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3730

A5I5
1911

UC-NRLF

SUPPLEMENTARY CATALOGUE

of the

ARCHAEOLOGICAL COLLECTION

of the

Indian Museum.

BY THE LATE

THEODOR BLOCH, Ph. D.

Archaological Superintendent, Eastern Circle; First Assistant

to the Superintendent Indian Museum

(Natural History Section).

■

m
>-

CALCUTTA:

PRINTED AT THE BAPTIST MISSION PRESS.

igil.

Price Re. 1.

THE LIBRARY

THE UNIVERSITY

OF CALIFORNIA

GIFT OF
HORACE W. CARPENTIER

SUPPLEMENTARY CATALOGUE

of the

ARCHAEOLOGICAL COLLECTION

of the

Indian Museum.

the i^te THEODOR BI,OCH, Ph.D.

Archaeological Superintendent, Eastern Circle; First Assistant

to the Superintendent Indian Museum

(Natural History Section).

CALCUTTA :
PRINTED AT THE BAPTIST MISSION PRESS.

igil.

CARPENTlEi?

A/3730

PREFACE.

Dr. John Anderson's excellent ' Catalogue and Hand-book '
of the Archaeological collections in the Indian Museum was
published as far back as 1883, and, during the twenty-seven
years that have elapsed since then, the Museum Galleries have
been enriched by the acquisition of a large array of valuable
sculptures and other antiquities. It is with these additions,
numbering more than 3000 in all, that this supplement deals. It
was the last work to be accomplished by the late Dr. Theodor
Bloch before his untimely death in September, 1909, and was
written by him at a time when his health and strength were
fast failing and at a season of the year when the climate of
Calcutta must have been peculiarly distressing to him. Yet, in
spite of these adverse conditions, and in spite, too, of the haste
in which the task was done, this short supplement has a special
value for us, inasmuch as it embodies the opinions and ideas of
one who had been closely associated with the Museum for over
fourteen years, and who had come to be recognized as the first
authority on the antiquities of Eastern India. It is for this
reason that, in passing Dr. Bloch's manuscript through the
Press, I have made it my aim to introduce as few corrections
as possible, even though I believed that the author himself
would not have been sparing of them, had he been able to
revise the proofs. The only additions of any significance that
I have made are those relating to the measurements and
materials of the exhibits, the details of which have been sup-
plied by my assistant, Babu Rakhal Das Banerji. Dr. Bloch's
intention seems to have been to produce merely a guide book
for visitors to the museum, to whom such data would perhaps
have been superfluous ; but I venture to think that his little

065

book may prove useful to a wider circle of students who can
only familiarize themselves with these antiquities by the help
of photographs, and for whom the details I have added are
indispensable.

J. H. Marshall,
August 16th, 1910. Director -General of Archceology

in India.

INTRODUCTORY NOTE.

The original draft of this Supplementary Catalogue of the
Archaeological Collection of the Indian Museum was prepared in
1907 at my suggestion by Babu Nilmani Chakravartti , M.A.,
now Professor of Pali and Sanskrit in the Presidency College,
Calcutta, who was temporarily in charge of part of the collec-
tion during the late Dr. Bloch's absence from India. On Dr.
Bloch's return, however, he undertook to revise the draft, and 1/
he was occupied almost till the time of his death in so doing.
His wide knowledge and extensive experience enabled him to
add so much to the list as it was originally written that it became
practically a new work. It is therefore issued in his name.
Dr. Bloch's MS., which was left in a somewhat confused state,
was prepared for the press by Mr. G. H. Tipper, who was
temporarily in charge of the Indian Museum.

To supplement the tribute paid to Dr. Bloch's scholarship
by Mr. Marshall would be mere impertinence on the part of one
who is no archaeologist, but merely, by an accident of a kind
common in India, happens to be in official charge of a great
archaeological collection. It is clear, however, even to one who
is not an archaeologist, that India sustained a great loss in the
premature death of a scholar so ripe and so experienced.

N. Annanda^e,
September 23rd, 191 o. Superintendent, Indian Museum,

Natural History Section.

[Since this note was written, the archaeological collections of the
Indian Museum have been transferred to the care of the Director- ^
General of Archaeology. — N. A., 31-1-11.]

I. BARAHAT ROOM.

Relics from Lauriyd and Piprdwd.

These relics are exhibited in a show-case standing near the
gate of the Stupa from Barahat (Bharhut). The same show-
case also contains some specimens of paper, textile fabrics,
etc., found by Dr. M. A. Stein in Central Asia (Khotan).

Piprdwd relics. — The ancient Stupa of Piprawa, in the Basti
District of the United Provinces, was excavated by Mr. Peppe in
1898 The majority of the finds are now in the Indian Museum,
Calcutta, except the bones and ashes of Buddha, which were
presented by the Government of India to the King of Siam.

The interest of the finds lies in the inscription around the
lid of one of the steatite vases. Its probable reading is as
follows : —

Sukiti-bhatinam sa-bhaginikanam sa-puta-dalanam iyam salila-
nidhane Budhasa Bhagavate Sakiyanam.

The translation of this inscription is : — \ * This receptacle of
" relics of the blessed ' Buddha' of the Sakyas (is the deposit) of
" the brothers of Suklrtti, with sisters, with sons and wives."1

The writing of the inscription points to a very early date,
3rd or 4th century B.C. It seems best to translate the inscrip-
tion as above, and not as has been done by some scholars to
refer the Sakiyanam to salila-nidhane , and to explain the in-
scription as meaning that the relic deposit had been made by
the Sakyas, the clansmen of Buddha, who according to the
Buddhist tradition had received one-eighth part of the bones
of Buddha after his cremation.

The vases, bones, and small objects constituting this find
were all deposited inside the big sandstone coffin or chest, now
standing near the wall facing the show-case. Among the
vases particular attention should be paid to the fine crystal

l See Indian Antiquary, XXXVI, 1907, p. 122.

bowl, with a fish-shaped handle. It is made of mountain
crystal (Sphatika in Sanskrit) out of two pieces only.

Among the small pieces of jewellery are seen birds, flowers,
etc. Note also the gold-leaf, with the spiral ornament, and a
few figures of a female on gold or silver leaves, perhaps re-
presentations of the Earth-goddess. A clear representation of
the Earth-goddess (Prithivi) is seen on another gold-leaf in the
same case. It was found with a small deposit of human
bones inside a funeral mound at L,auriya, 14 miles north
of Bettiah in the district of Champaran. The excavations
were conducted by the writer in March, 1905, and the iden-
tification of the female figure as Prithivi, the Earth-goddess,
has been made with the help of a verse from the Rig-
Veda.1

It is difficult to assign the true date to this small ancient relic,
but it appears certain that the funeral mounds, inside of which
it was found, go back to a period before Asoka (250 B.C.) It
is possible that they may be as old as 400 or 500 B.C.

Relics from Patna, the ancient Pdtaliputra.

A number of small railing pillars etc., found at the site of
Pataliputra between Bankipore and Patna, are shown along
the eastern wall of this room. Note also the two huge wooden
beams exhibited along with them. Similar beams have been
found from time to time at various places between Patna and
Bankipore, and some antiquarians look upon them as remains
of the ancient wooden palisade which at the time of Megas-
thenes (about 312 B.C.) surrounded the ancient city of Patali-
putra, the HaXifioOpa of the Greeks.

i Rig- Veda, X—

Upa savpa mdtaram bhumim etdmuru-vyachasdm Prithivim suse-
vdm urnamradd yuvatir dakshindvatte eshd tvd pdtu hirriter upasthdt.
l< Go to thy mother, this Earth,
The widely extending, very gracious Prithivi;
That maiden (sc. Prithivi, the Earth), soft as wool to the pious,
May protect thee from the abode of destruction."
See Archceological Survey of India, Annual Report, 1906-7, page 119.

PLAN OF THE GANDHARA ROOM

West

•South

□

North

East

II. GANDHARA ROOM.

Gdndhdra is the name of an ancient country in the north-
west of India corresponding roughly to the modern district of
Peshawar. As the majority of Graeco- Buddhist or Indo-
Hellenistic sculptures have been found in that district or
close to its borders, the name u Gandhara Art " is now gene-
rally applied to the particular style which this class of
ancient Indian carvings exhibit. Their date may be roughly
ascribed to the last centuries before, and the first centuries
after, the birth of Christ.

The important place which the School of Gandhara occupies
in the general history of Buddhist Art, is mainly due to the
iconism to which it gave birth. For it was in this School that
the principal events of Buddha's life were first portrayed and
that the standard types of those subjects were created; and it
was in this School also that the custom arose of setting up
images of Buddhas and Bodhisattvas, in place of mere symbols,
like the wheel and footprint, which up to that time ap-
pear to have been the only objects of adoration among the
Buddhists of India.

The collection of Gandhara sculptures in the Indian Museum
consists chiefly of the finds made by General Cunningham
among the ruins of Jamalgarhi, to which a large number of ad-
ditions were made in 1895 and 1896 by the late Mr. A. E. Caddy
from various ancient sites in the Swat Valley. The collection
is arranged on the following plan : —

{a) In the centre of the room stands a small votive Stupa,
a typical specimen of the kind of building of which all the
exhibits in this room formed some decorative part.

(b) Around this centre-piece are eight show-cases, the inner
sides of which contain relief- scenes of the life of Buddha, while
the outer sides have images of Buddhas and Bodhisattvas, orna-
mental friezes, and various other fragments.

(d) Near the western window of the room are a number of
replicas of one of the favourite subjects in ancient Buddhist
Art, viz., Indra visiting Buddha in the Indrasaila cave on one
of the hills east of Rajgir, the ancient Rdjagriha, in the south-
ern part of the modern district of Patna. In order to afford an
opportunity for a comparative study of ancient Indian Art,
this scene is also represented by a relievo from Barahat and
another one from Mathura or Muttra near Agra.

The following description follows the above order : —

Votive Stupa in centre of room.

From Mr. Caddy's finds : umbrella and niche in eastern side of
dome restored. Measurement : one side of base 2' 3" , height 4/ 10" .

The constructive arrangement of the Buddhist Stupa in
Gandhara differs in three important points from the oldest
forms of Stupas as we find them in India proper, viz. —

(a) The hemispherical dome has been raised to a greater
height by building it upon a series of circular drums, which
again rested on a square platform.

(b) The umbrellas on the top consist of a series of five or
even more, gradually diminishing in size towards the top.

(c) The railing around the Stupa has been entirely aban-
doned. Its carvings have been added to the outer walls of
the Stupa itself, while the ancient tor ana or gateway survives
in the shape of one or more arched niches; added to the cir-
cular drum of the Stupa dome. Specimens of similar niches
will be seen on the northern and western sides of the masonry
platform on which the ancient votive Stupa stands. Among
the other carvings exhibited around this platform are a few
representations of the typical Stupa from Gandhara, which
have been used as models for restoring the umbrellas.

The hemispherical dome is represented as an inverted
lotus flower. The great popularity which this flower enjoyed
among the Buddhists as a holy symbol of their religion goes
back to the ancient Indian worship of the lotus as an emblem
of the sun. It is accordingly of the same origin as the wheel,
the well-known Buddhist symbol of the sacred law (dharma).

The three circular drums supporting the dome have the
following ornaments : —

(a) A chess-board pattern made by cutting out small
square pieces.

(b) A number of dwarfish-looking male figures standing
between small trees. Their attitude suggests the idea that
they are meant to support some heavy load above their heads,
and we can hardly fail in describing them as Yakshas a class
of subterranean demons whom we often find represented
around the basement of Buddhist Stupas. The idea which
the Buddhist artists intended to express by adding such
figures to their sacred buildings must have been that the
chthonic deities, such as Yakshas and the like, by sup-
porting as it were the building, guaranteed its stability.
In the present instance, however, it is remarkable to observe
that the artist represented these chthonic deities not in the
lowest tier of the Stupa where we should have expected to find
them, but in a portion of the Stupa which, according to the
more ancient plan, would have been the base of such a build-
ing. We may look upon this as a clear indication of the fact
to which allusion has been made above, viz., that the circular
drums and the square platform of the typical Stupa of Gan-
dhara are innovations from the ancient model introduced by
the architects of that country. Further, it should be noted that
the prototype of those Yakshas in the art of Gandhara can
clearly be traced back to such figures as the Erotes of the Greek.
As Mara, the ancient Indian god of death, who tempted
Buddha before his attainment to supreme knowledge, i.e., the
bodhi, under the influence of Hellenistic Art in India gradually
became changed into Kama,] the god of love, so the Indian
devils, the Yakshas, dropped their man-eating habits and
turned into friendly spirits, resembling in outer appearance
the Greek Erotes, whom we could never credit with such acts,
as the eating of human flesh.

1 The word Mara has become synonymous with Kama in Classical
Sanskrit.

(c) A number of small seated figures of Buddhas, arranged
between small trees, are represented on the third or lowest cir-
cular panel , while

(d) The four sides of the square platform [ are each divided
into two panels, containing altogether eight representations of
the principal events in Buddha's life down to his " Great
Renunciation ' ' (mahdbhinishkramana). The arrangement begins
from the West. The scenes represented are as follows : —

I. Western face : —

(a) Maya's dream. The Bodhisattva enters the womb of his
mother at night in the shape of an elephant. The figure of the
elephant is surrounded by a halo, thus showing that the artist
meant to represent the miraculous conception of the Bodhi-
sattva as a real fact, not, as it was originally conceived, as a
dream; see Cunningham's Bharhut Stupa, pi. xxviii.

(b) The Rishi Asita-Devala explains the dream to Maya and
her husband, king Suddhodana.

II. Northern face : —

(c) The birth of the Bodhisattva in the Lumbini1 garden
near Kapilavastu — broken. We observe Maya grasping a
branch of the sa/-tree above her head, the typical atti-
tude in which ancient Indian Art used to represent female
deities.

(d) The new-born child, standing on a lotus, is bathed.
Only a few fragmentary indications of this scene remain.

III. Eastern face: —

(e) Mother and child are brought back in a palanquin from
the Iyumbini garden to the royal palace in Kapilavastu

1 Three of the four sides have been figured by Foucher, V Art Greco-
Bouddhique du Gdndhdra, p. 313, fig. 160, and p. 361, fig. 184.

2 The word lumbini or lurhrnini, as it is spelt in the famous Asoka
inscription, goes back to Sanskrit Rnkmini, another name of Laksmi.
The traditional birthplace of Buddha, accordingly, must have been a
sacred grave dedicated to Laksmi, the Indian Fortuna. likewise the
well-known type of the bathing of the new-born Bodhisattva is an adap-
tation of the bathing of Laksmi by the dig-gajas or guardian elephants
of the world. Cf. Cunningham, Bharhut Stupa, pi. xxxvi, fig. 1.

Observe the peculiar form of this pdlki ; also the manner in
which it is carried. The defect is due to the western artist who
created this type, an Indian pdlki was something new to him ;
and, in order to show mother and child sitting inside it, he
had to place them just in front — a very awkward posture for a
person travelling in a pdlki and not less so for the poor pdlki-
bearers.

(/) The new-born Bodhisattva is brought to the Rishi Asita-
Devala, who predicts his fortune. The child will become either
a universal monarch (raja chakravarUi), or a Buddha.

IV. Southern face : —

(g) The Bodhisattva, or, as his personal name then was,
Prince Siddhartha, leaves Kapilavastu at night, in order to
become an ascetic. Observe the Nagara-devatd or " city
goddess V of Kapilavastu, with the civic crown (corona mura-
lis) in one corner. She opened the city gate, so that the night
might pass unnoticed. Likewise, observe the two kneeling
figures, holding the hoofs of the Bodhisattva' s horse. They
represent Yakshas, who, by doing this, helped to screen the
fleeing prince. The prototype of this scene goes back to
relievos, representing the triumphal entry of a Greek or Roman
king into a subdued city. From similar representations has
been derived the quite un-Indian idea of a Nagara-devatd, or
" city goddess," with a corona muralis; and the two Yakshas,
supporting the hoofs of the horse of the Bodhisattva, likewise,
are adoptions of the kneeling figures of captured barbarians,
whom we find in the Greek or Roman relievos, referred to
above.

The attendant figures, seen on both sides of the Bodhisattva,
evidently represent the four lokapdlas, or guardians of the four
quarters of the horizon. One of them, certainly, is Indra, as
we see him holding the vajra, or thunderbolt; their presence,
in this scene, is an indication of the fact, that the Bodhisattva
starts for his digvijaya, or the conquest of the world by means
of the law (dharma). This is an original Indian idea, which
can not be traced back to Western Art.

