
much
gallery
as
we
have
was immediately and forcibly drawn to the 120 magnificent panels on the right wall, below the scenes from
attention
the last
life
last,
from
partly
m. 0,70 to m. 0,80 in height by circa m. 2,40 about three quarters of them have until now
through the
fault of the artists
in length,
pubHshed
(')
resisted all
At
we had
Groneman
:
(^).
The
question
d'Olden-
which
is
at the
cost of an extensive
speak of the enormous folio album of 393 lithographed which is annexed to the already mentioned work of Leemans and which was so uselessly and so expensively designed at Java by Wilsen and Schonberg Mulder from 1849 to 1853, then pubHshed in Holland from 1855 to 1871 under the care of the Government-General of the Dutch Indies. (3) Boeddhistische Tempelbouwvallen in die Prdgd-Vallei, de Tjandis Bdra(i)
plates,
boedoer,
We would
The venerable
archaeologist of Jogyakarta
himself into the galleries thank him too warmly for his trouble.
Gronemann, Semarang-Soerabaia, 1907. was so kind as to accompany us and even to the summit of Boro-Budur; we cannot
J.
2i6
BUDDHIST ART
IN JAVA
The reading of the correction of one of Wilsen's drawings. DivyAvaddna gave us at once the key to the illustrations of
two other stories, those of Rudrayana and of Mandhatar. Then two or three of these rebuses in stone themselves thirds of the bear their own solutions. On the whole, two 120 panels in the row are thus clearly elucidated by direct
comparison
of the texts and the originals.
At
time
when the government of the Dutch Indies is preparing to endow the world of letters with photographic reproductions
of
all
it
is,
perhaps, worth
while to pubHsh,
whhout
Q.
South-Eastern Corner.
We
shall begin
our prada-
kshind,
The proof, if any is needed, is given by the fact that here begins on the upper series of bas-reliefs, the legend of the Buddha Qakya-muni. The 30 pictures of this series which are comprised between
formerly constituted the principal entrance.
the eastern and southern staircases exhibit the very early
life,
and including,
upoa
earth.
Of
all
confusion and to
facilitate
the refer-
we
we
here
by Lbemans lower row of the which, occupying the base of plates XVI
of his album, are described (but not identified) from page 194 to page 217 of his book. will retain provisionally between .parentheses
CXXXV
We
the odd
at the
pp. 121-193,
studied by Dr. C.
M. Pleyte.
BUDDHIST ART
lower row the
first
IN JAVA
2I7
twenty
are, as Dr. S.
d'Oldenburg has
Sudhana. We propose, with the aid of the text of the Divydvaddna ('), to enter into the details of this identification,
as definitive
we shall,
XVI, 2).
at the
same
methods of the
i.
sculptors.
Sudhanakumdrdvaddna-
(L., pi.
Once upon
two
kings, the
..
south.
perous
it
was
not
quite
:
A prince
and his
pendopo
(*)
far
from
receiving the
homage of
a great
number
of persons of
is
rank
us in
. Is it
all
the
presented to
it
the
whom we perceive in
it
means of restoris
not in the
power of our image-makers to specify. 2. (L., 4). What lends more probability
any case recognize
prince
as the
we must
in
who,
sheltered
is
by
his parasol
and followed by
a nu-
on horseback through a conventional rocky landscape. Under a pretext of hunting, as the text tells us, he is making a tour of inspection through his kingdom, which he finds completely ruined and deserted.
merous cortege,
riding
Perhaps he
is
even
now
(i) S. d'Oldenburg, he. cit., p. 200; Divy&vaddm, XXX, ed. Cowell and Neil, pp. 435-461. (2) Probably a corruption of the Sanscrit word mandapa, which signifies a kind of hall or open pavilion.
2i8
BUDDHIST ART
IN JAVA
neighbour of the young ndga Janmacitraka, who resides in and who by a pond near the capital of northern Pancala,
dispensing at
an opportune
moment the
exact
amount of
rain
which
is
necessary
rely
Brahman
hand
ascetic
who
whose
witchcraft
3. (L., 6).
less
three episodes.
as
on the sculptures of
heads
pi
XXXIV,
i) the
same Janmacitraka, grieving and under compulsion, is driven from the midst of the waters and lotuses of his pond by
the influence of incantations pronounced (at his right side)
by
Brahmanic
weapons
text,
first
he
is
having made him. annul the effect of his charm. In the third group (on the left) we must therefore, it seems, recognize the same Brahman, not reporting to the king,
whose agent he
but
at the
is,
moment
mischance which he has not survived, when he receives from this king his
by an exceptional,
episode on the
in time the
but
left,
not impossible,
arrangement, the
right,
Next, in the text, comes a brilliant reception house of the father and mother of the young ndga in
their son.
This
is
indeed what
we
are forced to
admit
BUDDHIST ART
IN
JAVA
donned
caste. It is also
necessary to
meantime he has
received
from
(L., 10).
The following
Himalaya mountains.
On
the right
we
whose thoughtless chatter has guided the arm of the hunter Halaka. The latter, who is in a squatting posture, holds the Kinnari Manohara impriascetic figure of the old anchorite
infallible lasso,
likewise represented in
human
form, rush
lotuses.
towards the
left
pond of
6. (L., 12).
At
moment, we
are told,
Sudhana, the
Pailcala, is passing
with a hunting
may
We
we must
down between
in the first
who
are standing
row he
offering
it.
Leemans was wrong in speaking of a few women of Manohara is the only person of her sex. It goes rank
:
without saying
that, as in
our
stories,
love springs up
14).
text
we
the
father of Sudhana,
is
his purohita,
or chaplain, the traitor of the melodrama. The latter is in the act of perfidiously counselling his master to confide
forthwith to the royal prince the perilous task of subduing a rebellious vassal, against whom seven expeditions have
already failed.
220
8. (L., 1 6).
The unhappy
to his
young
wife.
mother and
clearly
Sudhana, as
it is
who
reign in the
air,
five giants,
The
latter
con-
wife and
two
servants,
whom
he
is
engaged
it is
in a very
animated conversation...
text that
Here, again,
we
transfer-
is
advantage of this to
to
make
a gesture of protest,
Thus, on the following picture we see the fairy Manohara, with the assent, and even the compHcity, of the Queen Mother, flee away
self-preservation at last gains the victory.
XXXIV,
2).
Meanwhile Sudhana, by the aid of the has triumphed, without any shedding of blood. His
BUDDHIST ART
mission
fulfilled,
IN
JAVA
221
We
shall not
to observe
on
pi.
XXXV,
(L., 26).
The
prince has
and ingratitude
his
of the
mother
it is
interesting to
compare
this intervievv', in
which we were
Once again
this
this sign
18,
we
Druma, king of the Kinnaras. It is, therefore, his daughter, Manohara, who, crouched at his left, is relating to him the story of her romantic adventures on earth. It results, further, from this that the scene is sudand
denly transported beyond the
first
The
sculptor does
if
all
that
he
can to vary in
imagination,
and persons.
15. (L., 30).
However Sudhana
It
has
set
himself to
occurs to
him
it
to enquire of the
led to the cap-
Now
with
this
same
respectively to
deliver
at last
222
Druma. At
very
moment a crowd
o{ Kinnaris is engag-
human odour
earth,
and
which
to
which he recommends
the trick
first
to be
but according to
it
XXXV, 2, so elegant
is
in its
morbidezza,
young man. 17. (L., 34). The stratagem succeeds Druma, warned by
:
make mincemeat of him , is appeased, and consents to prove him. The bas-relief represents Sudhana standing at
to
the
left,
his
bow
;
single arrow
on the
he resolves, as
is
we
can
hand.
lead
a life of
customary Indian and Javanese formula these delights are provided by a dancing girl, accompanied by an orchestra of
musicians of both sexes. As Leemans has shrewdly remarked, the royal
these
amusements
they do not, in
fact, suffice
to cure
And
this is
last
we
see
him and
by a distribu-
tion of
bounty
BUDDHIST ART
Here,
IN JAVA
223
we believe,
hara, or, as
we may
The
seem to be devoted to another story, in which the exchange by sea and land of
portraits, or
sooner or
later
an iden-
For the present we prefer to abstain from all hypothesis. The example of the first twenty of these basreliefs
it
would be
Even
idle to attempt,
it
must
We
have just
for a
few in-
We
should arrive
their
if
we
compared with
legend, preserved in
work another version of the same the no less ancient and authentic col-
Q.
(i) A story, likewise Indian and Buddhist, translated from the Chinese by M. Chavannes (Fables et Contes de VInde, extraits du Tripitaka chinois, in Ades du XIV<^ Congres international des Orientalistes, I, p. 94) begins with this double and reciprocal exchange of ideal models but the continuation of the story does not seem to accord with the scenes of our bas-reliefs. We
:
may
Mahakagyapa, the
detail
of the fabrica-
du Kandjour
tales,
II,
296
sqq., or Tibetan
p. 191).
pp. 94-115.
as has lately
been shown by
MM.
S.
Levi
and Ed. Hdber, the canon of the Mfhla-Sarvastividins; we shall have to return to this point. Let us again cite two versions of the Sudhanakumdrdvaddna,
the one from the BodUsattvdvaddnahalpalatd (no. 64), the other (pointed out by
224
BUDDHIST ART
IN JAVA
also
it
is
not
,
with an
infallible lasso,
There
is
no
it
simply happens
Sudhana, having
is
duties,
home, but not by way of the air. Then it is with two hunters, and not with an anchorite, that Manohara
sent
leaves her ring and her directions to her lover. It
is
huge
companwelcome
trial
him,
without
of
strength or
skill.
In short,
we had
two or
would be
and yet
it
is
constant accord between the Divydvaddna and the sculptures, that the identification
with the legend of Prince Sudhana would be on the whole none the less just. This remark deserves to be borne in mind throughout the deli-
mute
stories.
II.
South-western Corner.
We should be tempted
we
to
en-
Dr. S. d'OLDENBDRG, Leo-M(i bouddhiques, St Petersburg, 1894, p. 43) from the Bhadrakalpavaddna, no. 29.
BUDDHIST ART
IN JAVA
(*),
225
to the Divydvaddna
we
shall there
as
familiar to
it
the Brahmanic
is
counting from the southern entrance (no. 76 of Leemans), that the text again comes into line with the
monument,
to
march
first
side
by
side with
it
thenceforward
What
we
to
The analogy of
reliefs
twenty bas-
to the Mdndhdtravaddna
at a
only the
point
far as
sculptor
much
it
earlier
The
first
goes back,
seems, as
drawn
first
up
r^sum^ of
his
at large
on the exploits of
we
Mandhatar commenced
and that
it
at this
most unexpected manner. The abridged and colourCowELL and Neil, pp. 210-228. Cf.
de St-Pet., pp.
44 sqq., or Tibetan
tales,
Bodhisattvdvaddnakalpalatd, pp. 1-20), and a third Sanskrit version in the Series, no. 750, pp. 123-153). no. 4 (Bibl. Indica, New
226
less
no
which, in
fact,
Kshemen-
dra does the same, but for once, in the midst of his insipid
concetti,
he has,
at the
by the destruction of the demons, mounted on horseback, and began to go through the
a
hermitages.
There
were holding
a vessel
ready for a
son
one draught.
;
No
had conceived...
came on
the
When
it
whose nurture
women
disputed.
To
the
wonderful circumstances of
name
to us
or even, by confusion
is
of special importance
that the
link
reliefs (').
Mdndhdtravaddna.
same story
BUDDHIST ART
US from seeing in nos. i(L.,
rich
pi.
IN JAVA
227
XL VI,
The
is
reason
(L., 66)
no longer
in
hidden from us
this
it is
that undertaken
No. 4(L., 68) takes us straight to a hermitage of the rishis; and we beheve that we can see there the magic vessel to which Uposhadha owed in such an unusual manner
anchorites.
it is
in the followis
L.,
much desired
as padding,
first
world, the second (L., 74) the donation intended to recompense the astrologer. These last incidents, Uke that of the
alms, are very commonplace;
it is
On
of Boro-Budur never
fail
But
let
us proceed
we
are
now on
firm ground,
tra-
mutual accord.
a
(L., 76)
Having become
a royal prince,
Mandhatar
We
do,
young
prince at the
moment when,
on
his jour-
latter dies.
Among the
is
228
BUDDHIST ART
IN
JAVA
woman,
that not
a general,
and
a minister.
tells us,
is
The Divydvaddna
hundred
rishis.
immediately
after,
charming wood, in
which
reside five
Now
meditations.
surly anchorite,
annoyed by the noise of certain cranes, breaks their wings turn by by a curse. King Mandhatar, angered in his
this
from
hardness of heart, requests the hermits to depart us birds his dominions. The bas-relief also shows
placed
on the ground between the king, who is standing in recogconversation with a stooping courtier, and two rishis,
nizable by their big chignons and their rosaries,
fleeing
who
are
air.
fields
cultivated
down from
The
peasants do,
ears of rice,
up before
his eyes
bunches of
:
which have
fallen
we
expressly say
rice is
not cut,
that
no longer need
material,
to cultivate cotton, or to
spin, or to weave.
Immediately there
pieces of
woven
i).
XXXVI,
all
these miracles,
Mandhatar causes
within his
own palace. This explains why, beside the king and his ministers, we see here only women, engaged in colfrom
jars set
BUDDHIST ART
14. (L., 88). Finally
IN JAVA
229
seven jewels of the cakravartin and followed by his army, sets out for the conquest of the universe the feet of none
:
Here the
text, in
human
heart, enters
upon
a series
stone.
King
still
Mandhatar has
who
at
On
the
monument we
are in
ing
for the rest, the sculptor has given to the yaksha the
On the following
to the
swoop
summit of
Two
in a palace side
by side on
midst
moment
to
chosen
is
that
when
Gods, has,
on the mere mental wish of the king of men, yielded up him the half of his throne and there was no difference
:
to
not blink.
17. (L., 94). If this interpretation
were
at all doubtful,
it
would be confirmed by the picture immediately following, which represents a combat between the gods and the Asuras.
to manifest itself
and
According
:
Mandhatar
after the
, is the
battle asks
Who is
conqueror?))
The king
whereupon the
230
ries his
BUDDHIST ART
presumption so
far as to
IN
JAVA
in
order to reign alone in his place. But this time he has gone
too
far.
is
thrust
pronounce
few
with his minister; no. 19 (L., 98) should be dedicated to the last words which he pronounces after his fall, while on
the
left
away
his
they
may
be,
Qibi-jataka.
of those which
we might propose
series
as far as the
(L., pi.
LXXI,
112).
to
previous
life
somed
an equal weight
of his flesh
At
least,
nothing
is
wanting to the
nor the
of prey perched
on
neighbouring
tree,
(i)
It is
well
known
that
we
still
this
form of the legend. Except for the Brahmanic epopee, it is known to us only from the allusions of the Chinese pilgrims Fa-hien (trans. Legge, p. 30), Sung Yun (trans. Chavannes, B. fi. F. E.-O., Ill, p. 427), Hiuanthat
I, p. 137), and from Chinese versions, such as which was retranslated from Chinese by M. Ed. Hdber, SutralanMra, Paris, 1908, p. 330, and from Tibetan by Schmidt, Der Weiseundder
Thor, p. 120.