(h) The Bodhisattva sends his horse, Kanthaka, back. The
horse is represented kneeling in front of the Bodhisattva, who
seems to take off his bracelets, and other signs of royalty,
which he sent back to his palace at Kapilavastu, together with
Kanthaka (literally " having a strong neck "), his famous
charger, who assisted him during his flight from Kapilavastu.

Inner sides of show-cases around Votive Stupa
in centre of room.

The arrangement follows the chronological order, beginning
with Maya's dream, and ending with the death of Buddha
(mahdparinirvdna). The Latin numbers in the following list
refer to the numbers of the show-cases on the accompanying
plan, and the English numbers to the numbers painted in
white on the exhibits.

No. I.

Nos. 2554, 3687, 5040: Maya's dream; see above, page 7.
Note the two female guardians of the bed-
chamber in 3687. In ancient India, females
appear to have been employed as guardians of
the harem, and preference appears to have been
given to old women. Eunuchs appear to have
been introduced into India in later times,
probably not much anterior to the Muhammadan
period. Hence, the modern word for " eunuch,' '
mahalli, originally meant "an aged female"
(mahallikd), and its modern meaning dates from
the time when the eunuch replaced the trusted,
old maid-servant as guardian of the harem.
Measurements : 2454 — j\" x 3^" (2 pieces) ; 3887 —
11" x 7"; 5040— l' 5" * 7"-
,, 2554, 5°40 • The Rishi Asita-Devala explains the dream
of Maya ; see above, page 7.

No. 5030 : Maya proceeds on an elephant to the Lumbini
garden. Measurement: r' 2" x 8".
2

Nos. 5030, G1, G2, 5033, 2488, 2584, 5032, 5034 ' : Birth of
the Bodhisattva in the Lumbini garden. Note
musical instruments hanging in the air on G1 , to
indicate the heavenly music, which was heard
at that moment. Likewise, the chdmara, or
" fly-flap ' ' (Hindi chauri), which is seen on 5034,
was one of the signs of royalty, that appeared
at the moment, when the future Buddha was
born. On some of the relievos, like G1 and G'2,
mahdprajdpati is seen supporting Maya, her
sister, while Indra, assisted by Brahman, receives
the child on a piece of cloth. At the bottom of
5034, we observe the newly-born Bodhisattva
walking seven steps immediately after his birth,
one of the miracles, by which he indicated his
future greatness. Measurements : Gi — 1/ 4// x
i' 2" ; 02— I' 4" x 1' 4i" (2 pieces) ; 5033-9" * 9¥ I
2488—7%" x 6§" ; 2584— 8" x 7" ; 5032— i' 1" x 10" ;

5034-1' 7** 1' **.

,, 5042, 5039: Bathing of the newly-born Bodhisattva.
Note that on 5038 the child is standing on a
tripod, not, as usually, on a full-blown lotus.
Measurements : 5042 — 10" x 1' ; 5038 — 1' 10"
x8".
No. 5038 : Worship of the Bodhisattva by the Divas, who are
represented as whistling (putting two ringers into
their mouth) and waving their upper-garments
(chulotkshepa).

,, 5040 : Maya returns from the Lumbini garden in a palan-
quin (dolt).

,, 5040: The Rishi Asita-Devala predicts the future of the
Bodhisattva.

,, 5035: Bathing; return from the Lumbini garden in a
carriage drawn by a pair of bullocks ; musicians

1 See Foucher, VArt Grico-Bouddhique du Gandhdra, Tome Ier,
p. 306, fig. 154.

receive mother and child on their return to
Kapilavastu. Measurements : l' 9§" x 7" (2
pieces).
No. G48 : Return from Lumbini garden in a dolt with
horseman in front. 11" x 6"

,, 5037 : Sapta paddni, first seven steps of newly-born Bodhi-
sattva (child under umbrella) ; bathing of Bodhr
sattva (dve udakadhdrd). 1' 5' x 4|".

,, 2436 : Bathing (child standing on a chair) ; return from
Lumbini garden , mother and child on a covered
seat, carried by men on their shoulders ; horse-
man in front ; two men receiving the royal party
near Kapilavastu. 1' 4" x 8".

,, 5041 : The Rishi Asita-Devala predicts the future career
of the infant Bodhisattva. 1' 3" x 10" (2 pieces).

,, 5382 : The Bodhisattva in schools; we are told in Bud-
dhist literature that the young Bodhisattva,
when he came to school, knew at once the letters
of the alphabet, and was able to quote at least
one verse, commencing with that particular letter.
Thus, for the first letter a, he quoted the verse :
anityd vata samskdrd, &c, " transient verily are
material things," &c. The artist very likely
intended to represent this scene. The next scene
shows the Bodhisattva distinguishing himself in
archery, evidently one of the many miraculous
acts, credited to him by popular tradition, but
not specially referred to in literature, so far as I
remember, i' 5" x 7 J.
Nos. 5050, 5051 : The Bodhisattva leaves his wife at night, in
order to become an ascetic. Note that in 5051
his wife seems to be awake, and to try and keep
him back. This is an unusual version of the
famous legend, not met with in literature, so far
as I know. Measurements : 5050 — 10" x 10";
5051 — i' 2" x 10".

Nos. 5036., 5043 ,l 5045, 5046: Mahdbhinishkramana (the Bod-
hisattva leaves Kapilavastu at night, in order to
become a Buddha ; see above p. 8). Note that
the N agar a- devoid, the city goddess of Kapila-
vastu, is shown on 5043 as second from right in
left hand corner. The artist evidently had
entirely forgotten her original meaning. Her
proper place would have been in the lower right
hand corner, where the umbrella-bearer is stand-
ing. Note further the two Yakshas, lifting up
the hoofs of the Bodhisattva's horse, Kanthaka.
Both on 5043 and 5045 the hoofs of the horse
are at some height above ground, and we may
well understand, how from this type there ori-
ginated in later Buddhist Art (e.g., in Tibet)
the type of the Bodhisattva flying through the
air on his horse, when he left Kapilavastu.
Perhaps, the famous legend of Muhammad's
ride to heaven is not altogether uninfluenced
by this story of the flying Bodhisattva.
Measurements: 5036 — 11" x 8§"; 5043 — 1/ 9" x 1'
7"; 5045— 1' 3" * 7"; 5046—8" x 6".

No. 5040 : Mahdbhinishkramana : en face. The Nagara-devatd
in her proper place at the right hand corner,
near city gate. See Foucher, loc. cit., p. 359,
fig. 183.
,, 5044 : Same scene, broken, 1/ x 1/.

Nos. 5036, 5047 : The Bodhisattva dismisses his horse Kanthaka;
see above, p. 9. 9" x 10".

No. 2435 : Mahdbhinishkramana, and besides another scene,
which perhaps was intended to represent the
Bodhisattva in the enjoyment of married life.

I l£ X o .

1 See Foucher, V Art Greco-Bouddhique du Gandhdra, p. 357, fig.
182

No. II.

No. 5048, and another, without number : both represent
again the Mahdbhinishkramana, or "Great Renun-
ciation.' ' 1' 4"x 10".

The two upper rows of relievos in this case (No. II)
represent scenes connected with the bodhi, or
11 enlightenment/ ' of the Bodhisattva, after
which he became a "Buddha." As is well
known, this great event was believed to have
taken place at Bodh-Gaya, 7 miles south of the
modern town of Gay a.1 From a very early time
Buddhism looked upon the bodhi not merely as
the acquirement of true knowledge or wisdom
by Buddha, but also as the victory over Mara, a
demon, whose original meaning appears to have
been "death," but who gradually changed his
grim nature and later on became transferred into
Kama, the God of Love. No complete repre-
sentation of this famous scene, the name of
which in Sanskrit was mdra-dharshaiid, or ' ' Mara's
attack/' is in the collection of the Indian Muse-
um. However, the following numbers will afford
some general idea, as to the way, in which
Buddhist, artists from Gandhara used to treat this
subject ; vide 4900/ 5053, no number (from Yusuf-
zai), 2493, 5335, 5352, 5308. Measurements:
4900— io^xgi"; 5053—1' Xi'xV 1"; 2493—
9" * H" J 5335— W' * f ; 5352-10- x 6" ; 5308-
II* x 6" ; no number — i' x 7".

The army of Mara consists of soldiers and demons ;
they are seen attacking the Bodhisattva, who
sits in calm meditation under the sacred pipal-

1 The ancient name of Bodh-Gayd, Uruvilvd, or UruvSld, still sur-
vives in the modern name Urel, a small hamlet close to the great temple
at Bodh-Gaya.

2 See Foucher, loc. cit., p. 405, fig. 203.

tree. His right hand is stretched out, so as to
touch his throne (the so-called " vajrdsana") ; see
4900. This attitude signifies that he invokes
the earth as a witness of his former meritorious
acts, in order to help him against Mara. It is
now-a-days generally called " bhiimi- spars a-rnu-
drd" or " earth- touching attitude/' In one of
the relievos {no number, measurement 10" x i' 8")
we observe the bust of a female, between two
branches of a tree, in front of the vajrdsana y
and it is possible that this may have been in-
tended as a representation of the earth (prilhivi),
although Buddha in this scene stands close to
the vajrdsana, as if he had just arrived at Bodh
Gay a, in which case it would, perhaps, be better
to look upon this female bust as a representation
of the rukkha-devatd, the spirit inhabiting the
sacred pipal-tree at Uruvela. In order to show
Buddha's victory over Mara, the artist has
sometimes represented one or two of Mara's
soldiers, lying under the vajrdsana; see 4900
and 2493. The type of the ' ' emaciated Bud-
dha, " shown in 5052 (i'7"x6"), also belongs
to the relievos representing the events con-
nected with the bodhi, the tradition being that
the Bodhisattva had arrived at this state through
fasting and practising severe austerities, by
means of which he had hoped to attain supreme
wisdom.

The third, or lowest row in case No. II contains
representations of the first sermon at Benares,
in a park called mriga-ddva, or " deer-park,"1

1 It seems possible that this name may go back to the symbol of
the wheel, supported by two antelopes, by which this scene used to be
represented in primitive Buddhist Art.

the traditional site of which is some 4 miles dis-
tant from the modern town of Benares ; see 5054, *
no number, 5055. We observe Buddha, seated,
with his right hand lifted up in the attitude of
preaching, surrounded by his first five disciples.
In front of the vajrdsana is the wheel resting on
two antelopes (mriga). A number of Devas or
Lokapalas, are seen above, doing homage to
Buddha. It is evident that in ancient Buddhist
Art, which did not know of any images of Bud-
dha, the figure of a wheel (dharmachakra ) , stand-
ing on a pillar, with two antelopes as its capital,
was the symbol by which this first sermon of
Buddha, his so-called " turning of the wheel of
the law" (dharmachakra-pravarttana) , used to be
generally represented. The artists from Gan-
dhara retained this ancient symbol as a chihna, or
" distinguishing mark," which is generally shown
in sculptural representations of this scene in
front of Buddha's seat. Measurements: 5054 —
2' 3"xi' 4"; 5055 — i' 7"xi'f; no number —

2! Ill" x 2' 2".

No number: A panel, originally attached to some
small Stupa. The third or lowest compartment
represents Buddha, meeting a Brahminical asce-
tic , who is seen sitting in his hut , to the right of
the relievo. He may be intended for Uruveld, or
Gaya-Kdsyapa, whom the Bodhisattva met near
Bodh-Gaya, and who thereafter became one of
the first followers of Buddha. 2' 10" x 1/ 7J".

No. III.

Nos. 5083, G13, G14, 5125, G61, G174, 5113, 5116, in the
upper half of this case, and Nos. G12 and G43

1 Foucher, loc. cit., p. 433, fig. 220.

in the lower half, represent the story of Sumedha.
doing homage to Dipankara, one of the former
Buddhas. Representations of this scene are very
common among the Gandhara sculptures. The
story relates that Sumedha, a young student
(brahmachdrin) had heard of Dipankara' s coming
to his native town. He went to meet him outside
the gate, where he purchased some flowers from a
flower-girl. When he saw Dipankara coming,
he threw up the flowers into the air, which by the
miraculous power of Dipankara fixed themselves
around his halo. This moved Sumedha to such a
degree of reverence that he threw himself into the
mire, to allow Dipankara to pass over his body.
He died immediately thereafter, and the Buddha
Dipankara prophesied that in his next birth he
would be re-born as Gotama Buddha. The de-
tails of this story will be observed, more or less
condensed, in most of the relievos, and the
figure of the young brahmin Sumedha, lying
prostrate in front of the feet of Dipankara is
invariably found in them. Measurements:
5083—1' 11" xi' yh; G13-T1' 5"*7i"; O14—
i' 5" * W ; 5125— 12V x 10! ; G61— 1' 6" x 8" ;
G174— iof" x 5" ; 5113— 10" x6§"; 5116— 1' 10"
x 10"; G12— i7 7" x 8"; G43— 9i" * 5".
No. G67 : According to Foucher,1 this scene represents the
visit of Buddha to his native town, Kapila-
vastu, the capital of the Sakyas. The relievo is
divided into four different scenes representing,
from left to right : {a) Buddha receiving the invi-
tation from the Sakyas to visit Kapilavastu;
(b) Buddha's arrival at Kapilavastu : note that
he is represented as flying through the air; (c)

1 UArt Grtco-Bouddhique du Gandhara. Tome premier, page
461, fig. 231.

his reception at Kapilavastu ; (d) Rahula, the
son of Buddha, being received into the order
of Buddhist laymen (updsaka). 2' 2" x 6".
The lower half of this case has a number of relie-
vos, representing the attempts made by Deva-
datta, the treacherous cousin of Buddha, to
destroy the Buddha's life. The Buddhist le-
gends relate a number of such attempts, which
Devadatta made out of jealousy or wickedness.
All of them were located at Rajagriha, the fa-
mous capital of Magadha (now Rajgir in the
southern part of the Patna District). It appears
from those legends that the King of Magadha,
Bimbisara, from the beginning, shewed himself
very averse to the teaching of Buddha ; for we
are told that Devadatta made these attempts
with the full knowledge of Bimbisara. Only two
of the several attempts, made by Devadatta
againct the life of Buddha, are represented on
the relievos here, viz. : —

(a) Buddha waylaid by robbers at the instiga-
tion of Divadatta : Nos. 5122, 5127, Gio.
Measurements: 5122 — 1' 5'xi' i''; 5127 — 2'
¥ x 8$*; Gio— i' iJ*>. 8*.

(b) Devadatta tries to kill Buddha by means of
the furious elephant Ndldgiri : Nos. 2340,
5117, 51 18, 5325, G66. The elephant is
tamed by Buddha and becomes one of his
followers.1 Measurements: 2340 — 1' 5|"x

9r;5"7— *,3r*6r;5n8--ioF*6F;5325
— %"*6\"\G66— 8"x7".

1 It seems not altogether unlikely that this furious elephant,
Ndldgiri, origi lally may have been itilendt d for Tndra, who, as we know,
was represented in ancient Indian Art by the figure of an elephant.
The inhabitants of Rajagriha appear to have been worshippers of Indra ,
and it is quite possible that, on that account, they showed themselves

No. 5105: Buddha's descent from the Trayastrimsa Heaven,
where he had gone to preach the law to his de-
ceased mother. Three golden ladders were built
to heaven for Buddha, accompanied by Indra
and Brahman. 2' 1" x 1' 6A".

No. IV.

Casts from Gandhara relievos, now in the Museum
at Lahore, among which note a large relievo,
representing Buddha leaving his wife (see above),
and another one representing Buddha's visit to
the Kasyapas (?).

No. V.

A number of relievos in this case and in the next
have not yet been explained, and I have selected
merely those from among them, the meaning of
which is known to us. The difficulty is that in
many of them we have merely an image of
Buddha, seated under a tree, with a few devo-
tees standing on each side. In some instances,
it seems likely that small tablets of this kind
never were intended to represent any particular
event in Buddha's life ; some of them may have
been nothing but votive tablets, put up in
honour of all "the Buddhas" (sarva-buddhd-
ndm pujdydi), as Buddhists in those days used
to say. This appears to me particularly pro-
bable in regard to those tablets, where only a
couple of devotees are seen standing on Bud-
dha's sides. In such cases, the figure of a
devotee may have been a portrait of the person

at first very averse towards accepting the teaching of Buddha. I,ike
the tamed elephant Ndldgiri, Indra also becomes one of Buddha's con-
stant attendants.

by whom the tablet had been dedicated,1 such
as we find them on the bases of statues of
Buddhas and Bodhisattvas ; see later on.

I shall now describe those among the relievos, which
have been identified with more or less certainty
with some particular event in the life of Buddha.
No. G25 : According to a suggestion by M. Foucher,z
this relievo may represent the visit of King Bim-
bisara, of Magadha, to Buddha, at Rajagriha.
The King is represented twice, first to the right
of Buddha, in the act of making the pradakshind
(circumambulation), and secondly, kneeling, with
folded hands, on the left side of Buddha's throne,
i' 1" x 7I".

No number: "front YUsufzai": (Foucher, l.c.9
p. 446, fig. 223). 3 — The right compartment appears
to represent the same scene, as above, II, no
number, viz., Buddha meeting Kasyapa, an ascetic,
who used to live close to Uruvela, or Bodh Gaya,
and who became one of the first followers of
Buddha. The adjoining compartment, to the
left, appears to represent the miraculous extinc-
tion by Buddha of the sacred fire of Kasyapa.

G50. "from Yusufzai" ; Two scenes, viz. :

(a) Buddha arrives flying through the air ;

(b) He sits under a tree, while his feet are washed.
These two relievos probably belong to a series
of similar ones, representing the visit of Bud-

1 As the single parts of the railing around the ancient Indian Stupa
are known to us from the inscriptions on them to have been dedicated
by a great variety of individuals, so also the relievo-tablets around the
Stupas of Gandhara, may have been the donations of various persons,
each of whom had undertaken to pay a certain amount towards the cost
of building the sanctuary.

•2 I.e., p. 373, fig. 188.

3 This sculpture is in the Iyahore Museum.

dha to the capital of the Sakyas ; see above — ,
also Foucher, p. 462, fig. 232. 1 8" x 8".
No. 5064 : A lady standing to the left of Buddha, who is seat-
ed on a chair, preaching; two monks on his
right side. Broken part of another relievo to
the left, showing a monk, carrying a seat.
These two relievos probably represent the dona-
tion of the Amravana, or ( mango-grove,' near
Vaisali to Buddha and the Satigha. This fa-
mous grove was given to Buddha by the courte-
zan Amrapali, who stands to the left of Buddha.
The broken half to the left may represent the
preparations made for the reception of Buddha
in the Amravana. Another replica of the last
scene is apparently No. 5070(2' 1 \" x 1' i|"),
where we observe five monks, standing behind
a seat and looking towards Buddha, as if invit-
ing him to sit down. (See also Foucher, I.e.,
pp. 486 ff.) The locality of this famous mango-
grove, presented to Buddha by the courtezan
Amrapali, is said to have been close to the
modern village of Basarh, in the District of
Muzaffarpur (Tirhut), the modern site of the
ancient city of Vaisali. l' 7* x 10".
,, G21, Second half: Conversion of the Yaksha At avika ;
Foucher, I.e., p. 511, fig. 253. The Rdjd Aiavika,
in order to free himself and his subjects from
the wrath of a man-eating demon (y aksha), who
lived in his land,' had promised to give one man
every day to the Yaksha. After all the criminals
in the land had been offered to the Yaksha, the
Rdjd selected his own son as an offering to
the demon, but the lad was saved through the

1 The word A tavika comes from Sanskrit atavi, " forest, " " jungle' *;
thus the two expressions rdjd, and yaksha A tavika, really mean: "jungle
Raja " and "jungle demon."

intervention of Buddha, and the Yaksha gave up
his wild habits. The relievo represents the
Yaksha to the right, handing over the child to
Buddha. In the left part we observe the child
being taken care of again by his parents, nj"
x6f.
No. 2580: The great miracle at S'ravasti (Foucher, Z.c,
535 > fi§« 2^3). In order to convert some hereti-
cal teachers (tirlhikas), Buddha made fire come
out from one part of his body, and water from
another part. Note the fiery flames around
Buddha's halo, and the undulating waves beneath
his feet ; four men on each side gaze at Buddha
in amazement; they evidently represent the
tirthikas, for whose benefit Buddha worked this
miracle. 7" x j%".

No. VI.
Among the many relievos in this case, which re-
present Buddha being worshipped by human
beings, or by divas, without giving us sufficient
indications of any particular legend to which we
may refer them , is one i elievo of particular inter-
est, No. 5058 — 1'2|" x 11". If we did not know
that it was found among the debris of some ancient
Stupa in the country of Gandhara,1 we should
probably feel inclined to ascribe it to Mathura,
or to some other place in Northern India,
where we know the so-called Mathura School
of ancient Indian Sculpture to have flourished

1 The sculpture belongs to the lot brought down to Calcutta by the
late Mr. A. E. Caddy in 1895 and 1896. Unfortunately, no register was
kept by Mr. Caddy of the exact find- places of the sculptures collected
by him, although, so far as I know, most of them have been dug out
from the debris around an old Stupa, called by Mr. Caddy u I<orian
Tangai."

during the first centuries A.D. The relievo
represents Buddha seated under a pipal tree.
He wears long hair, tied in a knot. There is
no indication of the so-called ushnha, or "skull-
bone," one of the marks of Buddha. Besides,
we observe him wearing a small moustache. The
upper part of his body is naked, and the upper-
garment hangs down like a scarf over the left
shoulder. The head-dress of the three attendants
to the right (the left half of this relievo is missing)
is perfectly Indian, and quite in accordance with
the usual head- dress, worn by devas, and persons
of royal blood, in the sculptures from Mathura.
Above them is a fourth, again of a perfectly
Indian type ; he is represented as whistling and
waving his upper garment, the usual signs of
joy and amazement in ancient Indian Art. Still
higher up, we observe a fifth, throwing down
flowers over Buddha's seat, which we see falling
down all along the back ground of the relievo.
This is meant as an indication of the pushpavrishti,
" rain of flowers," one of the miraculous signs,
which accompanied all the principal events in
Buddha's life.

Unfortunately, it is not possible to say, which
particular event in Buddha's career was repre-
sented in this relievo ; but so much, at least, is
evident, that this relievo was either carved in
India itself (perhaps in Mathura), or, if it was
carved in Gandhara, it is clearly the work of an
Indian Artist, who was uninfluenced by the tra-
ditions of the Gandhara Art.

The following scenes are represented among the
relievos in this shelf : —

No number. From Yusufzai: Broken and incom-
plete. Buddha on simhasana and man and

woman seated, with feet down, to his left.
This may possibly represent the visit of Buddha
to the court of the Sakyas ; see above, i' 4" x o,f".
No. 5063 : Buddha, after the attainment of perfect wisdom
(samyak-sambodhi) , is asked by devas and men
to preach the law; see Foucher, I.e., p. 423,

rig. 213. 2' 3r/x 1' 6

,, 5066 : Two ladies to the right of Buddha. This may
again be the donation of the mango-grove by
Amrapali (see above), or we may perhaps refer
this scene to the events connected with the
bodhi. In that case, the two ladies would repre-
sent Sujdtd, the daughter of the chief (Sendpati)
of Uruvela , and her maid servant. According to
Buddhist tradition, Sujata presented the first
meal to Buddha after the bodhi. 1' 4f" x i' ij".

No. VII.

G34: from Yusufzai. The upper half of this
case contains one of the finest relievos from
Ga.ndha.ra and certainly the choicest piece among
this collection. This relievo, which was found
at Jamalgarhi by Gen. Cunningham, is divided
into two scenes, both of which represent Buddha
helping a man to find some hidden treasure.1

2' * 7*"-
The left part of this relievo has been explained by
Griinwedel as the capturing of the black serpent
at Rajagriha. The legend tells that a rich miser,
at that place, was reborn as a black serpent,
jealously keeping watch over the buried treasure
which had belonged to him in his former exis-

l It is evident that at that time Buddha, in popular religion, had
already become some sort of a magician ; hence the great number of
" iV^ga-scenes." Snakes {ndgas) were regarded as the custodians of
buried treasure.

tence. Buddha captured this serpent with his
alms bowl, and restored the buried treasure to
King Bimbisara. In the right part, we observe
Buddha facing a chair, upon which a dog is
sitting. The legend, to which this scene refers, is
connected with Sravasti. l We are told that Bud-
dha once came to the house of S'uka, the son of
Taudiya, who lived at Sravasti. On his arrival,
the dog of the house began to bark and to show
signs of unfriendliness towards Buddha. Bud-
dha then told S'uka, that this dog in his former
birth, had been S'uka' s father, and that he knew
of the place, where formerly he had buried his
treasure. The dog, hereafter, followed Suka,
and by scratching the earth at a certain spot,
indicated to Suka the locality, where the trea-
sure had been buried.

Nos. G173, G153, and 5104 represent Buddha partaking of a
meal. According to Foucher (I.e., p. 533, fig. 262),
the first (G173) represents the invitation of £ri-
gupta, one of the inhabitants of Rajagriha. He
offered poisoned rice to Buddha, but Buddha
saw through his ruse, and did not eat the rice.
No special legend has as yet been found for the
other two " dining scenes" (G153 and 5104).
The laet (5104), perhaps, may belong to the
series of relievos, representing Buddha's visit to
the capital of the Sakyas, and may possibly
represent him being feasted by his own clansmen.
Measurements: G173 — i'x3"; G153— 1' 2j"x
7i"; 5K>4-2' xi' 3i".

No. 5106 : The stoiy, to which this relievo refers, has not yet
been found. The relievo shows a youthful male?
naked, with his hands tied behind his back to

1 Foucher, I.e., pp. 524 5, fig. 257. A fragment of another replica of
this scene is 167, lower shelf.

the stem of a tree. Behind him we observe
several soldiers, evidently a guard of the impri-
soned youth. Buddha, followed by Vajrapani,
and attended by bhikshus (monks) and devas,
stands in front of the young man, addressing him.

2'3"*i'2r.

The lower half of this case contains five relievos re-
presenting Buddha meeting some Ndga-rdja, or
Serpent King.1 Nos. 5085, 5086, and another
without number represent the submission to
Buddha of the Ndga Apaldla, who was believed
to inhabit the sources of the river S'ubhdvati, the
modern Svdt* Measurements : 5085 — 2' 9I" x
2' 8*; 5086— 1' 8" x 2' 4".

The other two Naga-scenes in this shelf (both num-
berless) represent the hymn of the Ndga Kdlika,
which he addressed to the Bodhisattva, while
the latter was on his way to Bodh Gaya. Accord-
ing to a very plausible suggestion of M. Foucher
(/.c, p. 553), the conversion of the Naga Apa-
lala is merely a local legend, which has been
developed in Gandhara out of the story of the
Naga Kalika, in order to adopt the sculptural
representations of this scene to the popular le-
gend of that country.

G16 : from Yusufzai : While Buddha was
meditating inside a cave on the top of Mount
Gridhrakuta, to the East of Rajgtr, Mara took
the shape of a vulture and frightened Ananda,
the favourite disciple of Buddha. Buddha put
his hand through the wall of the cave and
touched the head of Ananda, and Ananda imme-

1 Snake-vrorsbip was very popular in the North- West of India, and
we know of several ancient tanks, or wells, which had been dedicated to
the snakes and were believed to be inhabited and guarded by dragons,

2 Cf. Foucher, I.e., figs. 272 and 273, pp. 549-550.

diately became consoled ; see Foucher, I.e., pp.
497-9, fig. 249. 8" x 4f ".

No. VIII.

All the relievos in the upper shelf of this case re-
present the death of Buddha, called nirvana,1
or generally mahdparinirvdna, viz., Nos. 2486,
5151, 2543, 5148, 5147, G79, 2380, 2473. The
traditional death-place of Buddha was Kusindrd,
or Kusinagara, in the country of the Mallas.
Its identification with the modern Kasia, in the
Gorakhpur District, U.P., first proposed by
Gen. Cunningham, still appears to hold out
against recent criticisms.* According to Bud"
dhist tradition, Buddha died from an attack of
cholera, at the age of 80 years, or a little more.
His death occurred in a Sal- forest. Measure-
ments : 2486— 9!" x 6|"; 5151— 9" x 8i"; 2543—

I- 4" * 9"; 5148— i' 7" * *y ; 5147-2' 4" * I' 4i" ;
G79-9r*7"; 2380-1/ 3'xSr; 2473—11**

4r.

The relievo No. 5147, 8 from Lorian Tangai, doubt-
less one of the finest representations of this scene,
may be taken as a typical specimen, the same
arrangement of figures occurring again in all the
other relievos, only with less detail. Buddha is
seen in the centre, lying on a bed. His head rests
on his right hand. The arrangement of his clothes
is that of a standing figure of Buddha, and the
artist thus merely transferred this well-known
type, by placing a standing figure of Buddha in

1 The word is derived from .Sanskrit nirvdti 'to be blown out,'
' to expire' (e.g., of a fire, or of a lamp). It was an expression, often
used in the sense of ' death,' and by no means peculiar to Buddhism.

2 See Archaeological Survey of India Annual Report, 1904-5 > PP- 43^-

3 See Foucher, I.e., p. 558, fig. 277.

a horizontal position. Two small sa/-trees, one
at each end of the bed, mark the traditional
locality, which, as I have just said, was a forest
of sal- trees (shorea robusta). The animated
figures in the upper half of the relievo represent
divas , some of whom seem to throw down flowers
over the dead Buddha, while others exhibit signs
of amazement and profound grief. Very likely,
some among them may have been intended for
members of the royal family of the Mallas, in
whose country Buddha died. In the left hand
corner we observe a Buddhist monk, speaking to
an almost naked male. This is Maha-Kasyapa,
who was absent at the time of Buddha's death;
the news was received by him from an Ajivika l
monk on his way from Pava to Kusinara.
It is interesting to observe, that the artist com-
bined this event with the death of Buddha,
although both were neither strictly coincident,
nor did they happen at the same place. The
monk, holding a chaurt, or fly-flap, near the
head of Buddha, may be Ananda, who had
been fanning the teacher on his death-bed. A
group of two monks, near Buddha's feet, is
intended to express the extreme sorrow, that
befell the disciples of Buddha on seeing their
master dying. Vajrapani sits below the death-
bed, and the small squatting figure of a monk,
at the other end of the bed, has been explained
as Subhadra, the last convert received by Bud-

1 The Ajivikas were a numerous and powerful monastic order in
Buddha's time and later on. Asoka dedicated to them the famous
caves on the Barabar and Nagarjuni Hills in the District of Gaya, and
he mentions them in various passages in his edicts in connection with
the Buddhists {Sangha), and the Jains (Nirgranthas). Like the Jains,
the Ajivikas appear to have been an order of naked ascetics.

dha into the order of monks. His water-bowl
fastened to three sticks, stands on his right side.
Possibly these three sticks are an indication
of the fact that Subhadra, before his conversion
to Buddhism, belonged to the Brahminical order
of traidandikas, i.e., '* ascetics, carrying three
sticks."
The relievos in the middle and lowest shelves
represent Buddha's body placed inside a
coffin, his cremation, and the worship of his
relics.

No. 2402: Foucher, I.e., p. 579, fig. 286: Buddha's coffin;
note the fine head of Vajrapani, the Buddhist
Indra, at the top, over the figures of two monks,
a clear copy of a head of Zeus. At the left
end, a figure of a monk, holding three sticks,
evidently intended for the " traidandika ' ''
Subhadra {see above). The corresponding figure
to the right, expressive of intense sorrow, may
be intended for one of the Malla princes (see
above). 1' 7" x 1' 5^.

,, 5150 : Nirvana and cremation. 1/ 8" x 7^.

Nos. 5152, 2552: Cremation and worship of relics; the
second relievo in Foucher, I.e., p. 587, fig. 290.
Measurements : 5152— 1/ 5" x 8" ; 2552 — 1' 3f" x

51".

No. 5153 : Worship of Buddha's relics after his cremation.
It is well-known that according to Buddhist
tradition, the relics were divided into equal
shares among eight of the principal royal
families of North- Eastern India. It is, of course,
impossible to determine, which of those eight
families is represented in any particular scene of
this kind. 1' 4" x io^.
The worship of Buddha's alms-bowl, his head-
dress and of the tri-ratna symbol, which are

represented on the relievos in the lowest shelf,
is not, in any way, connected with the events
following the Nirvana. Scenes representing the
worship of the alms- bowl (bhikshd-pdttra, lit,,
* begging vessel') of Buddha, strictly speaking,
cannot be called 'historical.' From later times
we know of several alms-bowls of Buddha, which
were exhibited as sacred relics in various places
in India, and beyond this country even. Sculp-
tural representations of this kind, accordingly,
seem to express merely the general idea of doing
homage to one of the principal sacred relics of
Buddha : see two numberless relievos (from
Yusufzai), 4931, G167, 2518, 4933. Measure-
ments: 4931— 8" x 9"; G167— 6"*5"; 2518—
5r*4i"; 4933-7** Si".

The worship of Buddha's head-dress (ushnisha) is
connected with the mahdbhinishkramana , the
departure of the Bodhisattva from Kapilavastu
in order to become an ascetic (see above). The
legend tells us that the ushnisha of the Bodhisattva
was carried by the devas to the Trayastrimsa
Heaven. Its worship is shown in the upper field
of a broken panel, numberless.