BUDDHIST ART
IN
JAVA
231
throne
and once
in
one of the
plates of the
scales
XXXVI, 2). This time the bas-relief would be sufficient for its own interpretation. We feel how rare is such a case among all these sculptures and the greater number of those
;
of the upper
row
which
in the
from the
birth of
^akya-muni
which
are not
more
expressive.
North-Western Corner.
represent in the upper
his
The
bas-reliefs of the
known to
dha from
gious
life,
row
home,
all
that
is
and
the trials
of perfect illumination.
least
Out
,
22 and perhaps 2 5
,
are, as
we
shall
consecrated
Rudrayana. Again
it (*).
we may read
gave, in
M. Ed. Huber
it
an analysis of
it,
from which
from
to discern
of
at
Boro-
justly discouraged
only accessible reproductions, he was obliged to abandon this clue. Direct comparison of the text with the monument
has permitted us to follow
it
to the other.
(i)
XXXVII,
ed.
CowELLand Neil,
it
known
that
Bur-
NOUF
translated a fragment of
in his Introduction a
I'histoire
du Bouddhisme
232
BUDDHIST ART
IN
JAVA
The extremely exact and sufficiently detailed resume published by M. Huber, to which
we
little less
upon the
history and a
sculptures.
Rudrdyandvaddna.
First of
all,
way
the corner of the western staircase, but only at the first reenDo tering angle after the face intersected by that staircase. the three
first
which
Qakra plays his accustomed role of deus ex machind, form a whole by themselves, or must they not rather be a continuation of those
on the right? Or, on the contrary, may we not some day come to think that the story of Rudrayana also comprises a prelude omitted in the Divydvaddna} Only the
chance of reading some Indian text
tell us,
even
if
we have
Chinese translation.
For the moment we begin with the Divydvaddna at no. 128, pi. LXXIX of Leemans, where Rudrayaria, king of Roruka, questions merchants, who have come from Raja1.
merits of
king
is
on
his right
:
hands a rectangular
which, in the
first
tablet
fire
this
letter
of his
are per-
missible
if
name
is
Rudrayaria;
as
the addressee,
this
he
is
Bimbisara.
We
by attributing to each of the two monarchs a characteristic physiognomy that would be exacting too much from them.
:
3.(L., 132).
Then
BUDDHIST ART
IN JAVA
253
or to say farewell to, the improvised ambassadors, in a royal court no less uncertain. The Divydvaddna ssljs no word
but the meaning of the mise en not to be doubted; and, for the rest, it is sufficient to compare it with the 1 1 2* bas-relief of the upper row
:
fig.
Buddha. There,
:
laid in
from twenty to
enormous pot of
rice,
in fact, a regular
rijstaffel
minor persons
disis
and
Bimbisara
letter.
(L., 136).
The
new
air
doubtful whether
we
Rudrayana receiving
give in exchange
6. (L.,
(').
it
138).
However
may
from Rudrayana
terribly
mal-
where
it is
absolutely unre-
were somewhat inclined towards this last supposition but, all taken into account, it seems impossible to establish a regular alternation between the heroes of these first six bas-reliefs. If we must admit any sym(i)
:
We
metry between them, we should rather be inclined to think that in nos. 1-3 the scene is at Roruka, and in the three following at Rijagriha. Then we
return to Roruka until no. 13.
234
BUDDHIST ART
IN
JAVA
cognizable, that
we
think
it
phic reproduction
7. (L., 140).
(pi.
XXXVII,
The
it
total
absence of landscape
sufficiently
it
rare to render
direct attention to
here.
The whole
pied by a procession, in
man
is
on which we know
that the
is
Buddha
to
taken
are
at
the
moment when
meet
this
who
come out
it
supreme
gift
from Bimbisara,
bring
pomp
to their town.
is
8. (L.,
of
an angle
It is
no longer
the merits of their king which are the boast of the people
soon
as converted,
begged
to receive instruction
from
patched
is,
to
him
monk
most perplexing
necessary to
pi.
is
manner the designer considered it surmount the shaven head of this monk (cf.
the protuberance of the ushnisha,
and
and even on a
also the
XXXVII, 2) with
which
special to
in the
of refusal
what he
is,
is
(The drawing is missing in L.;. Thus the following panel shows us the nun ^aila preaching from the height of
a throne to the king and four of his wives,
who are
seated
on
BUDDHIST ART
the ground (pi.
IN JAVA
235
XXXVIII,
i).
harem during the sermon. It will be noticed that doubtless from modesty the nun and, in a general way, the
women
the
men
(').
(The drawing does not appear in L.). The scene is obviously the same, except in two points. Firstly, a second
11.
quorum
now
ing.
only
women
in the audience,
is
XXXVIII,
is
2),
(The drawing
would
not learn elsewhere that Candraprabha was born again in the nearest heaven, and that she promised her husband to return after her death to advise him as to the ways and
we
in another
i).
life.
Here she
is ful-
This explains
morning
Rudrayana decides to go and be ordained a monk by Buddha, and announces to his son Qikhandin that he abdicates
again notice that the real padma-
we may
of the feet turned upwards and sana, with the legs closely crossed, the soles Buddha alone (cf. right foot forward, is reserved by our sculptors for the upper corners of our plates XXXVII, 2 and XL, i the image of the
on the
236
BUDDHIST ART
IN
JAVA
XXXIX,
drawing of
L., pi.
acters,
XCI,i52, reproduces only the upper part of the charand commits the very grave fault of making the
king's interlocutor a
woman
it is
obviously a man.
ing one
is,
in
more
with the
aggravation of an
no. 9
of a
monk
Buddha! Furthermore the two scenes nos. 9 (pi. XXXVII, 2) and 14 (pi. XXXIX, 3), which are quite symmetrical, bring
face to face
monk and
the type
of the king.
Only
in person at Rajagriha. In a
first
long dialogue he
in public as a
offers of Bimbisara.
You may
was
both on the
monument and
famous episode
this
^akya-muni by
same
parts
Bimbisara.
15. (L., 156).
The
two
by a
tree,
and the
different orientation
of the characters
emphasizes
this separation.
On
represented by Wilsen as a
from merchants, natives of his country, that his son ^ikhandin is conducting himself badly on the throne, and he promises to go and put things in order. On
the
left,
at
is
warned by
his evil
BUDDHIST ART
ministers that there
is
IN
JAVA
257
rumour of his father's early return, and he forms with them a plot to assassinate him. In the
a
background
is
by a
edicula,
:
which serves
as
porch to a pahsaded
at
nevertheless the
Roruka.
On
of a father and the murder of a saint, he comes to seek refuge with his mother doubtless this is the moment cho:
him
at least
of his crime of
falsely,
by
is
revealing to
him,
truly or
that
Rudrayaria
father.
less inexpiable
murder of an
arhat,
or
Bud-
dhist saint. Is it
conceived by the
is
no
On
the
left
under
his stupa
two
cats
ed to answer to the
name
of the
two
formerly
converted by Mahakatyayana.
On
the
right the
Queen
The frame
contains
two
distinct episodes.
On
a litter;
238
BUDDHIST ART
IN JAVA
a handful of dust
on Mahakityayana, with
whom
his rela-
tions have
correctly
free
On
the
left
for once,
represented by Wilsen
the
monk,
already
from the heap of dust, under which he has ministers Hiru preserved his life, announces to the good destruction of and Bhiru the approaching and inevitable
the infidel city of Roruka.
miraculously
Like Qikhandin in his palace, we witness prophet, must the rain of jewels which, according to the the inhabiprecede the fatal rain of sand. The eagerness of
19. (L., 164).
tants to gather
sels
up the precious
objects, cast
is
down from
ves-
vivaciousness which seemed to us quite deserving of reproduction (pi. XL, 2). In the first row a boat which is
in
painted with a
Mahakatyayana
Q.
The
destinies are accomplished
all its
:
Roruka
the
first
inhabitants.
When
we
halting-place of Mahakatyayana
to India.
on the route of
his return
of Roruka,
air, is
him
in his flight
detained at Khara by
her, the
an imprudent promise
but,
on leaving
which we have already encountered above (Mindhitar, no. 13 L., pi. LVIII, 86), seem to be a current accessory of Indian imagination. Compare the passage from the Jdtdkamdld, XV, 15 (ed. Kern, p. 97; trans. Speyer, p. 138), where the clouds pour down like overturned ves(i) These vessels,
;
sels .
known
BUDDHIST ART
IN
JAVA
239
which
a stilpa
is
monuright is
ment which
is
on the
hand and a fan in the other, is the goddess herself; behind them crowd the laity of both sexes and the musicians.
21. (L., 168).
We
Lambaka. (^yamaka,the young layman, the sole companion who remained with Mahakatyayana, receives from the people
of the country an offer of the throne.
A miracle, which
is
them
former
was
his
mother
inauguration of the
As in no. 20, we are present at the monument. At least, the continuation manner
for the identifi-
on the
Better
still
just as
set
by
episodes.
Now
who
the entrance of a
monk
Wilsen,
monk
lends
him
hair
is
indeed a
seems
not to
two
pictures in
which we
drawing near
240
BUDDHIST ART
IN JAVA
to a
bank would represent, no less scrupulously than do the texts, the two foundations of Hiruka and Bhiruka by the
by water
site
of
Bhiruka or Bhirukaccha
The double
tion of
it,
We do not
see
up the space
we
in
must not
situ
tuted the
ced.
monument, could be
is
neither
repla-
There
no
artist,
on approaching the
perceived
that
staircase,
panels, of
had to fill five or six which he could not decently devote more than
still
:
he
two
from
to the Kinnara-jdtaka
his
moreover was
by the
texts,
who had escaped from Roruka, that is the goddess, ^yamaka, Mahakatyayana, and the two good ministers.
to their destination the few persons
(i) Apparently
it is
BUDDHIST ART
Kinnara-jdtaka,
IN
JAVA
241
We may
78 and
80)
The only
appreciable difference
that the
same prince is standing on the first to overhear and seated on the second to listen to the discourse of the same pair of Kinnaras. Such is, in fact, the name that
is
we do not hesitate to give to the human phenomena , who are related to the Gandharvas hythtir musical talents (') and who are represented here with birds' wings and
feet (pi.
XLI,
i).
The Buddhist
art
human monsters
(pll.
Q. When
it
has not
as
above
XXXIV,
and
XXXV,
man
or a
woman,
bird, is
It fits as
Parambanan temple
in
rative
and religious
it
appears
in a sculpture inscribed
on the
Tower
of Victory at
st.
16).
(2)
It is
;
unknown
pl.
to ancient Indian
sculpture
woman
balustrade of
Bodh-Gaya
(Ritj.
XXXIV,
is
2) and of
man,
at
the
commence-
ment of
}dt. no,
assamukhi.
242
BUDDHIST ART
IN JAVA
, per-
even
unfortunately we on the old raihng of Barhut can only judge of this by a wretched sketch from a half:
is at
Cunningham
which
separ-
must have
human
Q.
We
same jdtaka
lives of the
is
exactly
which
re-birth is
poor in
details.
adventure
a rocky solitude
we must
at
in to a
we
cannot
that
(i)
We
the inscription
is
Kinmrayug(cf.
mayugma.
(2)
p.
69 and
pi.
XXVII, 12
above,
p. 53).
p. 92, points
between the Kinnara-jdtaka of Barhut and that of Boro-Budur has shown by Heer J.-W. Yzerman in the Bijdragm tot de Taal-, Land- enVolhenhunde van Ned. /wi., Vijfde Volgreeks, d. I, afl. 4, pp. 577-579. Since the above was written representations of Kinnaras have also been found on the paintings of Central Asia.
tion
already been
BUDDHIST ART
IN
JAVA
:
243
too has for scenery a piece of jungle for our king is evidently not thinking ot killing the male Kinnara, in order to
It therefore remains for us to adopt the Bhalldtiya-jdtaka (no. 504), in which also we have nothing but conversations in a mountainous dis-
trict
(').
It
is
story.
The king
ot
wood
why
for
He
were separated
river;
sudden swelling of a
and in
of a thousand
years the loving couple have never yet been able to forget
this cruel separation, or to console each other entirely for
It
will
be observed on
it
pi.
XLI,
i,
his
of the king: but in the text of the /ato^fl, just as in the famous
di Rimini,
it is
the
woman,
who
relates their
common
IV.North-Eastern Corner.
Altogether we have
much more
S.
offer-
The 30
still
to be considered are
refractory
to
all
attempts
at
d 'Oldenburg,
on the
replica of
Boro-Budur,
we
believe
we
may
Cunningham
besides,
is
and Prof. Hultzsch {Ini. Ant., XXI, 1892, p. 226) S. J. Warren and of Dr. S. d'Oldenbdrg, who,
it
right in believing
as
two others
{loc. cit., p.
191).
244
BUDDHIST ART
IN JAVA
we
For the
rest,
would be
still
where
we
renew the purely descriptive commentary which Leemans has given in full for there is no task more idle than to des:
cribe bas-reliefs
in
was
for
On
corner these
latter
extend from
preaching.
first
is
related to us
between
whose titles we are still ignorant. Our first care, therefore, must be to-determine as exactly as possible where it commences and where it ends. The texts which have preserved it for us (^), and to which we are indebted for the explanation of the meaning of the bas-reliefs, agree in rendering the story in two symmetrical parts, separated by
two
others, of
owner, follows
at first
mother, to
whom he successively
offers
Dr. J.
kunde van Ned. -Indie, 1906, vd<= Deel., and for and Siamese images, Gkunwedel, Buddh. Stud., p. 97. (2) The Avadana-Qatalta (ed. Speyer in Bibl. Buddhica, p. 193, and trans. Peer in the Ann. du Musee Guimet) gives us, it seems, a canonical version of it.No. XXXVIII of the Divydvaddna (ed. Cowell and Neil, p. 586) is already
a literary rifacimento.
Further, let us
quote Bodhisattvdvaddmkalpalatd,
no. 92, Bhadrakalpdvaddna, no. 28, and, for comparison, Jdtaka, nos. 41, 82, 104, 369, 439. A Chinese version has been re-translated by Beal, Romantic
Legend, p. 342.
BUDDHIST ART
;
IN
JAVA
245
father's
to sea,
far as to kick
The
fitted
ponds, point for point, with the first. Having escaped death,
Maitrakanyaka
is,
as a
each halting-place
:
by
4,
8,
nymphs
(apsaras)
him
still
where
sons
try
who
strike their
and must
Now
figured
on
no. 216
of Leemans
until no.
224.
CXXIII), and the story does not end One might suppose, therefore, that the
four pictures which precede no. 216 are likewise consecrated to Maitrakanyaka.
One
thing at least
is certain,
namely
by
his
mother, on
no. 212, at the corner of the north and east facades of the
stupa.
are entirely
in
accord
(The drawing of L., no. 212, pi, CXXI, is almost entirely missing). Under a mandapa Maitrakanyaka, seated on the ground with his hands joined, is offering to his mother a purse, which he has just placed before her upon a tray adorned with flowers (pi. XLI, 2). The bystanders are numerous behind the mother are seven women, standing
I.