Worship of the iriratnu-symbol, i.e., three wheels,
placed on a trident (trtiula), or resting on a
pillar, generally explained as a symbol of the
Buddhist trial : Buddha, the law (dharma), and
the congregation (sangha) :

G37 = Foucher, I.e., p. 429, fig. 217 ; 1' 3^ x gf".
No. 2583= „ p. 428, fig. 216 ; 8f" x 8f".

,, 5110= ,, p. 431, fig. 219; note the archaic type
of this relievo. It is possibly the work of an
Indian sculptor ; see above, VI, No. 5058. 1 x
1' 5".

m 2398, again worship of triratna-symbol. 9" x 7".

Outer faces of show-cases : — Nos. I and VIII.
Statues of Buddhas and Bodhisattvas.

It has not yet been possible to distinguish between
the many images of Buddhas. found in Gan-
dhara. Evidently, not all of them were in-
tended as images of the Buddha Sakyamuni,
the historical founder of Buddhism, and many
of them may represent some of the previous
" mythical " Buddhas, e.g., Kondgamana,
Dipankara, and others. However, owing to the
absence of inscriptions, giving the names of
the images, and to the lack of other distinguish-
ing marks, we must, for the present, remain
content to describe a Buddha statue from
Gandhara simply as ' ' an image of Buddha. ' '

The same difficulty exists in regard to the Bodhi-
sattva statues. Their position around the
Stupa of Gandhara was very much the same,
as that of the statues of Buddhas. From the
latter, they are distinguished by their royal
attire, and hence in earlier years they used to be
taken as images of " Indo-Scythian Kings."
So far, only two different types have been dis-
tinguished among them, viz. : — (a) The Bodhi-
sattva Maitreya : — His characteristic mark is the
waterpot, which he holds in one of his hands.
It is evident that he is an adaptation of Brahman,
who, in the earliest Buddhist Art in India, was
associated with Buddha as his constant com-
panion. It is not altogether improbable, that
the idea of this " future Buddha" — for Maitreya
is to appear on this earth as a Buddha at some
future date — may have developed in Gandhara,
where Buddhism had come into touch with the
religion of Zoroaster. For the Zoroastrians
believed in the future coming of a Saviour, whom

they called Saoshyant, and who, according to
them, was pre-existent, just like Maitreya.1 In
early Buddhist Art, Brahman was represented
as a Brahmin, with the characteristic waterpot
in one of his hands, and from this type the figure
of Maitreya has originated in Gandhara Art.

(b) The second, constant companion of Buddha in
ancient Buddhist Literature and Art was Indra.
In the sculptures from Gandhara he is represented
merely as a king, without his characteristic mark,
the vajra, or thunderbolt; for out of the ancient
figure of Indra, carrying the thunderbolt, a
special, new Bodhisatttva, called Vajrapdni, had
developed in Gandhara.2 This second, Buddhist
Indra, " Va]raftdni," is nowhere represented by
any separate image; we meet him only on
relievos, as Buddha's constant companion.

(c) It is, however, impossible to determine, if any
among the statues of Bodhisattvas from Gan-
dhara may have been intended as an image of
Indra. For, it is a remarkable fact that, at the
time to which the Gandhara images belong,
Indra, in Buddhist mythology, was superseded
by Siva, whom Buddhists adopted under the
name of the Bodhisattva Avalokitesvara or Loke-
svara. That this Boddhisattva Avalokitesvara
is already represented among the many statues
of Bodhisattvas from Gandhara, appears to me

1 In later times, Buddhists held the opinion that Maha-Kasyapa
was lying asleep, awaiting the coming of Maitreya, inside the Kukkuta-
pdda-giri, or Gurupada-giri, a hill now called Gurpa, in the District of
Gaya, close to the Grand Chord I/ine of the Bast Indian Railway. This
story reminds one somewhat of the Zoroastrian doctrine of the future of
Saoshyant : he will be borne from a virgin, whose pregnancy will be due
to a bath in the Kansava-lake, where the seed of Zoroaster had been
preserved for the purpose of generating this future Saviour of mankind.

2 See above, page 8.

not unlikely for the following reason :— A number
of Bodhisattva have in the centre of their turban
(ushmsha) a curious pointed ornament, like a cut
jewel, and it appears to me very likely that this
ornament may have been an artistic develop-
ment and of the ancient symbol of Siva, *.*., the
linga, or phallus.1
(d) The lotus flower, which we observe in one of
the hands of many of those Bodhisattvas from
Gandhara, may perhaps indicate the Buddhist
Brahman, the Bodhisattva Maitreya ; but it is,
at the same time, almost certain, that already
in Gandhara, new, individual Bodhisattvas, like
Padmapdni, etc., had been developed, and may
have been represented by this type.
A further peculiarity, which we observe on these
statues of Buddhas and Bodhisattvas from
Gandhara, is a small figure of a Buddha or
Bodhisattva, with one or more kneeling atten-
dants, which we see on the bottom of many an
image of this kind.
The meaning of these small relievos is perfectly
evident : the kneeling attendants are portraits of
the persons, who set up the image, and Buddha,
or Bodhisattva, in the centre represent the
particular Buddha, or Bodhisattva, in whose
honour the image had been set up and to whom
it had been dedicated. Thus, the central figure
on the wall, facing the outside of shelf VIII,
represents Maitreya, whose image, as we learn
from the relievo at the bottom, was dedicated
by three laymen (updsakas) and one monk
(bhikshu), in honour of the Bodhisattva Maitreya.

l One occasionally meets with later images of S'iva, with the linga
protruding from the crest of his head. I have seen some images of this
kind in the Provincial Museum at Nagpur, C.P.

Instead of the central figure of a Buddha, or
Bodhisattva, we sometimes observe another
object of religious worship, e.g., Buddha's alms-
bowl; see 4^8^— (1/ 3 \" x 2' 1") on wall facing shelf
VIII. To the Buddhists, those sacred relics were
mere symbols of Buddha, and it is possible, that we
should explain a relievo of this kind by saying
that this particular image was set up in honour
of Buddha kakyamuni. But, at the same time,
the sacred relics of Buddha certainly had already
become some sort of a fetish, working miracles,
and it will, perhaps, be more to the point if
we say that this particular image was set up in
honour of the sacred alms bowl of Buddha, or, in
Sanskrit ; bhikskdpdtrapur]dyai.
No detailed description has been attempted in the
following, as it would only mean a tedious re-
petition of the same words, over and over again,
and I shall point merely to a few selected speci-
mens, which, for one reason or other, may
require some further comment.

No. I ; Outer face.

No. 4871 : Inscription in Kharcshthi characters on the
pedestal, which records that the image was
the gift (ddnamukhyam: spelt, ddnumukhe) of
Budhamitra and Budharachida (Budharakshita).1

i/7r*io".

In second and third shelves, rows of Buddhas
standing ; umbrellas, with garlands, over their
heads. It is evident that each of them was
intended as some individual Buddha, although
for the reasons stated above, it is impossible to
give their names.

1 See Arch&ological Survey of India, Annual Report, 1903-4, p. 253.

No. VIII ; Outer -face.

No. G149 : Note the lion- throne (simhdsana) , on which the image
is placed in accordance with the Indian fashion.

I'srxior.

Eastern Wall, facing outside of No. VII 9

Tentative restoration of an arched niche from a
stupa, presumably of I,orian Tangai, with frag-
ments of another similar niche.
Inside the arch on top : submission of the Naga

Apalala ; see above, page 25.
Below : Arrival of Buddha at Kapilavastu, the

capital of the Sakyas ; see above, page 24.
In centre of left hand panel, third field : — Hymn

of Naga Kalika ; see above, page 25.
Second arched panel : perhaps, according to Fou-
cher (I.e., p. 463, fig. 233), reception of Buddha
by the Sakyas.
Oblong panel, divided into five relievos: fourth
relievo, from above: Dipankara and Sumedha;
see above, page 16.

Outer face of show-case No. VII.

5095 : Inscription on base i1

S\im\hamitrasa danamukhe Sahilaasa Sadare[sarisa].

' The gift of Sirhhamitra [and] of Sahilaa (Skr.

Sahilaka).' 11" x 8f".

Show-case on wall, facing No. VI.

A number of stucco heads, from outside walls of
stupas.

Show-case on wall, facing No. V.

Ornamental pilasters: note the curved design on
most of them, a clear imitation of the wooden

1 See ArchcBological Survey of India, Annual Report, 1903-04,
p. 245.

pilaster in ancient Indian Architecture. Others
end in projecting animal figures, lions, and the
like. Nine winged figures, in worshipping atti*
tude, from outside of small hemispherical dome
of stupa. A photograph, exhibited with them,
shows their original position in situ.

Outer face of show-case No. V.

Buddha with Indra (Xokesvara) and Brahman
(Maitreya) ; see above, page 30. The finest
among the many replicas of this type is No. 5090,
2' 10" x i' 4", where the group is represented
sitting inside an open chapel.

On wall, below southern window.

Statues of Buddhas and Bodhisattvas. The cen-
tral and largest image of a standing Buddha
(head and upper part of body lost) , bears on its
pedestal one of the very few dated inscriptions,
which have been found in Gandhara. The in-
scription reads, as follows (see Archaeological Sur-
vey of India, Annual Report, I.e., p. 253) : —

(1) Sa[m] 318 Prothavadasa di 27 Budhaghoshasa
danamukhe

(2) Sa[m]ghorumasa sadaresarisa.

" The year 318, the 27th day of Prothavada
(Skt. Praushthapada). The gift of Budhaghosha
[and] of Samghoruma (Skt. Sanghavarnian)."

This inscription would be invaluable for determin-
ing the period of Gandhara Art, if the date
could be verified and its European equivalent
could be found. It seems not altogether un.
likely, to refer the year 318 to the Seleukid Era,
which would yield A.D. 67 as the European equi-
valent. For the present, however, this must be
regarded as merely hypothetical, and it is quite
possible that the true European equivalent of

this date was from 50 to 100 years later than
A.D. 67.

Outer face of show-case No. IV.

Casts from Gandhara sculptures in the Lahore
Museum.

Show-case on southern wall, facing No. IV

Pilasters, en pit a Is, and other decorative parts of
stupas. Note the small figures of Buddhas, or
Bodhisattvas often with two devotees, on most
of the pilasters, and also inside some of the
capitals.

Show-case on western wall, facing No. III.

Other decorative pieces, from stiipas, etc. Notable
among them are the reh\ vos, representing boys
riding on lions ; also wuiged dragons and birds.
The winged figures, knee!ing, represent Yakshas,
and similar semi-divine beings. Their original
position was along the basement of the stxipa,
and their attitude suggests that they were in-
tended to support the building, on the base of
which they had been placed. The same idea
may be clearly observed in regard to the ele-
phants in the same show-case. They w re placed
along the stupa-basement, probably in exact
agreement with the four, or eight cardinal points
of the compass, and it is evident that they were
intended as representations of the four, or eight,
dig-gajas, or heavenlv elephants, who accoiding
to the well-known Indian belief, support the
universe. The position of the lions, probably,
was the same, and it is very probable, that they
were meant to serve the same object, although
the underlying idea evidently goes back to
western non-Indian notions.

37
Outer face of show-ca^e No. III.

(i) Upper shelf : A number of small figures of Kubera
and Hariti. The great number of images of
this class, which have come to light from the
Budd ist monasteries and stupas in Gandhara,
are explained by the fact that Kubera, accord-
ing to the Indian belief, was one of the presiding
deities of the four quarters of the horizon, the
quarter belonging to Kubera being the north.
1 Strange though it may appear to us, Kubera,
the Indian god of riches, thus become constant-
ly associated with the sanctuaries and monaster-
ies of Buddhism. His female counterpart, Hari-
ti, may go back to the Zoroastrian goddess of
plenty, called Ardoxso on the coins of Kanish-
ka, and Huvishka, and it is not altogether un-
likely, that the group ultimately may go back to
Greek and R >man representations of Plutus and
Tyche, or Abundantia. The small naked figures,
seen with most of these figures, are intended as
Yakshas, whom we may naturally expect to find
associated with Kubera, the King of the Yakshas.

(2) Second shelf : — Note the relievo showing a
group of wrestlers, and the two damaged figures
of Garucla, the mythical sun-bird, originally an
older form of Vishnu, the sun, surrounded by
Nagas and Nagis (Nos. 5275 and 5276) ; also a
fine (mutilated) figure of Surya, the sun, seated
on a chariot, drawn by four (?) horses (No. G58).
Measurements: 5275— 5i" * 5?"; 5276— 5!" * 5" ;
G58— 8'7x4r.

(3) Third shelf : A number of Yakshinis, female
deities, grasping the branch of a tree. They

1 Very likely, Buddlrsts, at that time, apprehended the greatest
danger to their sacred edifices from the north; for the north was to them
probably, as to other Indians, the region of goblins, demons, etc.

were used as decorative elements around the
stupa-bases. The type is Indian and interesting
in so far as it has given rise to the well-known
type of Maya, the mother of Buddha, grasping
the branch of the Sal-tree during her confinement
in the Lumbini Garden ; see above, page to.

Note also the figure of Buddha, seated inside a
round halo, with two flying umbrella-bearers,
one on each side of his head. This sculpture is
one of the first Gandhara sculptures that came
to Calcutta.

(4) Fourth shelf. A number of long relievo-panels,
probably from steps, leading up to platform of
stupa. Probably most of them represent some
scenes from the Jatakas, or previous birth- sto-
ries of Buddha. So far, only one scene has been re-
cognized among them, viz., the birth of Kantha-
ka, the horse, on which the Bodhisattva rode out
from Kapilavastu during the night of his great
renunciation. The relievo shows a steed, with
a colt suckling ; the steed is fed by some atten-
dant grooms; see Foucher, I.e., p. 318, fig.
163. o/'x8r.
Below western window.

A number of relievos, representing Buddha visited
by Indra. The story goes, that, when Buddha
was once seated in deep meditation inside the
Indrasaila-guha , a cave on the eastern edge of the
Rajgir Hills, Indra came to ask Buddha certain
questions. In order to make his arrival known
to Buddha, Indra directed his attendant, Pan*
chasikha, to chant a hymn in praise of Buddha,
and to accompany it on the strings of his harp.
In the main relievo, l in the centre of this group,

l See Foucher, I.e., page 492ft., and fig. 246.

we observe Buddha, seated inside a cave. The
flames around the opening of the cave, are to
indicate the aureole of light, emanating from
Buddha's person. To the left, under an umbrel-
la, stands Indra, in worshipping attitude (prdn-
jali) ; the figure of Indra's musician, Panchasikha,
on the corresponding right side, is partly broken ;
but the harp, which he held in one of his hands,
may still be recognized. A number of Devas are
seen in attendance, above Indra and Panchasi-
kha, on both sides of the cave; while the figures
of monkeys, tigers, birds, and other animals are
indications of the wildness of the spot, selected
by Buddha for his meditations. 3' 10 J" x 2'
10".
There are six further representations of the same
scene exhibited in this place, one of them on the
base of an image of Buddha, seated. Also, in
order to illustrate the difference in treatment of
the same subject, a relievo of the same scene
from Barahat (1/ x i' 11 J") {circa 150 B.C.) and
Mathura 4' 6J" x 1/ 11J" (circa 150 A.D.) have
been placed along with these Gandhara relievos.
The main point , to be observed from these last
two relievos, is, that in Barahat Buddha is not
represented in human shape ; his presence inside
the cave is indicated merely by a square stone-
seat, the " Bodhi-manda" with an umbrella over
it. The Barahat relievo bears the inscription :
Ida sdla-guha, i.e., " the Indrasdld (or Indra-
saila) cave."

Outer face of show- case No. II.

Upper shelf : 5136 and 5137: The Bodhisattva in
school : see above, page 11, and Foucher, lx.,
p. 324 and fig. 166. Measurements: 5136 —
i'4r*9r; 5137— I's'xgf".

Second shelf: 51 14. : D'pankara and Sumedha ; see
above, page 16. 2' 2|" x 1' 1*

Third' shelf: Gn: Three parts, one broken.
See Foucher, I.e., p. 4641!. and fig. 238. The or-
dination of Nanda, Buddha's half brother, and
his attempt to evade the congregation. The
sequel of the scenes is from below. The lower
field shows the ordination of Nanda. In the
upper field, we observe Nanda, in the proper
left corner, trying to open a door, in order to
escape from the congregation of Buddha's follow-
ers. Buddha, however, by means of his super-
human insight, notices Nanda's doings, and
prevents him from carrying his plans into effect.
We see the figure of Nanda, kneeling in a repent-
ing posture in front of Buddha, whose figure
occupies the centre of the relievo, i' 7" x 2'
I*.

5126: Foucher, I.e., p. 5255 and fig. 258. The
legend represented in this scene is located at
Rajagriha. A certain Subhadra, a wealthy citi-
zen of Rajagriha, and a follower of the Nirgran-
thas, or Jainas, had received a prophesy from
Buddha, that his wife would soon give birth to
a son. He accordingly gave a rich present to
Buddha, which, however, excited the jealousy
of the monks of his own sect, the Nirgranthas
or Jainas. They tried to frighten him in regard
to his future child, and in order to escape from
the danger, which he apprehended on account of
the prophesy of the Jainas, Subhadra gave some
abortive drugs to his wife, which became the
cause of her death. The relievo shows the child
Jyotishka, leaping forth from the womb of his
dead mother, while her body is being cremated.
1' 3j"xi' 4".

5107 : Perhaps the conversion of the Yaksha Atavi-
ka; see above, page 20. i' 5" x 2' 3".

Besides the above case contains a number of frag-
ments of other relievos, not identified.

Show-cases on western and northern walls, facing II and I.
Ornamental friezes, from stupas. The designs
repiesent : —

(a) Boys, wearing garlands (Yakshas, seeabove,

page b.)

(b) Male and female figures, standing under

arches, evidently also intended as repre-
sentations of some kind of semi- divine
beings, who e presence around the stu-
pa is to give stability to the building.

board ornament, clearly derived from
the ancient railing, which surrounded
the Indian stupa.

PLAN OF THE GUPTA GALLERY.

West

1 •

3 ■

4 »

5 »

Sajuth

6 ■

7 «

\1 •

flbrtfi

i * a

»2

ii ■

Easv

LIST OF ADDITIONS

IN THE

GUPTA GALLERY

LIST OF ADDITIONS IN THE GUPTA GALLERY,

CABINET 4.

BUDDHIST SCULPTURES.

No. 3750. Figure of Buddha seated on a lotus throne, sup-
ported by two lions. The hands are in the
" bhumisparsa " posture. The statue is resting
against a sculptured slab with the Buddhist for-
mula Ye dharmd heptuprabhavdh, etc., inscribed
at the back of the head of the statue. There are
two stupas in relief in both sides of the figure.
Two twigs above the figure represent the Bodhi
tree. The statue was found in Bihar. 3' 2" x
1' II".
»> 3726. A similar but smaller statue; the supporting slab
has two ornamental figures of lions standing on
their hind legs, and the inscription has been
carved on the lotus throne. (From Bihar.)
2'2j*xi'.4r.
,, 5864. Similar to No. 3726, except the supporting slab,
which is differently sculptured, and the inscrip-
tion is on the slab at the back of the head of
the statue. (From Kurkihar, District Gaya.)

2'rxi'3*.

,, 371 1. Figure of Buddha seated on a lotus only. The
hands are in " bhumisparsa91 posture. The slab
is not sculptured and there is no inscription.
(From Bihar.) 2' 5" x 1' 7$".

„ 3746. Buddha seated in " bhumisparsarnudrd" under
the Bodhi tree, on a lotus throne supported by
two lions on two elephants. (From Bihar.)
3'i"xi'9r.

No. 3753. Figure of Buddha, seated on a lotus throne, sup-
ported by two lions. The hands are in " bhuniis-
parsa" posture. In front of the pedestal is a
small figure of Maitreya seated on a full-blown
lotus, within a niche. The hands are in the
posture of preaching; the right hand is lost.
There are two devotees, a male and a female, on
either side of the figure. On the supporting slab,
on either side of the statue, are two lions in
relief standing on their hind legs, with two pilas-
ters at their backs. Above these are two small
figures of Buddha seated on two full-blown lotuses.
Their hands are in the posture of " dharmacha-
krapravarttana." They represent Buddha's
1 1 dharmachakrapravarttana f ' at Benares. The
hands of the left figure are lost. Above the statue,
on the supporting slab, are some branches of the
Bodhi tree, and an umbrella. The usual formula
— Yedhammd, etc., is inscribed on the upper rim
of the slab. (From Bihar.) 2! 7" x 1/ 7f".

,, 3739. A similar statue, except that the throne is supported
by four Buddhas, seated on lotuses. The hands
of the figures in the two extremities are in the
"bhumisparsa" posture. The second figure to
the right has a bowl in hand, and a monkey
sitting to its left indicates the scene at the
" Markatahrada," where a monkey offered a bowl
of honey to Buddha. The second figure to the
left represents the * * dharmachakrapravarttana ' '
at Benares. The supporting slab is broken.
(From Bihar.) 1' llj'xi'4".

>> 37°7« Figure of Buddha seated on a full-blown lotus; the
hands are in the " bhumisparsa ' ' posture. (From
Bihar.) 1' 9I" x 13".

>> 3737- Figure of Buddha seated on a lotus throne supported
by two lions. On the pedestal is inscribed the

formula " Ye dharmd, etc. " To the right of the
statue near the pedestal is represented the birth
scene of Buddha ; above it, is the scene of Buddha's
meeting the elephant, and above that is repre-
sented Buddha's " dharntachakrapravarttand'''
at Benares ; by the side of this scene there is a
small stupa in relief. To the left of the statue
near the pedestal, is a small representation of
Buddha's first meal after the Bodhi; above is a
standing figure of Buddha, with his right hand
in the attitude of a person , who grants a wish to
a supplicant (varadamudrd) , and above that is a
figure of Buddha seated on a lotus, with his
hands in the posture of ' ' dharmachakrapra-
varttand ' ' ; by the side of the pedestal , to the left ,
is a monkey sitting, and to the right of the statue
near the shoulder is a stupa in relief. Above
these is represented the scene of "Mahapari-
nirvana" of Buddha above which is a stupa,
with a drum and a pair of cymbals on either side
with hands, representing the celestial music.
(From Bihar.) 2' 3" x 1' 4f".

No. 3752. Similar to No. 3737 except in the following points.
The scene representing the first sermon at
Benares is to the left and the scene at Marka-
tahrada is to the right. The figure of Buddha
to the left of the statue near the pedestal is seated
in the European fashion instead of being in the
"vajraparyanka*'' posture. The two small
stupas are wanting. (From Bihar.) 3'xi' g%".

,, 5865. Buddha seated on a lotus throne supported by two
lions. The hands are in the " bhumisparia"
posture. To the right of the figure is Maitreya
standing, recognisable by the stupa symbol in
his hair, and to the left Avalokitesvara, with a
small image of a Buddha in his hair; above two

stupas in relief. (From Kurkihar, District Gaya.)
I'9"xi3".
No. 3723. Similar to No. 3753 ; except that the figures in front
of the pedestal are wanting and the umbrella is
absent. (From Bihar.) 1' 9" x 1/ ii".

,, 6108. Figure of Buddha, seated on a lotus throne, sup-
ported by two lions. The hands are in " bhumis-
parsa ' ' po >ture. Halo and part of throne broken.
The statue is inscribed at the back. (From Gaya.)

i'ir*9i".

,, 3714. A similar, but larger statue ; there are also two
devotees, a male and a female, in the front of
the pedestal. The halo and right side of the
throne are broken, the left portion only remain-
ing, with a lion standing on its hind legs.

I'lorxi'c

CABINET 5.

No. 3717. Figure of Buddha , seated on a lotus throne, sup-
ported on each side by a lion. The hands of the
figure are in the " dharmachakrapravarttand"
posture. The two small attendants probably
represent Sariputra and Maudga yayana, the first
two disciples of Buddha. Above these standing
figures are two small stupas and on the top of
the supporting slab is an umbrella. The sculp-
ture represents Buddha's " dharrnachakrapravar-
tiand " at Benares. (From Bihar.) 1' 3" x 9".

>> 3727- Figure of Buddha on a lotus throne supported by
four semi- livine beings. The hands ae in the
posture of " dharmachakrapravaritand " To the
left of the figure of Buddha, is a standing figure
of Maitreya, and to the right wTas probably a

figure of Avalokitesvara , of which the lower
portion up to the thigh only remains. The
statue was placed inside the niche of a small
stupa. (From Bihar.) i' 6" x t' j\n.

No. 3729. Figure of a Buddha seated on a lotus throne, with
hands in the posture of f ' dharrnachakrapravar-
ttand." The sculpture represents Buddha preach-
ing at Benares. The Buddhist formula is
inscribed on the pedestal. To the left side of the
pedestal sits a devotee with folded hands. The
upper part of the supporting slab shows two
stxipas in relief and an umbrella. (From Bihar.)
2' 2j" x 1' 6".
>> 3756. Figure of Buddha seated on a lotus throne, sup-
ported by two lions, with hands in the posture
of " dharmachakrapravarttand. " The sculpture
represents Buddha's first sermon at Benares.
Two small seated Buddhas, one on each side of
head of main image. Umbrella over head of main
image. Buddhist creed around halo. (From
Bihar.) 3' i\" * 1' 8£".

,, 3720. Figure of Buddha seated on a lotus throne, a devo-
tee sitting to the left of the pedestal. The sculp-
ture represents Buddha's "dharrnachakrapravar-
ttand" at Benares. On the pedestal of the
figure is inscribed the name of the donor Achdr-
ya-vdradeva. (From Bihar.) if 11$* x 1' 7".

,, 3718. Buddha seated on a lotus throne; the scene
represented is that of his " dharmachakrapra-
varttand * ' at Benares. Portion of throne and
halo lost. (From Bihar.) 1' gi" x 1' 3^.

„ 3716. Figure of Buddha seated on a chair in European
fashion ; to the right of the figure, on the pedes-
tal, a Yaksha, and to the left a small figure of
Buddha, with his hands in the posture of con-
ferring a boon and protection. In the upper

portion of the slab, near the shoulders of the
principal figure are two small figures of Buddha
seated on " Padmdsanas" Buddhist creed
around halo. (From Bihar.) 2' 2" x 1' 5".

No. 3731. Figure of Buddha seated on a lotus throne, with
his hands in the posture of " dhartnachakrapra-
varttand } ' ; below, Nagas and Nagis worship-
ping. On the same throne and with their hands
in a similar posture are two figures of Buddha, sit-
ting with legs down ; the head and left shoulder
of the right-hand figure are lost. The two seated
figures, one on each side of the main image,
represent Sariputra and Maudgalyayana,and there
are three more repetitions of the same group on the
top of the slab, also a small relievo of the Maha-
parinirvana, or death of Buddha, and two small
Vidyadharas, flying through the air, one on each
side of the top of the statue. (From Bihar.)
2/2rxi/3l//.

11 375 1- Figure of Buddha seated on a lotus throne, below
two Nagas and two devotees. The broken hands
of Buddha were in the posture of u turning the
wheel of the law" (dharmachakrapravarttand) , and
the statue clearly represents the first sermon of
Buddha at Benares. On each side we see Sari-
putra and Maudgalyayana standing, while above
we again observe them flying through the air,
in order to attend the sermon. (From Bihar.)

3'r*2T-

Nos. 3734 and 3708. Buddha's first meal after the Bodbi.
Both statues broken. No. 3734 appears to have
been a statue of Buddha, wearing diadem and
necklace, a peculiar type of Buddhist image in
Bihar, the exact name of which has yet to be
found. (From Bihar.) 3734 — 1' 4r/xi' §";
3708-1/ 3" x 1' 2f".

No. 3745. The sculpture is the same as No. 3751, excepting the
lower part of the lotus throne, which is here
supported by two lions, while there are two devo-
tees, one on each side of the pedestal. The
sculpture represents Buddha's " dharmachakra-
pravarttand ' " at Benares. (In two pieces.)
(From Bihar.) 2' n£" x 2'.

>> 3738. The offering to Buddha of a bowl, rilled with honey,
by a monkey, near the Markatahrada, near
Vaisali, the present Basarh-Bakra, in Muzaffar-
pur, Tirhut. (From Bihar.) 1' n|" x 1' 31".

>> 3736. Buddha sitting on a lotus throne, supported by two
lions ; the hands are in the posture of meditation ;
above two Vidyadharas with garlands; the
Buddhist creed around rim. (From Bihar.)
1' 3" x io|".

,, 6290. Buddha seated on a snake, whose seven hoods form
a canopy over the head of Buddha. The statue
represents the serpent Muchilinda, protecting
Buddha against rain at Uruvela, or Bodh Gaya,
an event anterior to the bodhi. But for the in-
dications of the rim of the garment, this image
might easily be mistaken for a statue of Parsva-
natha, the 24th Ttrthankara of the Jainas.
1/ 11" xi' 1}".

CABINET 6.

No. 3763. An erect figure of Buddha, hands broken, attended
to the right by Brahma with a chauri, while
Indra with an umbrella stands to the left. To
the left of the figure is a sculptured column,
which supported an arch over the figure of
Buddha. The greater part of the arch with the
right-hand column is lost. Above the column to
the left is a small stupa in relief. On the left

side of the pedestal is a devotee, kneeling, with
folded hands. The inscription on the pedestal
of the statue says that the statue was installed
by an elder of the Buddhist sect, named Purna-
dasa, in the second year of the reign of Surapala,
on the nth day of the dark fortnight of the
second, or intercalary month of Asadha. (From
Bihar.) 3' fxi^f.

No. 3769. Figure of Buddha standing, represented as meeting
the elephant which has been shown to the
right. A human figure to the left. (From Bihar.)
2' x 1' 41".

,, 3764. Figure of Buddha standing within an arch supported
by two pillars, with the formula ci Ye dharma"
inscribed on it. To the right, a miniature ele-
phant; and to the left, the figure of a monk. A
devotee with a garland is sitting to the right
side of the pedestal. The inscription on the
pedestal is the same as that on 3763. l (From
Bihar.) 2' x 1' f.

,, 3770. A figure of Buddha, head and hands broken, stand-
ing, meeting the elephant to the right, a human
figure to the left. Two devotees with garland are
sitting on the side of the pedestal. " Ye dharma "
inscribed in a semi-circular form on the slab
against which the statue stands. To the right
of this is a small stupa. Portion of the slab
lost. The inscription on the pedestal of the
statue says that it was placed in the Dhana-
pala Chaitya by the ascetic Anandabhadra,
the disciple of Upendrabhadra, while King Raja-
hamsa was ruling. (From Bihar.) 1' 6" x 1' i|".

1 The images of Buddha with the elephant evidently represent the
taming by Buddha of the wild elephant Ndldgiri, at Rajglr ; see above
page.

No. 3767. Another image of Buddha, meeting the elephant
Nalagiri. Monk, with staff in right hand, to left
side of Buddha. Small stupa in right corner.
Left corner broken. In front of the pedestal, to
the right, is a devotee with garland, and to the
left, one with hands folded. (From Bihar.)

,, 3762. Buddha standing meeting the elephant ; to the left,
monk with staff. Near the right shoulder of
the figure is a stupa in relief. (From Bihar.)

i'5r*io".

>> 3765. Figure of Buddha, standing; the right hand, which
was in the posture of conferring a boon, is lost ;
attended by Maitreya and Avalokitesvara. A
devotee is represented kneeling in front of the
lotus throne, (From Bihar.) 2' if" x 1' 4§".

Nos. 4575 and 4576. Two fragments of a big sculptured slab
from the back of a statue. The lower portion re-
presents the birth scene of Buddha ; below this,
the first sermon of Buddha at Benares. The
upper portion represents Buddha attended by
Indra holding an umbrella to the right, and
Brahma with chauri, to the left. Above these
there are two four-handed figures in the posture
of dancing. (From Ghasikundi.) 4' 3f " x i' 6".

No. 3772. A fragment of a relievo, representing Buddha's
" Parinibbdna ; ' ' below, three figures, the central
one Subhadra, the last convert of Buddha, while
the two other figures evidently represent two of
Buddha's disciples, one of whom may be Anan-
da. See above, page 35. (From Bihar.) i' 2" x
1' 3".

3 » 3773- A similar sculpture, head and feet of Buddha broken.
The slab at the back shows a small stupa in re-
lief with festoons. Note the two Sdla-trees, be-

tween which the figure of Buddha is lying. (From
Bihar.) if ij'xo/.

No- 3774- Same scene. The head of Buddha lost. To the
right of this has been represented the birth
scene, and to the left the scene at the Markata-
hrada. Figures on base same as in preceding
relievos. (From Bihar.) i' x i' 4" '.

,, 5610. Fragment. The same scene. (From Bihar.) 9^" x
10".