:
may
companions. Quite
at the left a
house
seen in outline.
is
as
246
BUDDHIST ART
joint
is
IN
:
JAVA
us not hasten to cry
though the
out that this
were twisted
let
a mistake
at least
on the
even a deformity,
the
skilfully dislocated
no otherwise
2. (L.,
in this position.
214).
An
parts.
On
practising
is
his last
proved by the
be either his
mother or
foreground a purse,
doubtless supgifts
2 kdrshdpams.
to two.
On
we
the
left,
poor
of the
bas-relief,
see the
at his
feet (pi.
XLII,
all
moustache, which
cut short
identification
and
this explains
why
that
ofDr.
S.
only
at the
3. (L.,
216).
The
supplications of his
mother
failed to
restrain
we
his sea-voyage,
on the
left his
been
afraid
women
for
we
perceive
4. (L., 218).
5.
(L.,
The encounter with the 8 nymphs; 220). The encounter with the 16 nymphs
1
(in
1);
(L., 222).
the 32
nymphs (14
in
reality).
7. (L.,
224). At
trakanyaka as
far as a
apparently
BUDDHIST ART
IN JAVA
terrible
247
guardian of the
a
burn-
its
come
For the
rest
both
form of
their jewels.
it
But these
differences, slight
to a scruple of the
his
we
him
strike
mother, so also
:
we
ment like his crime, his chastizement We must not forget, in fact, that he is
ly
only suggested.
the Bodhisattva in
mounted upon
his
vow
to
endure
salvation of
humanity whereupon he
:
immediately freed
from
all
suffering.
Does the
left
with represent
this
apotheosis?
Or
which
intersects
same time
it is
new
action? This
we have
not
of the following
and
final story.
Let us
sum up
is
all
first
gallery of
Boro-Budur
two rows;
identified
row have
;
already been
Laliia-vistara
thanks especially
said of
to
two
248
BUDDHIST ART
IN
JAVA
fortunate
completion of this enterprise in a relatively ways and it also allows us to discern the near future
:
means
these
which we
continue to encounter.
Among
the
first
of
we must
which we have just examined would doubtless have been recognized long ago, as were immediately the scenes, in two or three pictures, of the jdtareproductions.
The long
series
kas figured
on the opposite
drawings
as,
such
monk into
have not
judi-
Buddha
as
may
off the
scent,
who
We
all
it
the sculptures
will,
with
its
to distribute copies
among
On this
condition
still resist,
although invaded
on
all
researches of students of
Buddhism;
in the
meantime we
having
left
latter for
so
monument
that
it
of this importance.
to cast one's eyes
originals, of
Does
this
mean
is sufficient
upon
these bas-reliefs,
whose
narrative
doubtful, in
The
it
is
know
And,
some
extent to the
BUDDHISt ART
sculptors
:
IN
JAVA
249
would be well, before devolving upon them the burden of our ignorance, to have present to our minds the conditions under which they must have worked.
still it
Firstly,
enormous
surfaces
on the
gallery alone
the 240
metres In truth,
!
it
fresco-work
that
was not so much sculpture as decorative was exacted from them. Hence we
120 pictures of the upper row they
understand
why
in the
lengthened out the ten avaddnas to which they had recourse in order to fill the space. It was materially impossible for
them
that
is
diately
which alone had a chance of being immerecognized by the spectator, and which were
days the
memory
is
of
some
tradition
and
in the archaeo-
some
it
reading.
For them
every incident
ly to
representation.
We
may
ther the
best.
view the
They
which every-
way
becomstrictly
us absolutely nothing
abuse
is,
If this
the difficulty
by
insipid recep-
make us grasp
we
2^0
BUDDHIST ART
IN JAVA
drowned Not only are the characteristic episodes thus pictures without movein a dull, monotonous flood of
the principal motif^ is ment, but even in each picture of accessories often'submerged under a veritable debauch the artists is to be and details. The only excuse here for at least three times found in the form of the frame, which is there is no great peras wide as it is high. Consequently
to form a wallsonage whose cortege is not spread out True, the presence covering, sometimes over several rows. conformable to these numerous dumb actors is quite
of
understood Javanese, as well as to Indian, custom; but it is they conthat most often they take no part in the action
:
fine
themselves to crowding
it
repetition,
which
is
more
or less compensated
by the variety
:
of the attitudes, always deftly treated. This is not all the sculptors have made it, as it were, a point of honour not to
leave vacant any part of the surface at their disposal. In
(cf. pll.
XXXV,
XXXVIII,
XXXIX,
XL,
i);
on
a reduced scale; or
XXXVII,
2,
finally, ani-
we
forget
we
themselves were of
scenes of
to arouse in the
mind of the
faithful
collected, in
one
in
we
wrong
taste,
them
for
it.
It
is
not
our western
is
and movement,
especially affected
to us a
dead
BUDDHIST ART
mals of
all
IN
JAVA
life,
251
with
(cf.
XXXVI,
2,
upper scene).
is
It
clearness
not crowding, the more so as there is nothing to example, whether the animals play a part in
for the
of the story
or not
worst
is
that they
sometimes do
so.
Thus
2), or
the
XXXVI,
on
such and such a scene from the MAndhdtravaddna (no. 10), form an integral part of the story, whilst those which fly
away with Manohara (pi. XXXIV, 2) are pure decoration. Finally, we must not forget that the artists of Boro-Budur
did not in any
way
same
picture.
Thus
it
may happen
and on
is
particularly edifying
we
fail
is
to fix
upon the
But the
is
whose presence
facts.
of
real
their
manual
skill,
individuality. Assuredly,
a
would be
unfair to regard
it
as
artists
of those distant
isles
not
which Greek
only atits best period. Butthefactis patent. They arecapable of representing types, but not individuals. They possess a
model of
a
a king,
for
of the coiffure,
is
model of
a courtier, an
2 52
BUDDHIST ART
a
tN JAVA
anchorite,
is
Brahman,
all
used by them on
it is
stances
facial
it is
it
capable,
mind
incapable of assuming a
its
physiognomy distinguishing
it is
from
congeners.
Thus
that, for
example, in the
same legend we have seen the same princely personage called here Dhana, Sudhana, or Druma, there Rudrayaria,
Bimbisara,
(cf.
or Qlikhandin.
At
a distance
of five panels
pU.
3) a king and a
monk are
:
similarly
no-
would not appear that in ancient times the pilgrim who made the pradakshind of these galleries was able without the oral commentary of some monkish cicerone to ascribe different names to figures so similar
their personalities. It
:
still
less
can we,
now
is
completely
extinct, dispense
We may
we have
read
it
affirm that
we
on the walls of
bas-reliefs
:
of which
we must have
same work
as
from the philological point of view the most curious conclusion to which we are led by our rapid inquiry direcview of
their identification. If
by
a constant
texts,
it is
comin
Through
manner
which the Javanese artists treated the last life of Buddha had already given us an inkling of this the direct study
:
BUDDHIST ART
IN JAVA
253
of the originals and the review of the neighbouring series only confirm us in this opinion ('). It follows that these
sculptures not only give us information on
details of
many
concrete
:
contemporary Javanese
to us
life
and
civilization
they
also reveal
ings
was most readily used in Java at that time. Thus we know already from the manner in which the artist illustra-
The
ing from
a
this canonical
is
kind of anthology.
Now
MM.
for the
most
part,
;
taken
which
is
followed page
after
Q. The
study of
known
its
However
this
may be,
the hypo-
tion furnished
by the Chinese
his
time, he
tells us,
towards
the year
700 of our
era, that is
(i) Art greco-bouddhique du Gandhara, vol. I, p. 617. (2) Cf. Ed. Huber, B. . F. E.-0.,VI, 1906 and S. Lfivi, Toungpao, series II, vol. VIII, no. I ; Beal, Romantic Legend, pp. 386-7.
20
254
BUDDHIST ART
IN JAVA
Boro-
Budur,
in
This agreement in the evidences deserves to be noticed. All taken into account, it does not impair the interest of our
bas-reUefs. Assuredly, in spite of the talent of their authors,
condemned beforehand to lack that indefinable spontaneity and animation which can be communicated to the work of the artist only by labour in communion with
they were
a
still
The
sculptors of Boro-Budur,
at
an inspiration
times languishing,
but,
the merit of having suppHed us with several series of illustrations for authentic fragments of the sacred
skill
which would
sesthetic
emerges, by
way of compensation,
in
Buddhist Iconography
Boro-Budur.
in Java.
We
shall
We restrict
we mount,
finally
and
less narrative ,
(i) I-TsiNG,
there
is
p. lo. Lit.
BUDDHIST ART
gives
IN JAVA
255
way
to the
image of piety
Q.
file
Buddha, monks,
past in twenties, at
less stereotyped,
most
on the miniatures, or the clay seals, of India (') sculptors weary so much the less of all these repetitions as each one of them represents so much progress in
The
it
was
their task
in noting here
and there
such
in passing a
as, in
some
Avalokite^varas with
on the blue lotus (iitpala) or again, in the third gallery, a group composed of a Buddha between these same two Bodhisattvas, etc. The problem is much more
(pustakd)
;
vast,
It
different amplitude.
would be necessary
these images
and each of
and
what
Buddhist
pantheon.
archaeologist will
must hope that some Dutch find time to undertake this deUcate and
unnecessary to say that
it is
We
extensive task;
it is
forbidden
to a simple visitor.
Neither shall
we
which decorate
Many Buddhas
(for
^
but
(i) But see, supra, the identification ofoneof the bas-reliefs of the upper
gallery, pp. 165-6
and
pi.
XXII (Great
Miracle of ^rivasti).
I,
. .
256
BtJt)t)EtlSt
ARt
In JAVA
is
quite diflferent.
They
and
W.
de Humboldt
proposed to recognize
among them,
in accordance with
five
we
see
no reason
to
for con-
testing
at the
most
it
would need
The arrangement of
must
Among
all
with heads
we
must,
those in bhumispar(a-mu-
at the south,
at
those in vara-mudrd
;
4. at the north,
5
those in ahhaya-mudrd;
niches,
in the fifth
row of
(viz.
64 altogethe
6.
r), those in
vitarka-mudrd;
circular
in the 72 little
terraces, those in
7.
dharmacakra-mudrd
the single
cupola.
Whatever
identification
may
be proposed,
will,
it
is
understood, have to take into account each of these varieties, without omission and without confusion. Therefore
we
cannot
admit that
of
Humboldt
5. If
(*),
which
identify
we must
cf. ibid.,
p. 68.
p.
480.
BUDDHIST ART
1
IN
JAVA
257
Akshobhya, by the gesture of calling the earth to witness, 2. Ratnasambhava, by the gesture of giving, 3. Amitabha, by the gesture of meditation, 4. Amoghasiddha, by the
gesture of protection,
it is
row of
niches
we must
more usually
reserved for
is
him and
scarcely
it
It
follows likewise
we
of
The 72 images
statue
it
which was
as the
,
many
he
at pre-
sent one can have access right into the interior, part of
the wall having been removed.
light
a
hidden image of
thus
By
form
it is
of the Adi-Buddha. This would be a manner of symboUzing the abstract essence of this supreme divinity of Maha-
this unfinish-
M. Pleyte,
Dk
Buddhalegende in den Skulpturen des Tempels von p. ix. For the bibliography see ibid.,
258
this
would be an
allusion
womb
diverse interpretations
fail
to satisfy us
they did Dr. Pleyte, the short resum^ which he gives of do not them is at least sufficient for our purpose.
We
indeed pretend to discuss here the greater or less degree of probabiUty in these theories. Still less shall we stop to
criticize that
of Wilsen,
who saw in
this
same
statue a
rough
model of
pletion
this
a future
Buddha, prepared
for subsequent
com-
by the cunning
kind are scarcely more susceptible of refutation than of proof; and it is this which makes us suspicious of them.
venture a
new
hypothesis,
it is
because
problem of
such and
more or
less familiar in
this
metaphysics
essential
as
dome
of the
Boro-Budur,
at
we
should expect
deposit
for it
whose emplacement
Now
, says
this statue
was
intentionally
unfinished
The
feet are
not completed
adds
One
is
who made
whole
really
had
premeditated intention
cit.,
pp. 486-7.
BUDDHIST ART
IN
JAVA
559
which we possess it (*). On the other hand, this image shows us Buddha seated, his legs crossed in the Indian manner, the left hand resting in his lap, his right hand hanging down, the palm turned inwards and the
in
committing
first
of
all,
model for that of Java, does not comprise any type of Buddha composed in the same attitude and presenting the same
India, the recognized
If
peculiarity of in completion.
it
facility
of the solu:
would
it
at least,
in order to answer,
is
far
our
Mahabodhi,
near to Gaya.
tion.
The former
is in this
Q.
Anxious before
artist
all
to guarantee the
execution to a supernatural
the less in
seem none
of all,
harmony with
texts, in the
we
learn
from the
matters not
which
II,
pp.
465 sqq.,
or of S. Seal,
II,
SCHIEFNER, p. 20.
26o
BUDDHIST ART
IN JAVA
work of
the divine
sculptor.Among the unfinished parts Taranatha cites especially the toe of the right foot and the locks of hair. Whilst
these material details
would be
less easy
of verification
than might be thought in the obscurity in which, asHiuantsang tells, the majesty of the idol
was hidden,
its state
there is
some
of incomple-
was
in
second
place,
a fact attested
by the
and
monuments,
it
as also
texts, that
represented
Buddha
, at
the
left
hand
at rest,
the
moment when,
it
disturbed from
Mahabodhi
use
was known, made the gesture of and was, or which for us comes to the
which
it
same thing
passed
We
of
To
us this
Boro-Budur, incomplete
least intends to be,
bhumisparga-mudrd,
is,
or at
Bodh-Gaya. In addition to
frees us
artists
new
model which India would not have known. Finally, if it does away with one difficulty, in our opinion a considerable
one,
we do
it
raises
another in
its
(i)
The
dhique de Vlnde,
pp. 90-94.
BUDDHIST ART
IN JAVA
261
by Chinese evidence that from the VII* to the XI"' century of our era that is, during the period covering the construction of Boro-Budur, which is attributed to the second half of the
IX"' century
the
mond
or
of Intelligence
in India,
Buddhist idol
in request
Mahabodhi had greatest centre of pilgrimage. This would explain without effort why a more or less faithful copy of this miraculous image should have been able to assume a
become the
Such,
at least, is
we
could not
all
the
respect inspired
which
we
still
we found nothing
as
it
it,
inasmuch
was
still
in
the
same
state in
once again
of abandonment
Thus we were
the wish that
closely studied. If
subject,
filled,
it is
we have
returned in
some
detail to this
XXXIV,
i,
1896.
(2) B. . F. E.-O.,
Ill,
262
US to produce
(pi.
photograph of
this
famous
idol
XLIII, i). Perhaps this latter will be for the reader a in fact it merely sketches in a rather disillusionment
:
rough fashion the ordinary type ofBuddhas of Boro-Budur, and it is quite clear that, if a replica of the image of Vajrasana
is
really intended,
it
was executed
freely
and not
from
moulding. But upon a moment's reflection it will be seen that this was exactly what was to be expected; and, in any case, it is well once for all to place before the
a
risk of
being endless.