Nos. 6282 and 6283. Fragments of two statues, found in Raj-
gir in 1906 ; one, a torso of some male figure, and
the other a broken upper left corner of some
image of Buddha, seated inside a cave. The
statues were made of the red sand-stone from
Fathpur-Sikri, near Agra, and were probably the
work of some sculpture from Mathura. 6282 —
i'2"xi'; 6283— iof" x io-i".

CABINET 7.

No. 3789. A figure of Avalokitesvara seated on a lotus in the
" Ardhaparyanka " posture, the right leg rests
on a lotus ; the right hand is in the posture of
granting a boon ; the left, holding a lotus
stalk, rests by the side of the left thigh. The
slab at the back is inscribed with " Ye dhammd^
and the pedestal contains the name of the donor,
the ' betel-seller (tdmbulika), Vajjaka.' (From
Bihar.) 1' 4|" x irf".

M 3792- A figure of Avalokitesvara, seated on a throne sup-
ported by two lions. The legs and hands are in
the same posture as those of 3789. The upper
portion of the slab, on which was inscribed the
creed, is lost. To the right of AvaJokita is
Tara and to the left BhrikutT. On the pedestal

is a pair of devotees, a male and a female, with
offerings. The name of the donor, Sauvodika,
the son of Pesu, is inscribed on the pedestal.
(From Bihar.) 1/ n" x i' 3*.

No. 3804. A figure of Avalokitesvara seated on a lotus in " Ardha-
paryanka" posture (like the preceding ones).
Left hand lost. To the right, Sudhanakumara,
and, to the left, Hayagriva. In front of the
pedestal, Suchimukha, and a male and a female
devotee to the right ; a thick-bellied figure,
probably Jambhala, and an elephant and a lion
to the left. All these figures are seated on
lotus thrones. In the middle, a lotus, stalk and
by its side, a lotus bud. The slab at the back
highly sculptured. Near the shoulders of the
statue are two pairs of Vidyadharas, a male
and a female on each side with garlands, below
which, on each side, a peacock and a lotus. Above
these are five miniature Buddha statues, each
sitting on a lotus, with the hands in the posture
of the " dhartnachakrapravarttand," " bhumt-
sparsa" " dhyana, " llvarada"} and " abha-
yamudrd," (From Bihar.) 3' 6 J" x 1' 9I".

1 , 3794- A figure of Avalokitesvara (in two pieces) , much muti-
lated ; greater portion of the supporting slab and
the right hand lost. The figure is broken at the
waist. The pedestal shows the following figures
in order from the right hand side : viz., "Suchi-
mukha, Tara, Bhrikuti, and a pair of devotees.
(From Giryek.) 1/ n" x 1/ \" .

,, 3782. Similar to 3789, excepting that the left hand, which
holds the lotus stalk is raised. (From Giryek.)
11" x 6£".

>> 3787. A figure of Avalokitesvara, or Maiijusri(?) with four
hands, sitting in " Ardhaparyanka " posture on
a lotus. The upper right hand holds a rosary of

beads and the lower one is in the posture of
granting a boon ; the upper left hand holds a
manuscript and the lower the lotus stalk. In
front of the pedestal, to the left, is Bhrikuti,
and to the right, Tara. The upper part of the
slab contains the creed and a stupa in relievo.
(From Bihar.) i' io|" x I2f//.

No. 3810. A figure of Avalokitesvara, with eight hands. The
uppermost right and left hands are in the posture
of ■ ' dharmachakrapravarttand * ' the second right
hand holds a rosary; the third, which was prob-
ably in the posture of granting protection, is
lost ; the fourth is in the posture of conferring a
boon ; the second left hand holds a lotus, the
third a manuscript (?) and the fourth a water-
pot (katnandalu). In front of the throne,
from the right hand side, are Tara, Suchimukha,
Hayagriva and Bhrikuti. In the middle of the
pedestal an ornamental lotus stalk with lotus
buds on all sides. Some branches on the top
of the slab represent the Bodhi tree. (From
Bihar.) 2'6i*xi'5|*

>> 5859. Figure of Avalokitesvara seated on a lotus in " Ardha-
paryahka ' ' posture within a mountain cave ;
his hands in the posture of ' c dharniachakrapra-
varitand." To the right stands Tara, and to the
left Bhrikuti with her upper two hands folded.
The mountain is inhabited by wild animals and
Rishis, and on the top we observe five small Bodhi-
sattvas, each seated inside a cave. (From
Kurkihar, District Gaya.) 3' 7$* x 3' J".

,, 3806. Figure of Avalokitesvara seated on a lotus throne,
resting on two lions, in the usual posture. To
the right is a figure of Tara seated on a lotus ; in
front is an erect figure of Hayagriva. (From
Bargaon, Nalanda, near Bihar.) 2' 11" x 1/ 7|".

No. 3799. A figure of Avalokitesvara on a throne supported by-
two lions. In this figure the left leg is placed
down-ward, instead of the right. The slab at
the back and the left thigh broken. (From Bihar.)

2'4r'xi'3r-

,, 3791. An erect figure of Avalokitesvara, right hand lost; to
the right stands Tar a and to the left Bhnkuti.
In front of the pedestal, towards the left, is a
devotee kneeling. The slab shows a small stupa
in relief and is inscribed with the Buddhist creed.
(From Bihar.) 2' x 1'.

,, 3800. A similar figure, of smaller size. The right hand
side of the slab with Tara, and portion of the
right hand of the main figure lost. (From
Bihar.) i/7//x8i,/.

,, 5860. An erect figure of Avalokitesvara with six hands, the
right hands holding rosary, conch-shells (?) while
the third is in the wish-granting (varada) posture ;
the left hands hold lotus stalk, noose, and Kaman-
dalu ; to the right, an erect figure of Tara, and to
the left, that of Bhnkuti. Two Vidyadharas with
garlands above. The Buddhist creed is inscribed
on the slab near the head of the figure, in a semi-
circular form. (From Kurkihar, Gaya.) 2' 5" x

I' 3i*.

>> 3796. An erect figure of Avalokitesvara with six hands.
The third right hand and the first left hand lost-
The second right hand holds a rosary and the
first is in the posture of conferring protection.
The second left hand holds a lotus and the third
a trident. Erect figures of Tara and Bhrikuti to
right and left, the heads of both lost. Above,
two figures of Tara, one with four and the other
with two hands. The Buddhist creed inscribed
on the slab. In front of the pedestal is a small
male figure, broken, perhaps a portrait of the

donor, whose name was Chakshugldna-Ujjaka., as
we learn from the inscription on the bottom of
the image. (From Bihar.) 2' 4''* x 13".

No. 5860. A similar statue of Avalokitesvara with six hands.
The gift of the Paramopdsaka Suvarnnika, the
son of the Vanika (Banyan) Vajjraka.

,, 3807. An erect figure of Avalokitesvara with two hands;
to the right, Tara and by her side Suchimukha ;
to the left Hayagriva and Bhrikuti ; a devotee in
front of the pedestal. Vajrapani and Manjusri
(?) to right and left of head of mainimage ; above,
small seated Buddha. Rocky ground on top, with
figures of Rishis. (From Bihar.) 2' 8" x 1' 8£".

,, 5861. An erect figure of Avalokitesvara with two hands.
Below, on each side, small male figure, not iden-
tified. Above two figures of Buddha with hands
in the bhumisparid and vydkhydna postures.
Buddhist creed inscribed on the slab at the
back of the head. There is a rampant lion on
each side of the throne. Inscription on pedes-
tal : Sutradhara-S'ri-Rejhena-kdritam, made by
the mason Rejha (?). (From Kurkihar.) 2' 4j"
x 1' 3".

>» 3797- An erect four-handed figure of Avalokitesvara; the
upper right hand holds rosary and the lower is
in the posture of granting a wish ; the upper
left hand, which held the lotus stalk, is lost, and
the lower one holds a kamandalu. To the right
and left are erect figures of Tara and Bhrikuti.
(From Bihar.) 1' 91" x 10".

,, 3786. An erect figure of Avalokitesvara with four hands, all
broken. To the right hand side of the figure are
Tara and Sudhanakumara and to the left Bhrikuti.
In front of the pedestal is Suchimukha , to the right
and to the left Hayagriva. A stupa in relief
above. (From Bihar.) 1/ n|"x 13".

No number. A seated figure of Avalokitesvara on a lotus,
both the hands lost. The legs are down. To
the right, are Tara and Sudhanakumara; and, to
the left, Hayagriva and Bhrikuti. The slab is
highly sculptured, and there are five figures of
Buddha seated within mountain caves, their
hands being in the postures of " bhumisparsa"
' ' dharmachakra , ' ■■' ' ■ dhydna , ' ' and vydkhydna.
The upper part represents mountains with trees,
two elephants , a lion, a monkey, a snake and
two peacocks. On each side a pair of Vidyadharas
with garlands. The front of the pedestal shows
floral ornamentations. 2' 5" x i' 2|".

No. 6121. Small image of Avalokitesvara, seated, two hands,
left hand holding lotus. Broken three parts.

CABINET 8.

No. 3801. A figure of Manjusri, seated on a lotus throne sup-
ported by two lions. The hands of the statue
are in the posture of ' ' dharmachakrapravarttand. ' '
To the right, Sudhanakumara, and to the left, Ya-
mari ; a lotus on each side, with a manuscript
and Triratua symbol on each. The Buddhist
creed, inscribed on the slab in a semi-circular
line. (From Bihar.) 2' 6" x i' 4".

,, 3808. An erect figure of Manjusri. The right hand is in
the posture of preaching, and the left hand hold-
ing a lotus with manuscript rests on the left
thigh. The Buddhist creed is inscribed on the
slab, and the pedestal contains the name of the
donor. (From Bihar.) 3' 8|* x 1' 4I".

,f 3803. Figure of Manjusri, seated in Ardhaparyanka, on a
lotus throne supported by two lions ; the hands

are in the posture of c ' dharmachakrapvavavltana. * '
On each side is a female figure holding a chauri,
with a sword hanging from her belt. Near the
left hand of the main figure is a lotus, upon which
lies a book. In the upper part of the slab are two
Vidyadharas with garlands, and a Kirttimukha
at the top. The Buddhist creed is inscribed
on the pedestal, and in its lower right corner is
the portrait of the donor of the image. (From
Bihar.) 3' 10" x 2' 3".

No. 3805. A figure of Vajrapani seated in Ardhaparyahkd, with
his right leg hanging down on a lotus throne
supported by two lions. The Vajra, which was
in the right hand of the figure, is broken. The
left handholds a lotus. Above, on the slab to the
right, is a figure of Buddha with hands in the
posture of ' c dharmachakrapravarttand ; ' ' and to
the left, another figure with hands in the posture of
bhumisparsa. (From Nalanda, Bargaon, Bihar.)
3' 4" x 1' 81".

>> 3795- An erect figure of Vajrapani (?), with twelve hands,
the right hands holding a rosary, lotus (?) and
two other indistinct objects, while the second
and third are in the varada and abhaya-mudrd ;
the left hands hold a lotus with stalk, a manu-
script, a trident, a noose, a Vajra, and a Kaman-
dalu. On the pedestal to the right are Tara. and
Suchimukha, and to the left, Hayagriva and
Bhrikutl. In front of the pedestal is a devotee.
Above, are two figures of Buddha with hands in
vydkhydna and bhumisparsa postures. The upper
part of the slab is lost. (From Bihar. ) 2' 5§* x
1' 5i".

,, 3813. A four-armed figure of Vajrapani seated on a high
lotus ; the upper hands hold the Vajra, while the
lower right hand holds a rosary and the left a

lotus. There were two figures on the sides of the
statue, each sitting on a lotus, but that to the
right is lost with a large portion of the slab while
the figure to the left which alone remains, is that
of Bhrikuti. (From Bihar.) i' 9" x 1' 3I".

No. 4571. A figure of Jambhala, seated in " ardhaparyanka"
posture on a lotus. The right hand holds a
pomegranate and the left a mongoose (nakula).
On each side is a figure of Buddha with hands in
the "bhuinisparsa" posture. The pedestal of
the figure contains an inscription in a peculiar
variety of the Northern Indian writing, called
''nail-headed characters." (FromGbasi-kundi.)
i' 8" x io§".

,, 3788. An erect figure of Maitreya, the future Buddha, re-
cognisable by the sign of the stupa on the crest.
The lower part of the right hand lost. The left
hand holds a staff. In front of the pedestal to
the right is a devotee kneeling. (From Bihar.)
1/ 9" + 1'.

,, 3790. Another erect figure of Maitreya. The lower portion
of the left hand lost; the right hand is in the
posture of conferring a boon. On each side is a
female figure with four hands, probably Tara,
holding different weapons. A small stupa in
relief on the slab , and the Buddhist creed. (From
Bihar.) 2'5r*i'4r-

,, 3798. A figure of Padmapani, seated in " vajraparyahka"
posture on a lotus throne supported by two pea-
cocks. l The right hand is on the breast and

1 The peacocks supporting the throne of this image and the next
may possibly suggest that the figure represents some Buddhist adapta-
tion of Skanda or Kumara, the Indian God of War. I have myself seen
an image of Skanda with the Buddhist creed inscribed on it, somewhere
in the district of Gaya.— T. Bi/)CH.

holds a lotus, while the left hand holds the stalk
of the lotus. On each side is a seated female
figure, and in front of the pedestal are certain
unknown figures, one with six hands. There are
two Vajra symbols on the sides of the statue. The
upper portion of the slab lost. (From Nalanda.)
i' 8" x i' 4f *

No. 3784. A figure of Padmapani seated in "vajraparyanka "
on a lotus throne supported by two peacocks.
The right hand is on the breast holding a lotus
flower, of which the left holds the stalk. A
stupa in relief on the slab, and the Buddhist
creed inscribed around the halo. In front is a
figure standing slanting-wise and raising a big
club in its right hand. (From Bihar.) 1' 10" x

,, 3785. A figure of Vajrapani seated in vajraparyanka on a
lotus throne supported by four elephants. The
right hand resting on the breast holds the Vajra,
while the left hand rests on the left thigh. The
slab at the back contains some indistinct sculp-
tures, and the lower part of the pedestal is in-
scribed. (From Bihar.) 1' 7 J" x 13".

Nos. 3721, 3713, 3703, 3755, 3733, B.G. 80, 3766. A pecu-
liar type of Buddha images very frequently
found in Bihar. They resemble in all details the
ordinary images of Buddha, but for the crown
(mukuta) and the necklace and other ornaments
worn by them. Thus, the largest image, No.
3755? represents the first sermon, or the turning
of the wheel of M the Law " (dharmachakrapravar-
ttand), as seen by the small symbol of the wheel,
with two antelopes in the centre of the base, and
also by the posture of the hands. Likewise, the
* ' Earth- touching posture ' ' (bhumisparsa-mudrd)
of Nos. 3721, 3713 and 3703 points to those

images being representations of the final victory
of Buddha over Mara, under the Bodhi tree at
Uruvela, or Bodh-Gaya. It should also be noted,
that on several statues of this kind (e.g., 3713,
3703, and 3755) we find small relievos, represent-
ing the principal events in Buddha's life, from his
birth in the Lumbini grove, down to his death, or
nirvana. In some of those small relievos, the
Buddha is of the ordinary type, while in others
we find him wearing crown and ornaments, like
the main figure in these images. No plausible
explanation has as yet been found of the mean-
ing of these Buddha images, and the name of
Dhydni-Buddha, given to them, is merely a ten-
tative suggestion. Measurements : 3721 — 1/ 5|"
x 11" ; 37i3-i/ W * * *!' J 3703-2' 3" x 1' 4" 5
3755-3' 31" x 2' 2"; 3733-2' 4|" x if 3f" ; B.G.
80— 1' 10 J" x i2f ; 3766—1' 8|" x I2|".

CABINET 9.

No. 3814. An erect figure of Tara, the left hand holding a lotus
with stalk, and the right hand in the posture
of granting a wish. To the right, a female figure
with four hands, probably Bhrikuti, and to the
left, a male figure, with a sword and a lotus.
Above, are two figures of Buddha in " bhumi-
sparsa" and " dhydnamudrd. " The Buddhist
creed is inscribed around the halo. (From
Nalanda, Bargaon, Bihar.) 2' 2" x 1' 51".
,, 3815. A similar figure ; to the right, a female figure with
four hands, like that in No. 3814, her feet being
in the " ftrdtydlidha ' ' posture, and to the left
another female, in the " alidha " posture. The
Buddhist creed is inscribed on the slab. (From
Nalanda.) 2! gf" x ir 71".

No. 3818. A similar figure ; to the right a female figure like
those in Nos. 3814 and 3815 ; to the left, another
female figure, with two hands. Above, a
chaitya in relief, and the usual formula inscribed.
(From Bihar.) 1' n|" x I3//.

,, 3819. A similar figure of Tara. A female devotee with
folded hands on the right side of the base. There
is a stupa in relief by the side of the figure.
(From Bihar.) 1' 9|" x nf".

,, 5608. A figure of some female deity (in two pieces), danc-
ing on a prostrate human body ; her two hands
hold different weapons, and she has three eyes.
A garland of human skulls hangs around her
body ; the protruding tongue is broken ; on the
head there is the figure of Akshobhya. (From
Bihar.) Presented by Lt.-Col. Iy. A. Waddell.1
1' io|" x 1' i|".

,, 4460. A figure or Tara seated in "ardhaparyanka" pos-
ture on a lotus. The right hand is in the posture
of granting a wish, and the left hand holds a
lotus. No history (Panjab ?). xof^x?}".

Nos. 6275, 6276, 6277. Three miniature images of Tara, from
the collection of the late Mr. J. D. Beglar. 6275
-9r*5r; 6276-8!"* 5"; 6277-iorx7//.

No. 3817. A figure of Tara seated in the ' : vajraparyanka "
posture ; both hands of the figure and part of the
halo lost. On the right side is a lotus, with a
book lying on it. This may suggest that the
figure is really a female counterpart (sakti) of
Manjusri. (From Bihar.) 1' 5f" x n|".
,, 3820. A figure of Tara seated on a lotus, in the " vajra-
paryanka ' ' posture. The greater part of the

l This image strongly resembles the well-known images of Kali
dancing on S'iva. — T. B.

slab at the back lost. To the right is seated a
female figure with four hands, and to the left a
small figure of Tara. In front, are two devotees.
From the inscription on the pedestal the name
of the Tara appears to be Potalaka-Tara. (From
Bihar.) i^fxi'^.

No. 3824. An erect figure of Tara. with two hands, the left one
lost. To the right, a female figure standing with
a Vajra in the right and a lotus in the left hand.
To the left, another female figure, the right hand
holding a Vajra and the left hand a drinking bowl.
Above these are five figures of Buddha, respec-
tively in the postures of " dhavmachakrapra-
varttand, " " bhumisparsa, " " abhaya, "
"varada" and "dhydna." The base of the
image shows an elaborate floral design, with three
small devotees, probably portraits of the donors of
the image. From the inscription on the pedestal
we learn that the statue was made in the second
year of Ramapala. (From Bihar.) 3' 10" x

,, number. An erect figure of Tara, the lower part of the
right hand and portion of supporting slab lost,
To the right is a female figure with four hands,
probably Bhrikuti. To the left, another female
figure, with two hands, leaning on a battle-
axe which is held in the right hand. 4' 2" x
2'.

, , Another erect figure of Tara, lower part of the right
arm lost. To the right a female figure like that
on the preceding image. To the left another
female figure, with a sword in her right hand.
Small devotee kneels to right of base. In the
upper part of the slab two small figures of Buddha
sitting, with hands in the " bhumisparsa " and
" dhydna ' ' postures. 3' 7" x 1' io^.
9

CABINET 10.

No. 5618. A figure of Tara with two hands, seated in " ardha-
paryahka ' ' posture on a lotus, the hands being
in the posture of " dharmachakrapravarttand.^
The whole sculpture is in a good state of preserva-
tion. To the right-hand side is a female figure
with two hands, holding in the right hand a
Vajra and in the left hand a lotus ; to the left is
another female figure with a Vajra (?) in the
right, and a vessel in the left hand. On the
bottom, small portraits of male and female, pro-
bably the donor of the image whose name,
according to the inscription, was / asadevaka (i.e.,
Yasodevaka), from Mathura, and of his wife. In
the upper part of the slab are five small figures
of Buddha seated in " vajraparyahka," with
their hands in the posture of " dharmachakra-
pravarttana, " " bhumisparsa, > • " abhaya,' '
" varada " and " dhydna, " and two Vidya-
dharas with garlands. (From Bihar.) 2' 9" x

1' sr-

>> 3823. A figure of Tara seated in the " ardhaparyahka "
posture on a lotus throne supported by two lions.
The right hand is in the posture of granting a
wish, and the left hand holds the stalk of a lotus.
A chaitya in relief on the slab at the back
and the creed inscribed around halo. The
slab is in two pieces. (From Bihar.) 3' i\" x
1' 9".

,, 3822. A figure of Tara with four hands. The upper right
hand holds a rosary, and the lower one holds an
object which appears to be a fruit. The upper
left hand holds some branches, and the lower,
the stalk of a lotus. The creed inscribed on the
slab in bold letters. (From Bihar.) 2' n§"x

No. 5862. A figure of Tara. seated in " ardhaparyahka " pos-
ture on a lotus. The right hand is in the posture
of granting a wish, and the left hand holds a
lotus. The name of the donor, " The Buddhist
monk Gunamati ' ' (Sdkya-bhikshu-Sri Gunamateh)
is inscribed on the pedestal and the creed around
the halo. (From Kurkihar, District Gaya.)
2' 9" x *' 7¥-
*> 5863. A figure of Tara seated in " ardhaparyanka ** pos-
ture on a throne supported by two lions, with
two hands, the right hand being in the posture
of granting a wish, while the left hand holds a
lotus. The creed inscribed around the halo.

(From Kurkihar.) 2' 6" x i' 4

Nos. 5590 and 5863. Two similar images. (From Bihar.)
5590— 1 ' 6" * ™¥-

No. 4614. An erect figure of Marichi, on a chariot drawn by
seven boars. The goddess has three faces, in
each face three eyes. She has eight hands.
According to the Sadhana quoted by Foucher in
his second volume of Buddhist Iconography,
page 92, the face to the right is red and that to
the left is that of a boar and is blue. The right
hands hold thunderbolt, goad, arrow and needle,
while the left hands hold the branches of an
Asoka tree, a bow and thread, while the last hand
is in a threatening posture. On the crest is a
figure of Vairochana. The feet are in the " pra*
tydlidha" posture. In her chariot sits Rahu,
and she is surrounded by four Devis, Vattali,
Vadali, Varali and Varahamukhi. Vattali are
described as follows in the Sadhana' —

Red, with the mouth of a Varaha, with four
hands holding needle, goad, noose and branches
of au Asoka tree. Vadali is yellow, with four
hands, holding Asoka branches, Suchi, Vajra and

Pasa. Varali is white, holding in the right hands
thunderbolts and needle, and in the left Pasa,
Asoka branch. The feet are in the li Pratyali-
dha ' ' posture. Varahamukhi is red, has three
eyes, and four hands holding Vajra and Tara,
and CMpa and Asoka branch. (From Bihar.
I' io§" x io|".

No. 3827. Another larger statue of Marichi. Only two attendant
goddesses. (From Bihar.) 3' 7" x 1/ 11".

,, 4736. Gilded wooden image of Buddha in the " bhumi-
sparka ' ' posture. (From Burma.) 1' 7I" x 1.1".

,, 4737. Another ditto. 1' 6\" x io£*.
,,4738. Another ditto, 1' 3| " x 8-|".

5> 3386. A marble figure of Buddha in " bhumisparkamudrd " ;
head broken. 8|r/ x 7^.

,, 3816 An erect figure of Tara with two hands, the left
holding a lotus and the right being in the posture
of granting a wish. To the right Yamari (?) and
to the left Bhrikuti. The upper portion of the
slab lost. (From Nalanda.) 2' 8r/ x 1' 6".

., 4613. A figure of Ushrnshavij aya with three faces and eight
hands. The right hands hold Vajra, a lotus on
which sits Amitabha, an arrow, and the last is
in the posture of granting a wish ; the left hands
hold a bow, a noose and a waterpot, while the
third is in the posture of granting a wish. (See
Foucher, Etude sur Vlconographie Bouddhique
de VInde, part 11, page 86.) One of the right
hands, viz,, that holding the Vajra, is lost.
Three chaityas in relief are represented in the
upper part of the slab. Below the chaitya, in the
centre, is a seated figure of Buddha, with his
hands in the ' ' bhumisparka * y posture. There
are two devotees, a male and a female, in front
of the pedestal. (From Bihar.) 2' 2" x I2j".

No. 4474. A female figure with eighteen arms, probably a form
of Tara. The head as well as the slab at the back
are lost. The pedestal is inscribed, but the
inscription has been greatly effaced. (From
Bargaon-Nalanda, Bihar.) 1/ 8J" x 1/ j\'\
3i 6267. Another image of Marichi; head broken. 1/ 8 J" x
1' 2". This curious type of later Buddhist image
evidently had some connection with the usual
representations of the Sun-God in Indian Art.
For the seven boars, drawing the chariot of
Marichi, correspond with Surya's seven horses,
and likewise the small charioteer in front corres-
ponds with Aruna on the Surya statues.

SOUTH-EAST CORNER.

Scttlptures from Cambodia.

No. 1 196. Broken head of male figure, 15" high.
,, 1197. Another ,, ,, 14" high.

,, 1 189. A carved slab with birds in relievo, over which sits
a human figure, with a club in its right hand,
resting on the right shoulder. 2' 7" x 1/ 5" '.

,, 1193. A piece of sculpture, forming a projecting corner,
with a bearded male figure holding a club, sur-
rounded by a halo. The lower part of the sculp-
ture is lost. 1/ 9!" high.

1191. A similar sculpture, complete. 2' 2%" high.

1192. do. do. 2' 1" high.
1195. do. do. 2' f" high.
1 194. do. do. 2' 1" high.

1 190. A piece of sculpture showing three figures of horses
(?), over which sits a man with a big club in the
right hand, surrounded by a halo. 2' 1" x 1' 3".

70
TABLE B— SOUTH.

No. 4229* A piece of sculpture from the plinth of a stupa,
with a seated figure of Buddha with diadem and
ornaments, in a recess, with hands in the posture
of " dharmachakrapravarttana " ; small stupas in
relief in the sides. The upper part of the sculp-
ture shows a small erect figure of Buddha in a
recess. There are some small figures of Buddha
by its sides sitting in different postures. (From
Bihar.) i'3i*xl'5r.

,, 4225. A similar sculpture showing a stupa in relief and
smaller stupas above in recesses. (From Bihar.)
1' 3" x 1/ ii".

,, 4232. A similar sculpture; a figure of Buddha within a
niche, sitting in bhumisparsa posture. Above
the niche is an erect figure of Buddha, surround-
ed by other small seated figures of Buddhas in
different postures. (From Bihar.) i' 3 \" x
1' 6".

,, 4227. A similar sculpture, showing a seated figure of Bud-
dha in a recess in the posture of " dharmachakra-
pravarttana" (From Bihar.) 1/ 2J" x 1/ |".

,, 4239. A similar sculpture, showing a figure of Buddha in a
niche, in the "bhumisparsa" posture. In the
upper part of the sculpture is a figure of Bud-
dha in the posture of ' ' dharmachakrapravarttana. ' '
Ornamental figures on the sides. (From Bihar.)
13" xi' 3¥-

,, 4222. A similar sculpture showing a stupa in relief, above
which are smaller Stupas in niches. (From
Bihar.) 1' 3* x 1' 4".

,, 4223. A similar sculpture showing an erect figureof Buddha
meeting the elephant. Above, inside a niche, is
a small seated figure of Buddha with hands in
the posture of " dharmachakrapravarttana " ;

7i
stupas in relief on the sides. (From Bihar.)
x'af*xi3*'.

No. 4283. A similar sculpture ; a figure of a crowned Buddha
inside a niche, in the posture of " dharmacha-
krapravarttana." In front of the throne is the
well-known symbol of a wheel, with a deer on
each side, representing Buddha's " dharrnacha-
krapravarttana " at Benares. On each side
there is an erect figure of Buddha with hands in
the " varada n and " abhaya M postures, and a
stupa in relief. Also two highly ornamented
pilasters, which support the arch of the niche.
(From Bihar.) it' 6**-i'7j".

,, 4284. The upper part of No. 4283. The lower part of this
piece contains an umbrella which was over the
head of the figure of the crowned Buddha of No.
4283 ; also the arch of the niche of that number.
Above this arch, in a recess, is a figure of Buddha
seated in the " bhumisparia 9* posture, and on
the sides are two other figures of Buddha in
niches, in the posture of " dharmachakrapra-
varttana. " (From Bihar.) 1' 2" x 1' 7".

,, 4285. Probably the upper part of the sculpture numbered
4284. It shows a figure of Buddha in the pos-
ture of * ' dharmachakrapravarttana ' ' with two
figures of mythical animals in relief in the sides.
The upper part contains some ornamental sculp-
ture. (From Bihar.) iof" x l' 5".

Nos. 4301, 4302, 4303. Three fragments, forming highly elabo-
rate niche of small stupa. In lowest recess, the
first sermon of Buddha in Benares ; Buddha seat-
ed in "dharmachakrapravarttana" posture,
S'ariputra and Maudgalyayana standing one on
each side of the Master. Two miniature Buddhas
in upper two niches. (From Bihar.) 4301—

r 4f " x i' 3 ^ ; 4302— i' iff x 1' 6 1" ; 4303- 9i"
x 13"

No. 4255. A similar niche, with Buddha preaching, attended
by the Bodhisattvas, Avalokitesvara and Mai-
treya. (From Bihar.) 1' s¥ * *' &"•

,, 4271. A similar niche with a figure of Buddha in
" bhumisparsa' ' posture; 011 each side a rampant
lion in relief ; above two stupas ; there are two
pilasters in the sides ; the lower part of the right-
hand one is lost. (From Bihar.) 1' 6 J" x i' 6".

,, 4272. The upper part of No. 4271 showing five Buddhas in
niches, with their hands in the posture of
11 dharmachakrapravarttana.'" (From Bihar.)

i2rxi'4r-

,, 4312. A similar niche, with crowned Buddha, holding
alms -bowl. Above, three small Buddhas, one
broken. (From Bihar.) 1/ 4" x ioi".

„ 4340. Five pieces of circular sculptured panels, from the
circular part of a stupa, with figures of Buddhas
sitting in rows, in various postures. (From Bihar.)
2' 2" x 3' 51".

,, 3959. A portion of a door-jamb from the temple of
Baladitya at Nalanda, with an inscription in
twelve lines, recording the restoration of the
temple by Baladitya, an inhabitant of Teladhaka,
in the 1 ith year of the reign of Mahipaladeva.
(From Bihar.) 2' 3|" x 5".

,, 3732. A figure of Buddha seated on a lotus throne support-
ed by two lions, with hands in " bhumisparsa "
posture. The creed is inscribed on the slab, and
there are, besides, two small chaityas. Some
branches in the upper part of the slab represent
the Bodhi tree. (From Bihar.) 2r 7" x 1' 4f ".

,, 3715. A similar sculpture. (From Bihar.) 2' J*x 1/ 3".

,, 4473. A figure of Avalokitesvara, with six hands; the
first right hand holds a rosary and the second

and the third are in the posture of conferring pro-
tection and granting a wish. The left hands
hold a lotus with stalk, a manuscript and a Ka-
mandalu. On the pedestal to the right is a
figure of Tar a, and to the left Hayagriva and
Bhrikuti. The pedestal contains an inscription
recording the name of the donor. Upper part
broken. (From Bargaon, Nalanda.) 3' 3" x i'

No. 3749. Similar to 3732 ; except that it has two small seated
figures of Buddha in place of the Chaityas with
their hands in vydkhydna and dhydnamudrd.
(From Bihar.) 2' 8" x 1/ 7|".

>> 3757- A figure of Buddha, seated on a lotus throne, sup-
ported by two lions. The hands and face of the
figure mutilated. In front is the symbol of a
wheel and two deer, which represent Buddha's
' ' dharmachakrapravarttana ' * at Benares. On the
slab in each side of the figure is a rampant lion
in relief- (From Bihar.) 2' 71" x i' 10*.

,, 3917. A figure of Kuvera, seated in ardhaparyanka
posture on a lotus ; the left hand and slab lost
(From Bihar.) 2' 2%' x 1' 4".

,, 391 1. Another figure of Kuvera, much damaged, a Vidya-
dhara above. (From Bihar.) /xi'3".

5? 3758- A figure of Buddha seated on a lotus in the vajrd-
sana posture, with hands in the bhumisparsa-
mudrd. (From Bihar.) 3'xi' n|".

,> 3759- Similar figure, without head. (From Bihar.) 2' 10"
x 2' IOJ".

,, 3809. An erect figure of Avalokitesvara, much damaged.
(From Bihar.) 3' 11 1" x 2' 3".

No number. A statue of Avalokitesvara; the lower part of
the sculpture with the feet of the figure lost.
The figure has six hands. One of the right hands

holds a rosaty, the second a fruit, and the third
is in the posture of granting a wish. The left
hands hold a lotus, a manuscript, and a kaman-
dalu. Above are two seated figures of Buddha
in " bhumisparsa " and " abhaya" postures,
and the creed inscribed. 3' 4 J" x 1/ 8".