It
would be a
way
of a
at three
Budur, consists, in
front.
fact,
is,
The whole
what
tues,
is
(').
Naturally
it
shelters sta-
Buddhist character
may
who is
upper
(i)
cell)
little
iconography of
this
religion.
The
parts, has
been the object of a restoration the archimeaning of this term (temple of divinity or monk's
We know
that the
We deliberately leave
visited in the neigh-
which we likewise
bourhood of Jogyakarta under the guidance of Dr. J. Groneman, and on which we may consult his guide, entitled Boeddhistische Tempel-en KloosUrBouwvalknin de Parambanan-Vlakte, Soerabaia, 1907.
BUDDHIST ART
tectural details of which
IN JAVA
263
we
shall
statues of the
They
are characterized
by
a curious
Whereas at Boro-Budur, and even on the walls of the Chandi Mendut, the nimbuses of the divine personages
retain, as in
Bodhi-tree,
in the Sino-Japanese
fashion.
It
would be
form
in Java. It
would, in
the
fact,
mark with
sufficient cer-
tainty the
moment when
influence,
two great currents of artistic which, diverging from their common Indian
and
The
in the
enormous block of
of teaching. Not only the dsana and the mudrd, but even
the details of the hair, the lotus-stool, the throne with a
back,
etc., recall
in a striking
manner
Sarnath, in the northern suburb of Benares, on the traditional site of the master's
I,
first
preaching
all
(cf. Icon,
houddh.,
fig.
stamped with
wheel of the
characteristic antelopes ot
the Mrigadava.
On
left
down and
resting
on
a lotus.
At the
2^4
BUDDHIST ART
IN JAVA
at
may
once be recognized,
As
but without
pi,
at the
hand
him the name of Mafijucri the more so as, after having despoiled these two acolytes of every characteristic attribute, the sculptor must for a means of recognition have
relied
upon
by the
side of Buddha.
The
on the
right
and
left,
in
X m.
i,
wealth and his wife Hariti, which have already been published by Dr.
J.
Ph. Vogel
(').
We shall
them.
Of the
left
of the entrance
preserved
it
surmounted
by
a stupa
it
Maitreya
If
the
we now commence on the terrace the pradakshind monument, we come first to the north-eastern facade. we
see, seated
of In
on
a throne covered
feminine divinwith eight arms. Unfortunately the head is broken; but it seems, in fact, that it had only one face; and this
tree, a ity
(i) B. . F. E.-O., IV (1904), pp.
727-730
ct.
above, p. 141
and
below,
pi.
XLVIII,
2.
265
1905,
p.
70) in favour of
Cunda
146 and
VIII, 4).
Her
right
arms do hold
Of her
arms, the
first
is
carry an elephant's
hook
(ankugd), an arrow,
and some
either side
object
On
the one
on the
right
two
lateral
panels, the
his right
hand
in
On
is
an Avalokiteof
its
p. 104, etc.).
One
right
arms, which
is
left
hands
the flagon of
side.
ambrosia
rests
upon another
lotus
on the same
Two
worship
lateral panels
The
facade
principal
is
figure
of the
south-western,
is
and
last,
seated in the
The
two
attributes of the
left
IX,
and
4).
But in that
normal hands should make the gesture of teaching, instead of that of meditation. Similarly, if she were a
four-armed Tara, the
ture of charity (ibid.,
first right
II,
p. 63).
the alti-
266
BUDDHIST ART
IN JAVA
tudes combine, therefore, to indicate a second representation of the goddess Cunda, the form with four arms (ibid.,
pi.
VIII,
and
figure 24).
The two
ants, reproduce
on the
opposite facade.
carry
As
on blue
lotuses a
sword and
book
respectively
we must,
(ibid., p.
therefore, see in
them two
replicas
of the same
Maiiju^ri, of
whom these
:
are the
two
traditional
emblems
119).
in the personages
To sum up
dut
who
Men-
we
propose
at first sight to
two images of Cunda with four and eight arms, and one of Avalokitefvara with four arms; on the sides, two replicas each ofMaitreya, Vajrapaniand Manjugri all being im:
tested.
would be necessary, in particular, to examine these basrehefs more closely with the help of ladders or a hanging stage, so that no detail could escape; and, this minute labour accomphshed, it would still be necessary to verify
by comparison with other Buddhist statues of Javanese
origin whether there
is
some
become reasonably
certain.
The
Museum
of Batavia.
We
would not be lacking, in spite of the relatively restricted number of Buddhist monuments in the island. Many of them have already been brought
material
The
BUDDHIST ART
karta and in the
IN JAVA
267
museum
Of
the
first
by
Dr. Groneman.
tioned in the
The most
interesting objects to be
men-
names
(*),
museum.
to the
museum
most
among
tefvara,
this in
others
some very
of Avaloki-
common,
is
Indian models.
There
for a
one
at
which
it is
moment, because
it
We
have
Now
Dr. Pleyte
and
repli-
we
time
had
known
in
this
reference at the
cas (^),
one of which
now
London, another
at Lei-
J.
(i) Several of these statues have already been published by the late L. A. Brandes, Beschrifving van de mine... Tjandi Djago, The Hague and
Batavia, 1904.
(2)
we
are indebted to
the kindness
of
Dr. C.
so
good
opening the
dc
afl.
Tad-, Land- en Volkenkunde van Ned.-Ind., Zesde i and 2, pp. 195-202, and our t. sur I'Icon.
fig. 4-
1905,
268
He had
a
likewise
legend which
whose
left
upon the
face of a
man, and
a
his right
upon
the
mode
of deciding,
with no possible equivocation, the question of the supreof a simple Buddhist guardian of the law over
the great
the latter
was only
a yaksha
own
edification the
punishment of
crime.
We
in our turn
may
names of Mahe-
of making
Vajrapaiii,
of him
among
the
pantheon under the vulgar desighe has no longer more than one
and,
if
com-
mon
tuette
to
all
his representations
Q. On
we
manuscripts and the stele of Magadha ascribe to him, and even the eight attributes (sword, disc, arrow and bell,
von Japan of
loi and
Hoffman, Pantheon von Nippon (vol. V, of the Beschreibun<r 75 and pi. XIX, fig. 164; and Si-do-in-diou
d'etudes, vol. VIII,
Paris, 1899), pp. 100-
XII.
BUDDHIST ART
IN JAVA
269
Any
special inquiry
:
would
lead us,
we
double conclusion
close fihation of
more or
less distant
beyond the local horizon. It is important for the general advancement of Asiatic studies that it should at last form as a whole the subject of some pubhcation. Not
extend
far
we
have carried
away
ed. It
it is
ripe
much
to
leisure.
note i on p.
214
(
Upon
de
Religions
de
I'Inde
Rev.
1902, p. 354 n. I, or vol. II, p. 442 n. i, of the edition of his CEuvres) see that the identification suggested above for the bas-relief no. 14
XLV, we
ot
He works
out
conventions of this
ex post facto at
art...
We
him
the identification.]
21
PLATE XXXI
Cf. pp. 206-7, 213-5.
View of Boro-Budur as it slill appeared in 1907; by the care of I. Major Van Erp the stone seat contrived on the summit with a vitw to
the
have
first
gallery
on the western
staircase.
where
On
we
row of
the
bas-reliefs the
two
last
man
The
correspond-
On
from the place where the view is taken, we cannot see the two rows of sculptures which correspondingly decorate the moulded parapet to the left. (Cf. pp. 213-5.)
BUDDHIST ARCHAEOLOGY
IN
JAVA
PL.
XXXI
BORO-BUDUR
GENERAL VIEW
BORO-BUDUR
(PART OF
FIRST GALLERY
WEST FAgADE)
PLATE XXXII
a
Cf
pp. 209
1 1
The
The
F. E. O., 1909,
section, had
(cf. ibid., p.
being a normal
The
of the
to the right of the point b and marked by divergent hatchings represents the terrace subsequently added, under which is at present buried the ancient base with its decosttlpa
the
208
n.
and 210.)
The
decorative architectural
elements, niches
polygonal and circular, of the staircases, and of the gargoyles for carrying off the rain water. (Cf. p. 211 .)
BUDDHIST ARCHEOLOGY
IN
JAVA
PL.
XXXII
PLATE XXXIII
Cf. pp. 209, 211.
Plates
XXXIV-XLII
by the
the state in
in
May
pU.
1907, with the lichens which in places were eating them away (cf. XXXV, 2; XXXVI; XXXIX, 0, and their stones sometimes
XXXVIII
This plate and the following belong to the story of prince I. Sudhana. For the description cf. p. 218. On the left will be observed the characteristic type of the Brahman, with his beard and large chignon.
II.
Upper
latter,
scene.
celestial palace
without a
amid the paradise of the Tushitas, pays (not, it seems, certain melancholy) his adieux to his heavenly companions.
ranged on each side of him, manifest, on their part,
of affectionate
dis-
The
creet signs
future Q^kya-muni.
Lower
hari
is
scene. Cf. p.
220.
It
the only
movement
i,
in the slightest
we
however,
of
XXXVI,
allow themselves
betray at
gesture
surprise.
The
birds figured
on her
left
them
(cf.
p.
251)
if it is
than to
emphasize the
aerial character of
her
flight.
PL.
XXXIV
1.
STORY OF SUDHANA,
No
3:
(CENTRAL PORTION)
2,
--
STORY OF SUDHANA,
Above
,
No. 11
MANOHARA'S FLIGHT
PLATE XXXV
Cf. pp. 220-2.
I.
is,
upper
scene.
That on
pi.
XXXIV,
his
last
Bodhiearth,
sattva
in fact,
on the eve of
re-descent
upon our
may
row
of bas-reliefs.
forms
kind of tabernacle, he
still floats
whom some
wave banners,
Cf.
and parasols
of
Lower
scene.
p.
ScHOTT.j, the
last still
XXXVI,
Cf.
p.
r,
lower scene,
etc.).
II-
222.
The group on
Sudhana
who, stooping down, has just placed it at his feet. On the left the spring towards which walk, or rather glide, the other women have you ever seen the gliding motion of the Javanese female dancers ?
is
overgrown
with lotuses.
PL.
XXXV
STORY OF SUDHANA, No
Abo\-e
RETURN
1.
STORY
OF SUDHANA,
THE FOUNTAIN
PLATE XXXVI
Cf. pp. 228, 230-r.
I.
is
upper
scene.
own
token of betrothal,
at his feet.
to
Gopi
left
or Yagod^,
presses the
who
On
the
among them-
whose
despair of his father, had until then remained proof against love.
Lower
scene.
Cf. p. 228,
On
the right,
from
his palace
pieces of
woven
stuff
in the
same
which they would have when issuing from the loom. Among the people some catch them in their flight, others commence to drape
themselves
with them,
whilst
others
providently
make
veritable
bundles of them.
II.
Upper
scene.
seated under a parasol on a four-wheeled chardrawn by horses, very poorly designed (cf. p. 251) he has just met (as may be seen on the left) an old mendicant, leaning on a stick
:
and led by
a child; and a propos of this unexpected rencontre he learns through the mouth of his squire the existence of old age. This is the first of the four promenades (cf. pi. XXXI, 2).
Lower
scene. Cf. p.
230.
It
we do
still less
Such
a horrible sight
would
jar
PL.
XXXVI
GARMENTS
STORY OF KING
Above
:
giBI, THE DOVE AND THE THE FIRST OF THE BODHISATT V A'S FOUR PROMENADES
HAWK
PLATE XXXVII
Cf. pp. 233-4.
Plates
XXXVII-XL
Cf.
Rudriyana.
I.
pp.
cuirass,
253-4. Judging by their head-dresses, these are have been charged by Rudriyaiia to bring the precious
their
courtiers.
And
it
is
clearly a cuirass,
seems,
II.
in front.
Upper
scene.
is
On
the
left
aspect of a
Buddha)
seated
on
The
charac-
ascetic, as
do
who,
in the
hmier
appears.
scene. It is
that here
again
We
monk
is
might be
inter-
esting to refer the reader to a rule to this effect, expHcitly stated in the
535; ^^- FiNOT and trans. Huber). But, in fact, this is the it is by an exception, only explained by the
:
Buddha among
h'm
a seat
PL,
XXXVII
i*aiai*tK5!*'&iV'>S---^'y;..
1,
STORY OF RU DRAY AN A, No
(LEFT-HAND PORTION)
STORY OF RUDRAYANA,
Above; THE BODHISATTVA
No
WITH
HIS FIRST
PLATE XXXVIII
Cf. pp. 234-5.
I.
Cf.
pp.
234-5.
Note
in
nun the
first
complete tonsure of the head and the total absence of jewels, conformably to the rule of the monastic order to
doubtless,
queen Candraprabhjl.
II.
Cf.
p.
23
It is
the latter
whom we
scene, kneeling
on the ground
in the
costume of
and the bench on which are seated the two bhikshunis (whose heads
have been displaced with the block which carried them) curious utensils
of worship will be noticed.
PL.
XXXVIII
lirlU'iiiri'i.-Vi^'r:^
1.
STORY
OF RUDRAYANA, No
10:
(LEFT-HAND PORTION)
^^^^^^
2.
STORY OF RUDRAYANA, No
11
(CCNTRAL PORTION)
PLATE XXXIX
Cf- pp. 235-6.
I.
in order
to
keep the promise which she had made to her husband to come back
a
as
a goddess,
and consequently of
queen
that
is
lo say, the
XXXVIII,
i.
in the block
carved.
II.
Cf.
pp.
is
235-6.
The
distinction
crown-prince
custom
pi.
(see,
for
instance, prince
XXXV,
III.
2), here
Cf. p.
XXXVII,
2.
PL.iVXXXIX
Nos. 12, 13
AND
14
PLATE XL
Cf. pp. 237-8.
I.
upper
scene.
Oa
the
left
the
among
UruviM,
of
hand
in order to
make
whom
left a polite
gesture of refusal.
What
made to him, to breathe which may sustain him in the for he will owe his salvation to
his decision
with a
demeanour
by the
loss
as discreet as
it is
varied.
It
Gandhira,
much
Lower
(cf. p.
scene.
make
us witness the
murder of Rudriyatia
the existence in the
249, n.
i). It
may
be curious to observe
Mus6e Guimet of Tibetan paintings whose authors have not troubled themselves with so much dehcacy for there is more than one way
:
of being a Buddhist, in
II.
life as
well as in
art.
Cf. p. 238.
It
will be observed
and
this
trait
curiously
that the
Brahmans
distinguish themselves
PL.
XL
1.
STORY OF RUDRAYANA. No
Above
:
16
2.
STORY OF RUDRAYANA,
RAIN OF JEWELS
^'
PLATE XLI
I.
Cf.
:
pp. 240-3.
plates
XXXVIII, 2
The conventional rocks already met with in and XLI (upper scene) are here still more distinctly
at
seen
(cf.
t.
The
three following
trakanyaka.
II.
Cf. pp.
is
245-6.
The
the teacher,
p.
XXXVII,
2).
PL. XLI
1.
2.
STORY OF MAITRAKANYAKA, No
THE PURSE-OFFERING
(CENTRAL PORTION)
PLATE
XLII
I.
Here, again,
is
supposed to
would never be suspected that Maitrakanyaka kick his mother on the head such is, however, the 245-6). This portion of the wall shows very serious
it
:
Cf. pp.
246
7.
The
dvdrapdla
is
to be
who
left IS
palisade of the
as thit
we
on the
front
on pU. XL,
XLIV.
PL. XLII
1.
STORY OF MAITRAKANYAKA,
No, 2
(LEFT-HAND PORTION)
STORY OF MAITRAKANYAKA,
No. 7
IN
(RIGHT-HAND PORTION)
PLATE
XLIII
267-9
o y
Si
o n B Oh o
rt
SI
(-!
rt
-^
4- -
t3
*-
C
a -
.3
aj
&.U3
-
2 "S -B
a
B >
5
= E
4J
-.
txD
3 5 "H J3 IS B O ,j
(/3
IQ
>^
o"
03
U.
4-1
^
.y
"
*-"
J3
'53
Cu,
s
I
I
c T3 ^ 11 J3
"B
B
rt
4^
5!
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n ^
_S
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1)
o "
rt
B = ~ t= J3 J- O g u
J2
B S
-
O
3
-5
-
c^
S " s
lU r3
^
" -
Cu
c o
C " C JS "" O
B
a.
OJ
1
=!
4-1
ui
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*-
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B
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a.
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g-
M
Q-
.5 '2
O
I
b
>,
fi
J3
S o
.s
a
G
M
.S3
-
2 ^ _o- o ^
4-1
.s
*C
o;
^ V
J3
<u -13
"a *i
W5
B O _a 3 -S
-- u
4-
o to
BUDDHIST ARGH.-EOLOGY
IN
JAVA
PL. XLIII
3 2
'<
A o <
CD
"-
CM
o c
Q Q D m
o w p
01
Q U
Cfi
is
-I
2:
PLATE XLIV
Cf. pp. 265 6.
On
wooden
stakes
which
are supposed to
grow
the lotuses
cipal persons.
Two
hold up the stem of the central lotus, and thus recall those of the Great
Miracle
at
gr^vasii
(cf.
i).
The
stereotyped
trees attest a
lateral
two
and,
surmounted by
bells,
parasol,
and hanging
conformably to tradition,
The
BUDDHIST ARCH.'EOLOGY
IN
JAVA
PL.
XLIV
The
this
on the
of
Chinese Turkestan,
Ethnographical
in Berlin,
lar,
it
it is
at present
Museum
(Kgl.
Museum
Volkerkunde)
II,
all
measures m. 0,35 by m. 0,50, and, according to probability, was formerly framed in bands of woven
kakemono. The sanctuary, which it had once adorned, was apparently one dedicated to Buddha at least, the fairly numerous manuscripts found in its company retain, under the diversity of their Sogdian, Turmaterial, like a Japanese
:
common
charac-
we
should have to
except only
the other hand, the final disintegration of the building, constructed of undressed bricks, could not be much later than the ninth century of our era. Only the
chean.
On
a thing extraordinary dryness of the climate explains how reaching us, beneath so perishable should have succeeded in dust, in a state the thick accumulated debris of bricks and
memoires publUs par VJcadimie des Inscrip(i) Extract from Monuments d Eugene Piot), vol. XVH, fasc. II, 1910. tions et Belks-Lettres (Fondation
22
272
We
are indebted
Museums
The
reproduction which
we
publish
is
sufficiently ad-
beyond
seen
at
the
first
upon what is still to be glance than upon what only a close examprincipal subject
is
ination reveals.
The
a seated
woman,
covered
hems and
tied
clothed
down
to
open
at the breast
and
women
by a red spot
in the stuff;
same embroidery
shod in slippers
is
adorned
like a
woman
sits,
in a very
awkward
without
From
the front
rectangular uprights,
273
between two frames of the same shape, the one which rests on the ground being a Httle wider than that which serves as a seat. The mouldings are
repeated symmetrically. Those of the two inner crossbars reproduce the regularly outhned curves of the embroidery
:
the decoration of the outer framework and of the uprights introduces halves or quarters of the lotus flower into the intervals of the curved undulations or the angular zigzags
of a stripe.
is
surrounded by eight
little
attend-
on each
little
:
and plump
tufts
These are so many vigorous boys. All wear on their shaven crowns
side.
of hair
round
ornamented
cotton
is
with
medallions,
their
feet
doubtless serving as
amulet-bearers
on
black
in
shoes
drawers,
forming
front a
which
slit,
behind.
already
The
Coq
has
noticed
them
are about
to play a
left,
kind of hockey.
raising his
The
first,
at the
bottom
to the
is
crooked
stick,
who
is
him
to
throw the
ball
his right
hand.
bat,
The
latter also
hand a similar
as if she
.
woman,
were watching
two other
the ball,
in the
same
sport.
The
upper one,
who
it
which
is
one standing
canvas was
below receives
stretched
which
has
now
274
f HE BUDDHIST MADONl^A
is
to be
seen between the two partners. Below, a fifth child, seated on the ground, practises playing a sort of guitar with four
strings. Still lower, a sixth is carrying as well as
he can, in
excellence
which
awaken in the heart of the Great Mogul Baber, even mid the enchantment of his
the scent alone
was
sufficient to
To
return to the
left
hockey-players
we
see another
boy,
who seems
to be
amusing himself by trying to balance on his head a twohandled vase. As for the eighth Httle figure in the top corner, it is so much injured that we dare not venture any conjectures concerning
its
manner of amusement
the author
is
missing in the
plate,
little
probability, as a
To
a
this
summary
description
we
now
partly vanished.
a
The
often
by the help of
pounce,
we know was
drawn
in ink,
If the sitting
posture of the
woman
is
unskilfully
rendered,
we
shall
remark, on the
the lozenges
figure.
make
Then
water-colours,
broad uniform
tints.
Here,
it
275
confined to the seat and embroideries, while for the textures there is recourse to a series of reds, passing from the
minium of
the dress to
all
the halo.
Then
feature,
emphas-
izes the
contours and hollows out the folds, whilst a few delicate touches here and there give the finishing stroke to
the
summary
indication of the
on Persian miniatures.
We
know
that
As
mate-
part are
still
unedited.
However,
we
know
which the
child
musician
wave
at
or
Niya and
Rawak
in southern
(*).
But,
on
von
Le Coq, the woman's costume, of a fashion already Uigur not to mention the extreme obliquity of the eyes
of the seventh.
would
SeeM. A. Stein, Ancient Khotan, pi. LXXIII (guitar handle), LXVIII and cf. our Art greco-boud(seat), LXXXVIII (waves), LXVII(halo), etc.
(i)
;
162, 213,
flowers), 273
(waves), etc.
276
11
So
far
we have
restricted ourselves to a
simple statement
of the facts furnished by an examination of the document. Now it is time to broach the more deHcate question of its
interpretation. Inevitably, as
this pious design,
soon
as
we
are confronted
by
some familiar picture of the Virgin nursing the Child Jesus. For this unavoidable rapprochement we see at least two reasons. Firstly, there are not so many ways for a woman to offer her bosom to her nursling. The second, more
we
memory
to
topical,
We
it
young Panjabi Brahman, who, in front of an Italian chromo-lithograph of the Holy Family, could not conceal
his astonishment that
God
of the
the
manner of
Mem-Sahebs
Enghsh
Indian
He
hat similar to
fact,
those
worn by
whereas, in
having smiled
amazement, we
shall
do well not to
incontestable
It is
an
this
first
Notre
Dame
de Tourfan
is
way
to
meet
con-
as
it
(')
been christened
it
intelligible
of the Buddhist character of the manuscripts found at the same time as the
277
instinct will be
with a Christian prototype. Have not the excavations in fact proved the former existence, in this oasis of Turfan, of
sects?
The
unedifying
but, with a
little
good
will, all
may
little
by
their counterparts,
the
putti,
question of
it
we may
first
imagine that
will be
with the
chance representation,
provided that
ing her child.
It
it
reader to learn
that
we have
we
ever thought to find thereby the clue to an enigma which seems to us, as will be seen, susceptible of a much
nearer solution. But as
little
as
denying the Christian analogies of the painting of Turfan, and in any and every case it would have been interesting
went thereWe must fore, and knocked at the door of the specialists. They confess that their reply was not what we expected. was not told us, to begin with, that the Virgo lactans
to connect with
it
a western counterpart.
We
shown
art,
the
Byzantine C). Even in of with its well-known horror of the nude, the icons some raXaxTOTpotpoOoa, charged, perhaps, at first with
in the
catacombs of
Rome
late, in
the
Katahomben Roms, 1903 (not even (i) Cf. J. WiLPERT, Die MaUreien der on his pi. 22).
278
model,
France the
examples
would not go back further than the XIV"' century, and would translate in our religious art new feelings of familiarity
and tenderness
Q.
some
M. Gabriel
first is
The
Mother of God
offers
thus designated
sigla, is seated
on
left
form of a
coffer,
and
her
drawn
bands.
The
duced here
a chair
with a back, of
Mary no less chastely offers the nipple of her right bosom to a little Jesus, already growing, who, installed on his mother's knee,
holds
her forearm with both hands. According to the
this painting
pubhshed information
470 and probably destroyed soon after the Arab conquest of Egypt (640-641). Whilst the Carolingian ivory would be later than the image of
Turfan, the Coptic fresco would, therefore, be earUer. But, since notwithstanding the analogy of the wholes and
we discern
Christian
at
(i)
KoNDAKOV, Monuments of
;
Art
Benigni,
La Madonna
allatante e
We
M. Gab. Millet.
du Moyen-dge en France (1908), p. 148.
(2) E.
Male, UArt
religieux de la fin
279
these three figures proceeds directly from either of the other two, their simuhaneous existence serves in the end only to
induce us to bring a prudent reserve to bear upon our statements. If our short enquiry does not at all resuh, as we
had begun to think, in guaranteeing the entire absence of the type of Nursing Virgin from ancient Christian art, it
at least
suffices
and
it
makes no
further claim
to
it
divert us
from the
first trail
would have
Whoever,
started us.
in fact, has
by
down
to the
coming of
the
Musalmans and
It is
it is
a fact
no
less surely
researches
would be proper, a priori, to point our towards the same quarter we are in the case
it
if
we
look at
we
whilst
her.
some of
This
is
her numerous
sons
around
which
it
numerous examples,
at
the balance in favour of the Buddhist identification comparison of the various replicas will bring full confirmation.
28o
III
But,
first
of
all, it
is
him
to
make. In
a
truth,
fairy.
and even
of the
still
wicked
By
whom
had, and
dies.
mala-
of infantile
epidemics.
well
known
it is still
the
custom not
to
reckon children
among
is
the
members of
of this terreceives
This
why the
green Hariti
still
from the Buddhists of Nepal the worship which the Hindus of the plains address to the cold Qitala. That she should have ended by transforming herself from a formidable scourge into a beneficent divinity will not surprise
any student of
religions.
Of
course, there
was
a legend to
Buddha
in person
who
decimated,
or (as
,
metaphorically written)
piti-
lessly
devoured
order to
hundred sons.
Some even
fact,
inverted alms-vase
see
hordes of demons vainly endeavouring by the help of cranes and levers to turn over the huge bowl,
281
which the
be,
little
genius
is
imprisoned
(').
However
this
may
the
this
stratagem succeeded.
Hariti
by
momentary
at
separation
to to
mor:
she swore never to do so again. However, every one must live, even the wicked who repent. As soon as she is converted, the ogress
mother respectfully
first
of
by interdicting
five
all
hundred sons to
struck by the justice of this remark, promises that henceforth in all convents his
monks
skilfully
composed, endeav-
we
see,
and propitious
ful, it also
regard to
it
claims to vindicate,
in fact,
it
is
found either
in the
(i) Cf. Archseologia, LHI, 1892, pp. 239-244 La Ugende de Kouei tseu mouchen (Annales du Mus^e Guimet, Bibl. d'Art, vol. I); Ed. Chavannes,
Toung
282
us in plain terms, adored no longer as a devourer, but as a giver of children. Usually the genius with at least, when he the golden bag was opposite to her
he
was
not, as in a
:
number of surviving
representations, seated
beside her
for the
common
must have been those not least frequented by devout laymen, the more so as both sexes were there plainly provided for. A passage from Hiuan-tsang interests us still
more
directly
by
been transported early into the north-west of India. While following the same itinerary, we were surprised to encounter,
is
mound,
where
at
art flourished
Q.
to explain to us the antiquity,
classical
This
is sufficient
number
and character,
cription given
at
once
by Yi-tsing
she
is
depicted
as
babe in her arms and round her knees three or five children
.
The
There
little
genii
who
are
hundred
all
may
trans. Julien,
(2) Cf. Yi-Tsing, Records, trans. Takakdsu, p. 37 ; Hiuan-Tsang, Memoires, I, p. 120; Bull, de I'^c. fr. d' Extreme-Orient, 1, 1901,
283
this
same year (*). In the midst of all swarm, which often dimbs over her person, one would sometimes say that she is posing in advance as'
an Italian allegory of Charity. At one time she
her
is
seated
Benjamin
times simultaneously
is
Then
again she
clings to
placed
manner in which Indian women carry their children and two at least of his brothers have succeeded in cUmbing as far as the maternal shoulders (pi. XLVII, 2). With these two types at times partly
combined, as
in pi.
XLVIII,
i,
which
in addition
shows the
relatively
numerous images furnished no less by the ruins of the districts of Peshawar and Mathura than by the famous grottoes
of Ajanta.
The
ogress,
fruitful
women.
It is this
we
IV
For
this pacific
master mariners, the one by land and the other by sea. It was this latter route which must perforce have been followed
in order to reach Java,
on the
bronzes of the
muon
seum
able,
in Batavia
2.
284
wall of the entrance corridor of the temple called Chandi Mendut, near to the famous stupa of Boro-Budur
the
(IX* century), and doubtless almost contemporaneous with right wall opposite, an image of it. Represented on the
the genius of riches
most
beautiful
of the
(')
who
less
tuous
little
coiffure,
is
surrounded by no
demons
One
is
right
and during
this
to suckle with
all
by
mo-
mark noted, we return to our startingpoint, we may follow the same family group on the march over the sandy roads of Central Asia. It was hardly doubtful that, in order to reach China, they must have pursued the same routes which the Chinese pilgrims had taken in
If,
this
first
Of this
As to the southern route, which deployed along the northern slope of the Kuen-lun mountains the chaplet of the oases visited by Sung Yun on the outward journey and by Hiuan-tsang on his return.
the great desert basin of the Tarim.
(i) See above, p. 264.
285
was unwilling
to be behind
its rival
in
it
No
one
is
carried out
by
Sir
One
of
them brought
oasis of
to light, in
March 1908,
at
Domoko
(itself situated at a
longitude of a
east of
woman,
cell
painted in tempera
on
little
measured on the
interior
m. 2,50 by m.
panel,
and
its
mud
ed a thickness of m. 1,35.
The
m.
1,15 wide,
which
a
height of
times,
m.
1,20.
Only
had in former
when
pers, suffered
much from
Howto us
communicated
still
foot of the
woman, who,
apparently,
seated,
two
little
figures, clothed
little
way
to
As
the
upper portion,
it
has
the British
Museum
in an excellent condition
and
Sir
first
Aurel Stein
us to give a
It
and double
reproduction of
acteristic
it (pi.
XLV).
shows
features
of
the principal
figure,
the
dreamy
symmetry of
the
two
lovelocks,
286
moon
face , too
and above
dressed to the
yellow and trimmed with fawn braid, the short sleeves terminating above the elbow in a frill of linen folded in fluted
plaits.
turquoise-coloured
worn by
(pi.
XLVII,
left
Her
a
hangs in folds in the hollows of her arms. hand, with straightened index, rests on the front of
i),
is
bosom,
is
as if asking to be
little
boy
seated astride
on her
whom
is
dressed,
on her shoulders. This more than suffices to determine, from analogy with pll. XLVII-XLVIII, i, the
identification with Hariti
The
unfortunately, des-
troyed
we should have
by
this
Sir
which
than the
111"* century
If,
may
be a
little earlier.
we
at last arrive
in China,
we
are so
much
the
more
certain to
discover
.
the
of the goddess-mother of
tseu-mu-chen)
was already
in his
under
2S7
as far as Japan.
A simple
modern images, whether representing her under her usual mask or, by a curious survival, in her proper guise as an ogress (pi. XLIX), will prove that the type has not, any more than the name, been so travestied
by the
local interpretation that
one can
hesitate as to its
matters
who, according to
fied
a certain interpretation,
forms of the
latter
and considered
as
not for us to
rious legend
Kuan-yin with a
child a virgin
who
is
that
the
innumerable
the
which
Great Mistress with the white robe.. just because she is the patron of childless people, is represented with a child
in her arms,
which makes her strongly resemble the Vir are only succedanea of the Indian and Serind,
images of Hariti
and consequentially,
we must
(i)
celebrees a
182.
288
seated
on
a rock
and draped
with wide
plaits,
bears in
(') .
V
This time the
ed, but
circle
is
clos-
only
after
East.
We
mouths of those Europeans whose eyes have once lighted upon them. In case the unanimity of the testimonies should run some risk
of these images recurs like a refrain in the of impressing the reader, he will quickly reassure himselt
some Egyptian mummy were wakened from its secular sleep, it would not hesitate in the least to recognize in them replicas of Isis suckling Horus, whilst every modern Hindu would with the same certainty see in them Krishna in the arms of his mother D^vaki or of his nurse Ya^oda. The type of the woman with a child, the
by
reflecting that, if
times,
if
not to
all
from
it
did they
would nevertheless know them under whole intention of this short study
heroine of the frontispiece and
tion
pi.
names.
The
the
to assign to
XLV her
authentic posi-
by restoring to
moral physionomy
goddess-mother.
Ddmoutier, Les
cUlles
289
progeny
affiliated to
ori-
without any shadow of violence, to include her in the group of idols, and the cycle of legends, dedicated to the
ancient ogress of smallpox.
she is shown to us only as transformed into a protectress of children and a dispenser of fecundity to women from the very moment
:
Of course,
when we
is
already an accomplished
entourage of urchins
trace of her past,
were
which even
in her
we should
call
name
.
of
mother of the
demons
and sure
identification
and the
It
interest of this
iconographic type
recalls, in fact,
is
thereby increased.
announces, or
its
father-
it
would be
choose
knowledge conart
through-
It
was not
until
was formerly
That
its
origin
was
by the
(').
archiologique
dans la
Chine stptentrionak,
CV-CCLXXXVII.
290
The productions of
those lately
exhumed by
from the
connected, by a transition
no
less evident,,
combined
missions in Asia,
we have
numerous images
it
in procession as
there
is
re-
only because we
is
meet her
11
at
why, among
museums
upon our
forced itself
We
do not
in the least
more to reinforce, the theory of the conquest of eastern Asia by Indo-Greek art we merely say that it remains a sign:
ally typical
example of a
a part.
historical
phenomenon whereof it
little
formed only
of a
Were we
in
pressed a
it
further,
we
an excellent illustration
more
general.
The
in the
art
;
291
now it appears more and more clearly that the two have a common source. If for a moment we disregard the
intrusion of the
art in the
may
when reduced to
:
the history of religious ancient world, from the beginning of our era,
its
Musalman Arabs,
essential features
numerous local variations be summed up somewhat in this manner on the decadent trunk of Hellenistic art
were grafted in nearer Asia two vigorous young shoots, of which one has been called Graeco-Buddhist, and the other
and excluding
might
and
Byzantium conquered the whole of Europe; but we must realize also that the former, growing and multiplying like
the Indian fig-tree, has likewise gradually
won
over the
thus,
come
more or
art.
But on the
more most
of
more
regard
beautiful nor to
more
full
resemblance,
if
not in
the
moral perfume
eyes, than
at least in
the
Even
to the
we
field
of
artistic
role will
and
in
some
cases at the
same time
virginal
PLATE XLV
Cf. pp. 285 6.
E E
HARITI, THE
BUDDHIST MADONNA
PL.
XLV
PLATE XLVI
Cf, pp.
278-9.
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PLATE
XLVIII
I.
now
in the
comes from the excavations made by Dr. D. Sahri-Bahlol, and has already been publi.-.hed by him
India,
in Arch. Surv.
Annual
Report,
1906-j,
pi.
XXXII,
c.
In
his
hands,
broken, the genius of riches must have held (right) his lance and (left)
the purse
which
Hiriii, apparently,
(cf.
we
see
was helping him to exhibit to the 141-3 and 283). In addition to also around them five other putti,
pp.
pedestal.
whilst sixteen
mare
play about
on the
II.
This photograph, taken by the author, represents only the with the image of the goddess
(cf. pp.
264
we may
727.
PL, XLVIII
'IbKl?^
1.
2.
HARITI IN JAVA
PLATE XLIX
Cf. pp. 286-7.
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INDEX
lo
pages,
Roman
to the descriptions
accompanying
the
numbered plates).
Abandonment
of
Home,
Great. See
Mahd-
AmarA,
bhinishkramana.
story of, figured 50 (Barhut). Amardvati sculptures, elegant style of, n. Stapa, Boro-Budur modelled upon
the, 209-10.
railing
Buddha
Buddha's
figures
from
the,
der, 121.
visit
to Bimbisdra
figured
on
the, 102.
date
of bas-reliefs
on
the,
190.
Ramagrima
romance
four
on
Amba.
See
railing of (fragmentary), 4.
Shaddanta-jataka figured on
the, 39, 188, 195-6, XXIX.
AcvAGHOSHA.
See Buddhacariu.
See Siltralamkara.
Agvaitha figured
Mango. Ambrosia, Vase of, figured 91 (S4nchl). Amitabha figured 256-7 (Boro-Budur).
figured
on head of Avalokite^vara
Su
also Bodhi-tree.
of,
Agathokles, coin
Agnes, type
of, in
described 126.
Ananda
43
;
incarnated
in
King of Benares
in the,
XIX (Sanchi).
160 and n.
2,
162-5, xxi.
Anda, partofStQpa,
AjAtacatru,
Akanishtha
33.
of, figured
Shaddanta-jdtaka figured in
the,40, 188, 195-9, 199, XXIX.
visit
of, to
Buddha figured
highest
107 (Sanchi).
of,
35.
heaven,
the
i.
of the
See
also
Antelope,
Buffalo,
Bull,
Ripadhdtu, 159, n.
Camel,
Crocodile,
Deer, Dog,
(BatavJa
Museum).
of,
256-7(Boro-Budur).
126.
^94
Ankle-rings
(Sinchi).
89
also
Annam,
Antagiri,
Bimbis4ra's
visit
to
Buddha
AvALOKiTEgvARA
pensive pose
of,
xxv (Gandhara).
statuette in Batavia
Museum
267.
wanting
also in
in
Gandhara
sculptures,
XXIX (Amaravati).
Tortoise, story of
Woodpecker and
the, 40.
vastu, 177-8.
149 n.
xxv (Gandhara).
loins. See Paryaii-
ArAda
remains
57.
of,
in
Calcutta
on the gate of Sinchi 93. Aristotle, Lay of, cited 48. Armourer, workshop of, figured 52 (Barfigured
hut).
Museum
stupa,
Bodhi figured on
the, 102.
Arms,
dislocated,
of
Javanese
women
on
the, 92.
Arrow, making
of,
described 52.
in
tendencies
fi-
developement
school
of
ancient
Buddha
fi-
gured on
routine
procedure
of an-
the, 19.
cient, 17.
figured
II,
Essay
Bhisa-jltaka,Camma-
on V, VI.
the.
See
Shaddanta-jitalta
the, 39,
figured
on
on
Vigvantara-jataka
the, 57.
See Arada,
Brahman, Hermit.
(Amaravat!).
Atlantes figured
xxv (Gandhara).
(Ta-t'ong-fu),
monksnot
tions
figured
on
the, 76.
xxv
on
the, 68.
INDEX
Barhut
sttlpa,
295
mentioned
in
BimbisAra
story of
Ru-
Bark-garments,
Brahmaiiical, figured
on
the gate ofSanchi 97. Barth, a., scene at BoroBudur identified by,
269 n.
composition
of,
at
S4nchi,
of
altar
XLIV (Chandi Mendut). Block, D'Th., viewof, concerning figure of bull in Lahore Museum 21 n. 2. BoccAcio, Rishyafriiiga-jitaka transposed
by, 48
XXV, on
roof,
(Gandhara).
XXXIV (Boro-Budur).
compared
with
that
Batavia
Museum,
Bodh-Gay4, signacula from, 12. See also Mahibodhi. Bodhi, emblem of the, employed
for mi-
view
of,
concerning
miraculous
trees, 72.
(Chandi Mendut).
female,
figured
Belt of jewelry,
worn by
at,
181-
tree at
Bodh-Gaya
13.
ot, see Ruru-j4taka.
king
Anoka's
108.
Buddha
(Gandhara).
19-20.
Mrigadiva, SSrnath.
at,
each sym-
79.
by
(Sanchi).
in,
48.
figured
72,
(Sanchi and
Ama-
railing built
17-
by Agoka round,
Tishyarakshita's attempt
the, 108.
upon
Bhdpal,
Begum
of, offers
gate of Sanchi
Bhrixdt5-TArA, image
of, in Batavia
Mu-
XXII
(Boro-Budur), xxiii
seum 267.
Bignonia flower figured 86 (S4ncM).
XXXV (Boro-Budur).
Suaveolens See
visit of, to
Piifal!.
102
BimbisAra,
Maitreya, Manju^rl.
loi (Sinchl).
Bodhisattvdvaddnakdpalald
figured
Boro - Budur
visit
of Buddha
(AraarSvatl^.
225 6.
296
Bodhisativdvaddnakalpahtd,
of,
figured
97
244 n.
2.
Mandhatravadana according
225 n.
I
to the,
British
figured
97
(Sanchl), 218
(Boro-
Budur),
XXV (Loriyan-Tangai),
of. See
Chignon.
xxxvii (Boro-
figured
hermitage
Budur).
figured
L (China).
Boro-Budur,
207-8.
n.
to
conservation
work
stfipa
at,
206
designed as
modelled upon
AmaravatJ
Stilpa 209-10.
J.
Guide
to,
by
Groneman, 215.
at,
xxil.
Museum,
213.
Buddha, almsbowl
(Gandhara).
of,
worshipped
xv
lat4
(later Stelae
i
of Benares), 70 n.
III
(Sanchl),
scenes,
avoidance of scenes
of
Bodhi
symbolized 20-1
vatl), 21
(Amara-
edifying scenes
empha-
(Buddhist coins).
of.
Su
Bodhi.
scenes figured
248-9.
arrange-
conception
III
of,
figured 92 (Sanchi),
Pradakshina
ment
to be
of, 214-5.
death
Parinirvana.
Set
descent
from heaven.
DeSee
vavatara.
Dharmacakrapravartana
of.
view
of,
Dharmacakra.
Boy, golden, figured l (China). Boys playing a game figured on a painting from Central Asia 273-4.
Bracelets
Chandaka iv (Be-
worn by
female
figure
89
(Sanchl).
monk and
prince,
BrahmA figured 96
(Ajanta),
xv (Kanishka
figured
71,
casket),
130-4.
created
by sculptors of N.
India 24.
heaven
of,
92,
103
W.
date
of, in
Amaravatl
16,
(Sinchl).
Burmah
in inscription
115,
Cambodia
Brahmamitra mentioned
(Bodh-Gaya).
115,
Brahman
ascetic. See
Cammasataka-jataka,
44.
Siam
INDEX
Buddha
figure declared impossible in texts
i8.
297
BuDHA, mother of. See Ukyi. Naga of Sw4t river converted by,
embodies
122.
preaching
of, to
I
Greekoriginof the,EssayIV.
Indo-Greek type
oldest
of, 7.
ed 163 n.
(Ajami).
Qiriputra 163 n.
i
Questions
of, to
descriptions
of
the,
(Ajant4).
relics of,
119.
tuaries, 147; in
Kanishka casket
figured 78 (Siln-
129, 130.
Padmasana posture of, 235 n. painted on cloth 234. proved by Kanishka casket
to belong to the
relics of,
war
of,
chl).
i" CenChrist
tury B. C. 129-130.
related
return
of,
to
Kapilavastu, figur-
to
that
of
ed 93 (SancW).
squire of. See Chandaka.
135-6, XVI.
said
tobea
seven steps
res).
of,
figured iv
(Bena-
of,
wood, 24
n.
uniformity
i
112-3,
114.
symbolized
19. 75.
at
figured 116 n.
(Turfan.Khotan),
(Takht-i-Bahai), 254-
figured
62 (Boro-Budar), 263
(Chandi
seven
chl
last,
symbolized
72 (Sin-
XX
dur).
KanakaVi^va-
footmarks
of, iii
(AmarivatJ).
of, hinted at
Four Promenades
(Sinchl);
Ramasambhava,
figured
xxxi (Boro-
Vipafyin.
Budur).
Gandhara
by, 122.
Buddhism
of. See
in
Gandhira, history
Essay
I.
of,
121-5.
Great Departure
nishkramana.
Mahabhi-
Buddhist
monuments abundant
dhara 124.
in
Gan-
by, 132.
Hiriti converted by, 122.
horse
of. See
Kamhaka
life of,
life of,
symbol of Buddha's
I.
Birth, 21 (coins),
113.
of.
Mahibhinishkraraana
bhinishkramana.
moii'fey's
SeeMahiat
Bulls
with
human
faces
figured
107
(Sinchl).
to,
offering
VaigdlJ
Burgess,
J.,
150.
2^8
Long-men and
115,
Ta-t'ong-fu
original in, 115.
described by,
167 n.
I.
l.
firom
2,
Hymn
to the,
147 n. 2.
a,
227.
symbolizing
VigvabhCl,
(Boro-Budur).
Child figured 139-40 (Gaul), 141 -2 (Gan-
(Sinchi). Calcutta
museum, remains
of Barhut rai-
dhara).
Children, goddess
original in,
figured 87 (SSnchl).
Camel
related
to
that of
Buddha
290-1.
135-6, XVI.
Christian art, Hellenistic origin
juxtaposition
in, 83.
of,
of
incidents
CandraprabhA, queen, figured 235, xxxvm-ix (Boro-Budur). Cankrama figured 93 (Sinchi). symbolizing Buddha 19 (Sanchi). Canoe figured loo (Sinchi).
(^ibi-jdtdka
symbols
Budur).
localized in
Gandhira, 123.
figured
86 (Sinchi).
Qaripdtra, questions
(Ajami).
Pundarika,
104
CiNcA, calumny
QiHsJia
tree
symbolizing
Krakucchanda
104 (Sinchi).
Civilization of India represented
on Sinchi
sculptures 80.
Cloud figured XLiv (Chandi Mendut). Cluny museum, signacula in the, 11.
Cock, Buddha's
jitaka.
birth
as.
See
Kukkuta-
Chair figured 144 (Gaul and India). Chandaka, Buddha's squire, figured 105
(Sincht),
viti),
in
(Gandhira
and
Amari-
IV (Benares).
figured XIV.
Chandi Mendut,
Chariot
images
in the, 262-6.
figured 93,
100
(Sinchi),
XXV (Gandhira).
INDEX
Columns.
See also Capitals.
299
Conception,
Buddha's,
represented
20
Mahi-
bhinishkramana.
of, 43-4.
i
xvn
(Gaul),
(Gandh<1ra).
dur).
localized at
Kanyakubja
(Fa-t'ien),
54.
confused with
n. 1.
(Gandhira).
gRi
(?)
77
n.
i
Great Miracle
at. See
Essay VI.
DhritarAshtra, Gandharva
85 (Sanchl').
king, figured
Sundart's assassination
figured
at,
183.
Z)i)'(fB(-SddAflfigured256 /(Boro-Budur).
70 and
n. I,
88 (Stochi).
images
See
in Batavia
museum
267.
^UDDHODANA, departure
of,
from Kapila-
rocana.
CundA
Mendut).
Barhut
in-
jri
wanting
in the, 178.
extracts of Mtila-Sarvistividin
Vi-
naya
followed
by
sculptors
of
Boro-
Buddha
by, 151.
dha 148
as
n.
I.
Maitrakanyaka
the,
story
narrated
in
in
the,
named
in the,
174 n. 5.
in
imported
81-2.
from Persia
artisans
the,
by Iranian
Deer figured xxix (Amar4vatt).
See also Antelope, Gazelle.
Dog
}00
Domestic
ch'i).
life,
European
by, 50.
literature,
Domoko,
Hiriti figure
from, 285-6.
Existences, previous,
taka.
Fan
Mahacaitya at
183 n.
QtivaiStX
seen
by,
Druma,
Kinnara
king,
figured
221-2
(Bore Budur).
Do
Hamel, Constant,
figured 95 (Sinchl),
xxxv (Boro-Bu-
dur).
Budur).
D^ang-hun,
Great
Miracle
narrated in
the, 161 n. 2.
63.
Fergusson
J.,
view
of,
concerning Indian
Udumbara.
EKAgRlNGA.
Elapatra,
(Barhut).
See Rishyafringa.
figured 19
indica. See
Nyagrodha.
Afvattha.
visit of,
to
Buddha
as,
religiosa. See
and Sinchi).
88,
n.
90 (Sanchi)
(Barhut), 86,
163,
90,
i
on
the, 83.
97
(Sanchi),
164
Flowers,
garlands
dhira).
of,
xxiv-xxv
(Gan-
(Ajanta),
xxviii (Gandhara).
Ajanta).
goad
for, figured
(Sarnith),
xxi
(Ajanta),
xxii,
savage, tamed by
Buddha
150.
(Ama165
xxxv (Boro-Budur).
as,
holders,
symbolizing Buddha's
21,
I.
conception
Fortune, Indian.
critici-
n. i, xxxi.
Ganda, Gandamba,
152, n.
!.
art,
as
name of gardener,
Gandhara
Greek
work
of,
on
Buddha said to have visited, 122. Buddhism in, history of, 121-5.
INDEX
Gandh&ra, Buddhist monuments numerous
in, 124-5.
joi
Kudi),
See also
xxvii-viii
(Gandhira),
Yaksha
columns in Corinthian or Persepolitan style in, xxv. conversion of, by MadhyJntika 122 frontier country under Ajoka, 121
Greeks
in, 125-8.
who
dispose
of the
creations
of
Gold, shower
of, figured
228 (Barhut).
Madhyantika apostle
of,
122.
125.
48.
figured
in,
39,
influence
on
art at
Sinchi 82.
Tutelary Pair
ted
Gandhira
dhist art
125-8.
See
290
Griffiths,
Gardener,
jitaka.
See
AramadOsaka-
Groneman,
J.,
Guide
to
Boro-Budur by,
verified
at 2,
215.
Budur).
Garland as decorative motif, 85 (Sinchl). figured 170-2, 172 n. i (Takht-i-
xxiv-vi,
XXVIII
Maitrakanyaka-jitaka
and
a.
Bahai),
(Gan-
Grunwedel,
xxxvi
Garments,
figured
228,
frescoes of
(Boro-Budur).
160 n.
2.
Maitrakanyaka
by, 244 n.
compared
described 65.
in. See
Essay V, xvii.
xix (Simath).
See also
24*
302
Budur)
9.
Kaf yapa
Hermitage,
Brahmanic,
figured
xxxvii
figured 173 n.
i,
xxvii (Gandhlra).
(Boro Budur).
Nimbus
life of
a,
figured 98 (S4nchl),
in the, 219.
Himalaya, scene
converted
figure
240.
esti-
Annam
287-8.
China 286-7.
Japan 287. universally found
in
Mahacaitya
183 n.
at
Qravasti seen
by,
Bud-
figured frontispiece
(YAr-Khoto),
(Japan),
XLV (Domoko)
(Gandhara),
(China),
xviii ,xlvii,xlviii
XLIX
~-
images
of, in all
ries
Indian monaste-
281.
xxxvi (Boro-Budur).
148
I.
282.
originally
described
by Yi-tsing
of
an ogress, goddess
of
in,
119.
HuBER,
in
E.,
reminiscence
worship
of,
2, 253.
147 n.
2.
of,
HayagrIva, image
267.
Head-dress,
of, in
Batavia
Museum
Brahmanical.
See Chignon.
Hell,
Buddhist,
chi),
figured
71,
91
(S4n-
in
mi-
72 (Barhut),
Idols
mentioned by
Pataiijali 9.
Images,
Vidi^i, 82.
anthropomorphic.
See
Idolatry.
HELtoDOROS, column
town
of,
by Dr.
Konow
dur).
9 n.
INDEX
Indian
art, history
life,
303
by sculp-
Kinnara.5(; Kinnara"
tures 29.
Mahijanaka
See Mahajanaka".
monkey. 5Maliakapi.
pigeon. 5c Kapota".
quail. See Latukika".
(Boro-Budur), iv (Benares), xv
heaven
of,
figured
91
(SSnchi).
steals ascetics'
food 46.
in
Indramitra mentioned
inscription
at
Bodh-Gaya
5S-
4.
at,
Temiya.
Unicorn.
See
Temiya".
Rishyafringa".
Inscriptions
54,
92
(Barhut),
66,
86
(SSnchl).
Ionic capital, volute of, imitated at S4nchi 87.
23
(Barhut and
Sinchi),
Isis
capitals
on gate of SinchJ 9
Gandhira 26.
Dabbha-
Great Miracle
152 and n.
in
i.
Introduction to,
puppha-j4taka 44-5.
Jain
monk (Digambara)
tree
at
ta).
Jambu
Kapilavastu
figured
106
(Sinchl).
Java,
JdtakamdlU,
Buddha
115.
Buddhist art
Buddhist images
of India 269.
resemble those
Su
Kinnara".
Mendut.
Jetavana,
and n
2.
Great
Miracle
in
represented
by
wheel
Mahaprajniparamita
with the, 149 n.
2.
i.
associated
Shaddanta".
Hamsa,
See
Hamsa"
scenes in the, 77 n.
304
Buddha
at,
149.
Juxtaposition
of incidents in
art
83
XXX
Karli, Great Miracle confused
with DharI.
macakrapravartana
at,
169 n.
Karma, law
Kaujilmbi,
of,
of, 31.
Buddha
KAgvAPA, conversion
100 (Sanchi).
Khara
unimportance
gend, 149.
village
in
Buddhist
le-
Buddha
mentioned in
Rudrayana
symbolized by Nyagrodha
story 238.
Kharkai, Buddha head from, Xi. King figured 100 (SanchJ), 232, xxxvi-xl
(Boro-Budur).
Shaddanta-jataka
in
the,
187-8,
tra,
coin
of,
with
figure of
Buddha
11
128.
figured 129-30,
XV (on
casket).
form
of,
Peshawar winter capital of, 129. stiipa, and casket of, i28-3o, xiv
XV.
and Boro-
horse, figured
Druma.
225 n.
I.
Kanthaka, Buddha's
(Sinchl),
III
105
figured XLix.
at,
168.
182.
dis-
IV (Benares).
at,
149.
Konkan, Great Miracle figured in the. KoNOw S., images in ancient India
cussed by, 9 n. 2.
figured
175,
in
dha
tree
53.
Krakccchakda symbolized by
104 (Sinchl).
Gir'sha
1 3
of,
Jambu
chi).
Mahabhinishkramana symbolizing,
148.
Brahman
NyagrodharHraa
scenes
at
gate
of.
See
to BuJdhiys 54.
Buddha's birth
as,
55,
Nyagrodh4r4ma.
at,
figured 77, n.
(Sinchl),
225 6.
M(ila-Sarvastiv4din canon followed
m.
by, 151 n.
2,204
n.
INDEX
Kdan-yin
figured l (China).
Lfivt,
30s
Hiuan-tsang shown
to
repro-
duce
Kud4
SQtrilamk4ra
version
of
stiipa,
Buddha's death
commemo-
168.
from
the, xxiii.
poem
147
sculptures
n. 2.
267.
KuvERA
286.
statuette in
Batavia
museum
Hiriti,
Life,
Buddha's renunciation
of. See
Ayuh-
saipskira-utsarj ana
La Fontaine,
48, 50.
Lion,
Buddha symbolized
by,
t.
(Chandi
Mendut).
Lalita-vistara
versions of stories
on
bas-
LocanA, image
267.
of, in
Batavia
museum,
reliefs
214 (Boro-Budur).
26.
103
(Sinch!),
173
174;
III
Lambaka, scene
Budur).
at,
figured
239 (Boro-
115.
of,
Le Coq, a. von,
as decoration 85 (Sanchl).
89 (Sinchl), 172
173;
Leemans,
(Takht-i-Bahai),
xv
222 (Boro-Budur).
Buddha
(Boro-Budur).
vii-x.
173, 176,
xxni-viii.
stalks as food ot ascetics 46.
L6vi, S.
Bodhisattv4vad4nakalpalat4 pas-
5.
crisis in
Indian conscience
at
the
miraculous
n. 2,
I.
birth
21
XIX (Sarnath).
LiJDERS, H. S6traiamkara fragments identified by, 173-4.
n. 2, 223
n. 2, 253.
3o6
LoHASUDATTA
(Gandhara)
XXIV, XXVIII
at,
13.
^uddhodana's
visit to,
93.
122.
preferred to
Twin
Miracle in Sar-
nath
stele 153-6.
XLVI.
See Haritt.
and
reasons for
tardy recognition
of,
figure explained by
M.
Millet
182-4.
tavana 180 n
I.
Coptic)
Magadha, Buddha
116.
Mahdpurusha, ideal
embodied
in
Bud-
in,
1 5 2
and
n. i.
Twin
156.
Miracle according
to
the,
(Mohamed-Nari).
represented
(Sanchi), 20 (AmaraI
wanting in
the, 178.
vati), 21 n.
Twin
Miracle
according to
the,
chi).
155-714.8 n. 2,
i.
symbolized by horse
Mahabodhi, Buddhist
259-62.
See also
portrait
statue
Maitrakanyaka
(Boro-Budur).
Bodh-Gaya.
(Barhut),
74
narrated in Avadinajataka,
etc.,
244
n. 2.
Maitreya
figured
MahAkatyayana
dur).
234 (Boro-Bu-
xxii
(Boro-Budur), xxvi
(Mo-
haraed-Nari).
Mahdparinibbdna-sutta
quoted concerning
MakhAdeva, Buddha's
dhara).
(Gan-
MAndhAtAr,
Miracle
story
of,
figured
224-31,
Twin
xxxvi (Boro-Budur).
n.
(Long-men),
Mango
89 (Sanchi), 162
(Ajanta).
INDEX
Mango, miracle of the, 152. MANjo?Rt figured 255 (Boro-Budur), 264-6 (Chandi Mendut), xxv (Gandhdra). wanting in Divy4vadana, Mahivastu, and Gandhira 177-8.
Minister. See also Hiru, Bhiru.
307
Twin.
See
YamakapratihSrya.
Mithila,
Amar4
Manohara,
flight of,
Budur).
Mara,
Buddhist,
Hdriti figure
in,
161
and
n.
1,
162-5
(Ajanta),
Monk
Buddhist, numerous in
124.
figure
in composition
1
Gandhira
of
XIX (SSrnath).
Buddha
heaven
of, figured
92 (Sinchl).
of.
figure
1-4.
figured
Marshall. J.-H
XVI
by, 129.
(Boro-Bu-
VII X, XIX,
150.
not figured
at
Monkey, Buddha's
jitaka.
Mat, Brahmanical, figured 97 (Sanchi). Mathura, Buddha figures from, date of,
116.
Devadatta's incarnation
as,
43-4.
at,
182.
4.
Moon,
fragments of railing,
of,
(Sarn4th).
crescent, figured 172, n.
i
unimportance
in
Buddhist le-
(Takht-
gend 149.
i-Bahai).
MaudgalyAyana
MAyA, dream
Ill
figured 174.
of, figured
70 and
n.
(?),
Mortar and pestle figured 95 (Sanchi). Motifs, decorative, borrowed from Persia
81.
chl).
at the, 13.
Meditation, Buddha's
Mudrd
181
;
figured
163
(Ajanta),
170
n.
2,
Mekha-Sandha
Asia 274.
hill, Xii.
Melons figured on
^lainting
from Central
xx (Ajanta), xxi
prevalent
in
Menakder, coin
Mula-sarvdstivddin
6.
school
Nigasena's
conversation with,
Jav.i 253.
Monk.
as. See
Camma-
226.
at,
160 n
2.
S-^e also
Menander.
figures indicated
(Boro-Budur).
by, 278.
Ndga, Buddha
relics at
Rimagraraa guar-
Madonna
ro-Budur).
3o8
Ndga
ern
India),
iv
(Benares),
xix
Olympian,
ideal of,
embodied
in
Buddha
figure 134-5.
Oxen
figured 87 (SSnchi).
Janmacittaka, story
of,
218-219.
Padma.
See Lotus.
Buddha
Padmdsana posture,
Buddha
figures
in,
256 (Boro-Budur).
in Vidhura-jataka 55.
woman
See also
patra.
Ela-
reserved for
Buddha
{ibid.'),
235 n.
in
Tibetan, XL.
See
Town,
personification
(Chandi-Mendut).
Paiicala country 217-224.
6.
in
5.
,
in the
Great Mi-
figured
59-161.
220
(Boro-Budur)
(Wes(Kuda
named
and
Magadha)
xxv - xxvii
DivyavadSna 174 n.
of,
5.
(Gaudhara).
dha
Panthaka, miracles
of
157 n.
3.
See also
Naga.
Bud-
Buddha,
birth of.
Buddha's, in
the
heaven of the
19.
Necklace
chi).
worn by female
figured
figure 89 (San-
Thirty-Three Gods
Nimbus
144
I,
figured 93, 94, 95, 96, 102 (Sanchi), 164 n. I (Ajanta), 170-2 (Ajanta),
171
n.
leaf
form,
172
n.
(Tak)-t-i-Bahai), xix
(Sarnath),
xxi "{jAJanta),
xxviii
xxiv
xxi
(Ta-t'ong-fu),
xxv
xxvii and
(Gandhara),
(Gandhara).
Nun
figured
234-5
(Boro-Budur),
xxv
Budur).
Parinirvdna figured iv (Gandhara, Amara-
I,
n, IV
(Amari-
Ardma
Oldenburg,
243-4.
S. d', jatakas at
Boro-Budur
I,
Pdiali,
identified by,
214 and n.
215, 217,
(Sancht).
INDEX
Perfections of Buddha. Sie P4ramita.
309
figured 164 and n,
i
PuRANA KAgvAPA
(Ajarita).
Persepolitan columns
Persian. See Iranian.
xxv (Gandhira).
at,
Purse
Pishi. See
figured 139-40 (Gaul), 141-142 (Gandhira), 145.6 (Gaul and GandhSra), 246 (Boro-Budur), xxiv, xxv, xlviii
(Gandhira).
Purusha, golden, on
Rajoharana.
Brahmanic
altars 8
Pigeon,
jitaka.
Buddha's
life
as.
See
Kapota-
and n.
1.
5m Latukika
ja-
figured
xlvl.
tified
by,
214
at
and
n.
2,
216
at
n.
I.
Pond
Museum
statue
Buddha
Boro Budur
dis-
57.
,
stflpa
surrounded by
3 3 ,6 5
(Sanchi)
of,
1
232 sqq.
(GandhSra),
xxix
elephant tamed
nath).
at,
Ram,
importance
of, in
'
early
Buddhism
trapezoidal, figured
xxv (GandhJra).
149 and n, 2.
See also Antagiri.
Portrait statues of
83,259-
Prauhutaratna, Buddha,
t'ong-fu).
RAma
at
figured 79 (Sinchi).
A{oka's
visit to,
23.
171,
174
(Ajanta),
179
(Barhut).
Ratnasambhava
car-
dur).
See
image
in Batavia
of,
Museum
i.
267.
Preaching, Buddha's
first.
Dharmaca-
Rawak, sculptures
Rheims, people of
172 n.
kra-pravartana.
Buddha,
relics of.
(in
La Fontaine),
50.
xxviii,
Buddha.
borne by
Brahman
Rishis figured
228 (Boro-Budur).
(Barhut),
218.
Put)4artka tree, symbolizing fikhin, figured 104 (S4nchl),
Rishyafringajdtaka figured 47
74
n. 2 (Sinchi).
story located in
Gandhira 123.
25
310
stipa repaired
by Archaeological
Department 64.
seven
traditional
Buddhas
188.
tradi-
localized
by E. Huber 238 n.
2.
figured
on
the, 72.
at,
Shaddanta-jataka
Royalty, insignia
Sandal-wood statue of
tions relative to the,
Buddha,
n. i.
at,
RudrAyana
24
Sahkajya,
Devivatara
149-50,
177
xix(Sarnath).
Sarnith,
Buddha
SAtakani mentioned
Sanchi 4, 67.
Satire against
97 (Sin-
women
in
46.
Saw employed
Sad-dharma-pundarika associated by Wouk'ong with the Gridhrakflfa 149 n. 2. S4gala, capital of Menander, 127.
Sahri-Bahlol,
excavations
at,
Scarf
worn by Gandharvas
in
85.
Sculptures
the
xin,
xiv,
XLVIII.
S4ncW
photographs
of, xjii.
Indian,
more
of Sanchl,
in, 81.
observation of
nature
Essay
III.
passim.
Buddha
figure
wanting on
the, 117.
chronology
196.
figured 39
of,
versions of the,
(Amarivati, Barhut,
on
the, 92.
d4na
and StttrMamkira
198-
studied by Biih-
66
n. i.
Siam, Buddha type not original in, 115. SiddhArtha Bodhisattva figured xxvir
(Gandhara), xxxvi (Boro-Budur).
Signacula in th British and
.'
photographs
relics
of, vii-x.
II.
Sikrl, statue
64.
INDEX
Simhdsana, Bodhi represented by, 148 n.
2.
311
See also AmarAvati,
Smpa
Barhut, Boro-
Buddha
Budur, Sanchi.
SuBHADRA, conversion
dhSra).
of, figured
iv(Gan-
XXXVII (Boro-Budur).
RAma
45.
legend
of,
217-224.
SuNDARi, assassination
200.
Smallpox, Deity
infants protected
by amulet against,
122.
Swan,
Twin
at
Buddha's birth
as. See
Hamsa-j4taka.
Boro Budur explained by, 215, 243-4. Spoon, sacrificial, figured 98 (Sanchi).
Spooner, D.
coins
B., Buddhist
tabulated
Swat River, Naga of, converted by Buddha 122. Symbols 14 (on coins), 69 (Sanchl).
Ta-che-tu-luen, date of the, 190.
by, 14, 21 n. 2.
Shaddanta-j4taka in the,
196.
194-
at.
TArA
172 n.
photograph
figured
of, xii.
Standard-bearer figured
gate 86 (S4nchi).
on
in
capitals
of
Stein,
M. A., excavations
Chinese Tur-
60.
image
Museum
267.
TAranAtha on
of, 115.
in,
166
7,
Stool figured 144 (Gaul and India), 164 n. I (Ajanta), 272-3 (Central Asia).
Stdpa,
Tawl^ amulet
case, 122.
visits
Taylor, General,
14.
Taxiia, Heliodoros
doros.
native
of
See Helio-
Teaching, gesture
of,
xxiv (Gandhira).
gate of.
Su Torana.
of,
prominence
in Buddhist archi-
tecture 10.
wheel symbol
in, 26.
symbolizing
Parinirvina
104
(of
seven
I,
last
73, Buddhas),
18,
(SAnchl),
II,
i78(Barhut).
312
5ceRishya5ringa-j4taka.
Upananda.
Woodpecker, story
See
Nanda.
Tortoise,
Antelope,
of, 40.
Town
as decoration 85 (S4nchl).
figured
Uposhadha, father of Mandhdtar, 226-7. Uryid on forehead of statues 119, 177. figured 177-8, xxivxxv (Gandhira).
Amaravatl).
of,
figured
174-5,
119.
UtpalavarnA
174.
Miracle
XVII (Gandhira).
pitha.
Buddhism
Trailokyavijaya figured
Tree, coins marked
statuette in Batavia
Museum
267-8.
149. n. 2.
monkey's offering
XIX (Sirnith).
at,
figured 150
vi'ith, 14.
267.
wood
near, 228.
Vairocana
figured 256-7
(Boro-Budur).
(Gan-
Bodhi
Ficus,
tree,
QSlIu,
Cam-
paka,
gapushpa,
PundarJka,
Vajrasattva
statue
in Batavia
Museum
Shorea
Udumbara.
the,
Shaddanta-jataka in
194-196.
187-8,
Mendut).
lottery, figured
88 (Sanchl).
Tumulus,
dhara).
(Gan-
n.
2; xxiv-xxv-xxvr
Budur).
painting
tree
104
Tushita
VigvAKARMAN
xxxiv
figured 91 (Sancht),
(Boro-Budur).
Tutelary Pair in Gaul and India. Bssay V. figured XVII (Gaul), xvm
located in
Gandhira
xii,
123.
ViDHURA. Buddha's
Vidifi,
(Gandhira).
Udayaka
tue of
column of Heliodoros
ivory-carvers of, 67.
at,
of,
143-4.
Village
82.
Vihdra, stele in
life
form
of,
xxv (Gandhira).
Bignonia
104
figured 96 (Sanchi).
ViPAgyiN
(Sinchl).
symbolized
by
104 (Sinchi).
INDEX
Virgin Mary, Oriental costume
types of, 276.
in
art
313
associa-
Wou-k'ong, Saddharmapundartka
VoGEL,
J.
god
n. 2.
YxgoDA
figured
xxxvi (Boro-Budur).
iii,
iv
xii,
and XLVii
175 (Brahmi's
Water-vessel figured
em-
Yama, kingdom
14.
of the
Law
90
(Sanchl).
described 152.
symbol
in
I, II,
iv(S4nchl),
Gandhira 153.
duction), Jltaka-mili, Sutralank4ra,
Gandhara,
First
Mediaeval
Mahdvamsa,
Mah&vastu,
symbolizing
Preaching
19,
Woman,
73,
248
n. 2.
(Barhut), 180 n.
(S4ncbi).
Yslr-Khoto,
Madonna
on painting
from, 271.
Buddha's birth
46.
reports
M(lla-Sarv4stiv4din
in
pre-
dominance
2S3-4.
Malay Islands
Kurunga-miga-jitaka, 40.
Worship, forms
chJ).
of,
depicted
80
(SSn-
Wou
-
Budur).
k'ong
Mahiprajnapiramitd- sCltra
YzERMAN, J. W., primitive plinth of BoroBudur as originally planned, discovered by, 208 n. I, 213.
Kinnara-jataka identified
n. 2
by,
242
p. 5,
1.
22
1.
:
For
:
earthy
read earthly .
P. 8, n.
P.
For kritya
read u krityd .
10, n,
1.
For
:
P. 20,
15
1,
5
;
Insert
comma
B
P. 21, n. P. 26,
1.
1.
For
groupe
read
group .
For
:
i>
has
read
had
in
>>.
1.
1.
22
14
For For
I
:
at
P. 30,
owe however
Sd.
>>
read
owe, however
n.
I, 1.
For
P. 31, 1. 11-17 Need it be stated that this too summary view of karma is not an altogether correct one? If we judge from the numerous iarma-tales, things were
supposed to be
P. 33,
less
mathematical.
21
For For
For
:
was preeminently
>>
was
1.
1
29
I
:
P. 36, P. 37,
))
in
1.
15
For
or
read or,
in
if .
1.
1.
1
16
Insert
20
21 25 6
1.
:
under
whom
who
read
P. 40,
1.
1.
For For
read
which . v which .
rebirth .
.
n.
11,
1. 1.
Saddanta
read Shaddanta
P. 43, P. 46,
8-9
16
18
:
For
only
>>
falls
to
them
read
falls
to
them only
For For
these
read in .
1. 1.
1.
21 8
:
at read
from
P. 47,
22
Omit
:
back
1-2 3
1. 1. 1. 1.
stop.
P. 48,
26
12
Omit Omit
back .
.
P. 49,
P. 52,
Read marriageable
:
28
31
: :
one
P. 56,
read
Temiya
.
. .
1. 1.
For
:
16
2
:
coigns
For
I
1.
1.
25
29
:
P. 70, n.
more
Paris,
131-4).
1.
P. 74,
After school
1.
insert in n
order
n. 2,
For
Saddanta
read
Shaddanta
315
26
2
:
Read
P. 77,
n
1.
1.
18 23
For
For
P. 87,
observe read
obverse
.
>>.
P. 97, P. 98,
1.
1. 1. 1.
30
25 25
For
For
:
buffalos
read buffaloes
P. 107,
P. 116,
For
read buffaloes
, read
24
:
For south-west
south-east .
P. 119, n.
These Notes on the ancient Geography of Gandhdra have since been by Mr. H. Hargreaves and published in Calcutta (1915)
:
30
The
it
:
casket
is
not
made
.
of gold but
of an alloy in
which copper
predominates
P. 140,
1. 1. 1.
gilded.
5-6
P. 143,
P. 144,
Pi.
32
15
XVIII
1. 1.
1.
(text opposite),
I,
1.
11
Read Volkerkunde
P. iji, n.
P. 153,
Read
ihid. .
21
23
I
:
P. 154, P. 158,
P. 160, n.
P. 162, n.
I,
For besides read indeed . For n they read these . For a eye witness read eye-witness . Read which (unfortunately broken) 1. 3
: : :
I,
1.
1. 1.
For motifs
;
read
motif .
n. 2,
II
5
:
For do
read to .
Read
:
We
P. 164, n.
I,
1.
1.
9
12
I
:
For rarety
:
read rarity . .
.
Read carved
2,
1.
Read
<i
provenance
not
.
For
1.
:
no
read
P. 173, n. P. 176,
P. 177, P. 185,
1.
1.
I,
Before
which
insert
comma.
12
For
:
ands read
and
22
8
:
1.
For on
P. 189, n.
I,
For beliewe read believe . read concerning . 1. 3 : For Buddha read Bauddha
3
:
n. 2,
1.
1.
1.
Before
question insert
a)>.
P. 190,
13
S
:
Dele comma.
Fausboll read Fausb0ll .
1.
P. 196, P. 201,
PI.
1.
II
For
XXX
1. 1. 1.
(text opposite),
12
Read panel .
16 17
Read
represented .
.
19
II
Read just
Before
P. 205,
Progo
insert the .
P. 21S, n. 2,
P. 216, P. 221,
1. 11.
For Gronemaan
read
Groneman
.
first
For
:
Then
read
Then again
1-2
For
5
presents .
P. 241,
P. 244,
P. 351,
II.
I.
4 and
8
13
For
on
read in a.
2 -.Read
:
identification .
1.
1.
For
:
on
read in .
read
P. 253,
For this
the .
3i6
P. 267,
P. 271,
1.
For
:
11. 1.
1.
1-2
:
Omit commas.
partners read
P. 274,
P. 275,
For
:
playmates .
10
7
7
:
1. 1. 1.
1.
For suckles
:
read sucics
15
16
II
OmjV comma.
For
hangs in folds in read descends sinuously Peru consequentially read consequently .
>>
1.
1.
to .
P. 287,
PI.
30
XLIX
(text opposite),
1.
For wood-cuts
pi.
read
wood -carvings
in her
These two
statuettes
L,
2,
Getty
very inte-
on The Gods
;
pll.
XXVI XXVII
XXIX
b and c;
XXXII
a and
b.