No number. A figure of Btiddha seated in ' ' vajraparyahka % '
posture on a lotus. The right hand of the figure,
which was in the " bhumisparsa" posture, is
lost, with the exception of the palm only. The
head also is lost. 2' 4|" x 2! 2".

, , ,, An erect figure of Avalokitesvara with four hands ;
one of the right hands holds a rosary and the
second is in the posture of granting a wish ; the
left hands hold a lotus and a kamandalu. To
the right is a badly damaged figure of Tar a and
to the left Bhrikuti. 3' 2" x 1/ 4".

J; ,, A figure of Buddha, seated on a lotus throne, with
hands im the "bhumisparsa" posture. The
creed is inscribed on tne slab ; branches above re-
present the Bodhi tree. 2' 1" x 1/ 31".

,, ,? An erect figure of Avalokitesvara, with two hands;
portion of the slab and the head with the lower
part of the right hand lost. To the right Tara
and Sudhanakumara ; their faces broken ; to
the left Bhrikuti ; in front of the pedestal is a
figure of Suchimukha to the right, and Hayagriva
to the left. 2' ioj" x 1' 8|".

BRAHMANIC SCULPTURES.

CABINET 20.

No. 3927. A sculpture of Surya, standing in his single- wheeled
chariot drawn by seven horses. The horses and
the wheels are represented in the lowest part of
the sculpture. Surya is represented with two
hands holding two lotuses ; both hands are broken.
A sword hangs from the belt. In front of Surya
is Aruna seated, represented as driving the
chariot. In his left hand he holds the reins and
in his right hand a stick. To the right of Surya
is an erect male figure holding in his right hand
a pen and in his left hand an inkpot. To the
left, another male figure with a big staff in his
hand. These two figures are probably represen-
tations of two planets. Over them are two female
figures in ' c ftratydlidha' J and i(alidha" postures
represented as shooting arrows; they are prob-
ably representations of sun's rays. The figure of
the sun, as well as the other two male figures, are
represented as wearing boots. (From Bihar.)
2' 3" x 1' 2".

si 3933* A similar but a larger figure of Surya standing on a
full-blown lotus. The horses and the charioteer
are wanting. The two female figures with bows
and arrows are standing, each on one side of the
two male attendants. (From Bihar.) 3' 11" x
i' 10",

,, 3928. Similar sculpture. The female figures shooting
arrows are in the * ' dlidha ■■ ' and ' ' Pratydli-

dha ' ' postures and have been placed in front of
the attending male figures. There are two figures
of Vidyadharas, represented in the upper part of
the slab, carrying garlands. (From Bihar.)
2'4r*i'3r.
No. 5820. A finely carved sculpture representing Surya in his
chariot drawn by seven horses. In front is Aruna
seated and driving the horses. Between
Aruna and Sur}ra is a female figure, probably
of Ushas, or Dawn. The female figures shooting
arrows are placed on the two sides of Aruna ; to
the right of Surya stands a male figure, bearded
and pot-bellied, holding in his hands an inkpot
and a pen. By his side is a female figure with a
chauri in the right hand. To the left of Surya
is a female figure with a chauri in her right hand,
and by her side a male figure with a tapering
crown. The right hand is on the breast of the
figure and the left hand holds a sword. The
sides of the slab are elaborately sculptured with
figures of lions and elephants. The upper part
of the slab shows two Vidyadharas with garlands.
The two female attendants of Surya in this
sculpture, as well as in other similar ones,
are his two wives, Samjnd and Chh-dyd. 2' 4" x

1' ir

>> 3925. Sculpture representing the sun in his single- wheeled
chariot drawn by seven horses. Seven miniature
horses, and a wheel along the base, represent
the car with horses. In front of Surya is Aruna
represented in the act of driving the chariot.
To the right, a bearded male figure and,
at his side, a female with bow and arrow. To
the left a male figure holding something like a
trident, and at his side another female figure
with bow and arrow. The lower portions of the

legs of the figures are covered by the chariot and
not visible.1 (From Bihar.) 2' J" x 1/ 2".

No number. A figure of Surya in his chariot drawn by seven
horses. Aruna is represented as driving the
chariot. Upper part of statue, including left
arm, broken and lost. To the right, a male figure
with a long staff; and to the left, the figure with
pen and ink-pot. The lower parts of legs do not
appear, and Surya carries his sword on his right
side instead of on the left. 2' 8§" x 1/ 4J".

No. 3934. An erect figure of Surya. To the right, the male
figure with pen and inkpot, and, to the left, the
figure with a long staff, probably the planet Mars
(Mangala). (From Bihar.) 3' 3|" x 1' 11.1".
>> 393°- A statue of Surya in his chariot. In front are repre-
sented seven horses, driven by Aruna. To the
right of the figure of Surya the same male figure
as above, and to his right the female figure,
represented as shooting arrows. To the left,
another male figure with a sword (?) in his left
hand, and at his side another female figure, re-
presented as shooting arrows. Portion of the
slab at the back of the statue lost. In the upper
part of the slab are two figures of Vidyadharas
with garlands. (From Bihar.) 2' 8" x i' 7§".
,, 3929. A figure of Surya in his chariot of seven horses,
driven by Aruna. To the right, the male figure

1 It was a common Indian belief, often referred to in the Puranas*
that Surya had no legs and arms. The burning heat emanating from his
body had reduced him to an unsightly lump of flesh. This idea goes back
to the oldest representations of Surya under the symbol of a wheel or a
lotus, with nothing but a human face added to it. The famous image of
Jagannatha in Puri has still preserved to us this ancient type of Surya;
for Jagannatha was originally a local form of the Sun-God, worshipped
along the coast of the Eastern Sea. He was first associated with the cult
of the S'aivas, and only about five centuries ago with the cult of the
Vaishnavas. — T. Bi,0CH.

with pen and inkpot, and, to the left, the male
figure with a big staff, probably the M angola
Graha or Planet Mars. (From Bihar.)

No. 3926. Two pieces of a broken sculpture representing Surya.
The head of the figure and whole of its right
hand are lost. To the right, a bearded figure,
broken in the middle, and at his side a female
figure shooting arrows. To the left another male
figure, with a female figure shooting arrows.
(From Bihar.) 2! 6|" x 1' 51".
,, 3924. A similar sculpture in a state of perfect preservation.
In front, Aruna, driving the horses. At his back
stands Ushas, the goddess of Dawn. To the
right, the same bearded male figure as above, and,
to the left, a male figure with a trident in its left
hand, probably S'anaiscara, the planet Saturn.
Two female figures shooting arrows are placed
near the feet of the male figures. In the upper
part of the slab are two figures of Vidyadharas
with garlands. (From Bihar.) 3' J" x 1/ 4".

,, 4167. A slab containing representations of the Navagrahas
or nine planets. These are Ravi or the sun,
Soma or the moon, Mangala or Mars, Budha
or Mercury, Brihaspati or Jupiter, Sukra or
Venus, Sanaiscara or Saturn, Rahu and
Ketu.1 10" x 27 51".

,, 4168. Another slab showing the nine planets (grahas)
standing inside small temples. A separate shrine
has been assigned to each Graha. i'x2' if".

,, 4169. Another Navagraha slab in three pieces.1 j\" x
1/ 8".

1 Similar slabs are seen over the door of almost every temple in
Northern India. It was a common belief of the Indians that the nine
planets gave stability to any building ; hence the ceremony, called graha-
idntiy or expiation of the planets; which according to Yajfiavalkya and
others was to be performed before a house was built. — T. Bi,och.

No. 3937 and another numberless stone, in centre of cabinet, with
symbolical representations of Surya ; see the
lotus on top of them, one of the old symbols,
by which the sun used to be represented in
ancient India. 3937 — 1' 5" x i' if" ; numberless

— I' 2\" x I'.

CABINET 19.

All the statues of Vishnu, exhibited in this collec-
tion, are more or less alike. He is represented
standing with a crown (mukuta) on his head.
Of his four hands, one is in the attitude of grant-
ing a wish (varada-mudrd) , while the remaining
three hold a club (gada), a wheel (chakra), and a
conch (sankha). In some of the statues, those
symbols are put down and scarcely visible.
Vishnu is attended by his two wives, Laksmi
and Sarasvati, or " fortune" and "learning,"
who, according to the belief of the ancient
Indians, were associated in perfect union with
Vishnu only, but with no ordinary mortal being.
In front kneels Garuda, the mythical bird with a
human head, who really is an older representa-
tion of Vishnu, the sun, while the images of
Vishnu in human shape go back to a compara-
tively late period. In painting, Vishnu's colour
was black, or dark blue (nila), while his garment
was of a bright yellow colour (pitdmbara), similar
to the rays of the sun. See Nos. 3869, 3890, 3879,
3882, 3883, 2592 (an excellent work of the chisel
carved out of a very hard basalt stone ; found
in the village Sarishadaha, Jaynagar Thana,
District 24 Parganas), 3878, 3877, 3875, 3864,
3892, 3887, 3893, 3888. 3869—2' ifxi' 2";

3890-3' r * 1' 7"; 3879-2' ir * i' 2" ; 3882-

2' 6i" x i' 6"; 3883-3' 1" * 1' 4" ; 2592—5' x 2'
7i» ; 3878-2' 8i" x 1' 6|" ; 3877-2' 3f" * *' 3i' !
3875-2' ir x 1'; 3864-2' IOJ" x 1' 4" ; 3892-
3' 4" x 1' 9" ; 3887-4' * 1' 81"; 3893-3' 4i" *
r'9i"; 3888-3' J" xi' 7i"-
In the centre of the cabinet are two slabs, Nos-
3857 and 3858, carved on both sides. On one
side is the usual figure of Surya, and on the other
that of Vishnu. Both Surya and Vishnu, of
course, are divine representations of the sun.

857—1' 7h" * 1' ; 3858—2' x 1' 1".

CABINET 18.

No. 3859. An image of Vishnu, somewhat damaged. To the
right, Iyakshmi with lotus in hand, and to the
left a male figure. Vishnu is holding the usual
emblems in his four hands. (From Bihar.)
2' 8J" * I' 3".
,, 3862. Usual form of Vishnu, with small figure of Garuda to
the right, and a devotee (donor of image) to the
left of the base. (From> Bihar.) 1/ 7" x 11 J".

,, 4180. An image of Vishnu riding on Garuda. (From Bihar.)
1' 7" x i' 7$/'

,,4012. A big statue of Visnu riding on Garuda. To the
right of Vishnu sits a male figure, and to the left
a female figure (Iyaksmi). Two of the hands of
Vishnu rest on their heads. The left upper por-
tion of the sculpture is lost. On the right hand
portion is a figure of Vidyadhara. In front of
the pedestal kneels a devotee, the donor of the
image. (From Bihar.) 4' 7|" x 2' 7".

,, 4149. Sculpture representing the same scene. Vishnu's
feet rest on the hands of Garuda and Garuda* s

83
wings are spread out behind Visnu. (From
Bihar.) 2'3|"x3'7"-
No. 3829. A Linga or Phallus with four faces. (From Bihar.)
2' 1" x 1' 3".

CABINET 17.

No. 4182. A big slab showing the nine planets (Navagraha) and
the ten incarnations (Dasa-avatdra) of Visnu com.
bined. On the left end of the slab is a figure of
Ganesa. Then come the Grahas, and after these
the Avataras. (From Bihar.)1 I2£" x 6' 2$".

,, 4183. A similar slab, only slightly different. The order here
commences from the right end, with the figure
of Ganesa, and each figure is separated from the
other by a pilaster supporting an arch, within
which each statue is standing. (From Bihar.)
io§" x 6' 3".

,, 4181. A slab showing the ten Avataras. Their order com-
mences from the left. (From Bihar.) i'3j"x

4'.

,, 3898. An image of the Varaha Avatara or the boar- incar-
nation of Vishnu. The whole body is like that of
Vishnu, only the head being that of a boar. The
earth, represented as a maiden, sits on the tusks
of the boar. On the pedestal are two Nagis, one
on each side of the figure. The upper part of
their body is human, while the lower p^rt, from

l The ten incarnations of Visnu, in chronological order, are as fol-
lows:— (1) Matsya (fish), (2) Kurma (tortoise), (3) V ar aha [hoax) , (4) Nri-
simha (man-lion), (5) Vdmana (dwarf), (6) ParaSurdma, (7) Rama,
(8) Balardma, (9) Buddha, (io) Kdlkin. The 9th or Buddha- Avatar a is of
comparatively late date, probably not earlier than 800 or 900 A.D. It is
left out from some of the many sculptures of the ten incarnations of Vishnu
which I have seen in Northern India. — T. Bi,och.

the waist downward, is that of a serpent. The
lower parts of the bodies of these two Nagis are
coiled together. They have hoods over their
heads. (From Bihar.) i' n|" x 13".

No. 899. A similar, larger figure of the Varaha Avatara. Two
figures of Vidyadharas in relievo on the upper
part of the slab, and Brahman, represented as a
child, lying on a lotus. (From Bihar.) 3' ij" x

1' 9". "

,, 3901. A fragment of a sculpture representing the Nrisimha
incarnation of Vishnu. Nrisimha is represented
in human shape, with four hands and the face of
a lion. The lower and upper portions of the
sculpture are lost. The whole of the left leg of
the statue and a portion of the right leg of Nri-
simha, as well as the head and the right hand of
Hiranyakasipu, who is represented as being killed
by Vishnu, are lost. To the right of Nrisimha
there is a figure of Laksmi with a chauri in her
right hand and a lotus in her left hand. (From
Bihar.) 2' 7" x 1' 10".

,, 3897. A sculpture representing the Vamana, or dwarf-incar-
nation of Vishnu. The sculpture represents two
different events, following one upon the other.
To the left portion of the slab is the scene of Bali
giving to the Dwarf land measuring three steps,
and his priest's ineffectual attempt to dissuade
him. The main figure is that of the Virata, with
one foot reaching up to the Brahmaloka ; this is
indicated by a small figure of Brahman, sitting on
a lotus, with a goose (hams a) in front. The
other foot of Vishnu is on the earth, and beneath
it are two figures, a male and a female, represent-
ing Bali and his wife, who are sent to the hell
{Pdtdla). To the left of the figure of Vishnu is a
figure of Laksmi with a chauri and a lotus. In

front of the pedestal is a representation of ahorse
tied to a post. (From Bihar.) 2' 11" x if io|".

No. 5621. A sandstone figure of Kalkin,1 the tenth incarnation
of Vishnu, which will come at the end of the iron
age. He is seated on horseback, holding a bowl
in his right hand, followed by dogs, musicians
and other attendants, z' 3§# x II' 5$" ; 3777 —
4' * 2' 3" ; 3776-6r x 7£" ; 3775-i/ 2|" x 8*".

Nos. 3777, 3776 and 3775. Same as preceding No. 5621.

CABINET 16.

Nos. 3856A, 3856B, 3969: Statues of Hari-Hara, a combination
of Vishnu and Siva. The right part of the image
has the emblems of Siva, viz., plaited hair (jatd),
trident (trisula), and bull (nandin), which stands,
or kneels, at the base of the statue. The left
part of the image represents Vishnu, wearing the
crown (mukuta), with two of his four emblems in
his hands, viz. , chakra (wheel), and iankha (conch).
3856A— i' iof'xi' 1"; 3856B— 2' if xi' 2";

3969-5' 2f"x 2' 2f".

In painting, the Siva-part of his combined image
would be white, and the Vishnu-part dark blue.
In Bengal, this combined figure of Vishnu and
Siva now generally goes by the name of yugala-
murtti. All the three statues of this type come
from Bihar, where many images of this kind
are still to be found.

No. 3851. An erect alto-relievo figure of S'iva, with four hands ;
portion of the upper right lost. The lower right

1 Pandit Binode Bihari Bidyabinod has lately explained the
so-called " Kalkin" statues as images of Revanta, which is evidently their
true meaning. It would, indeed, be surprising to find Kalkin represented
as being out hunting, as the main figure in these statues evidently is. —
T. Bu>CH.

hand holds a bowl, and the left hands a Trisula
and a Kamandalu (?). The body is moderately
ornamented. To the right, a female figure, with
four hands, probably Durga, one hand lost; she
holds in the other hands a trisula, a rosary and
a Kamandalu. To the left of this figure is a
representation of the bull, and to the right that of
the lion, the animal (vdhana) of Durga. To the
left of the figure of Siva is a representation of a
goblin, holding a staff. In front of the pedestal
is a male figure with four arms ; he holds a Vajra,
a Trisula, a Kamandalu, while the fourth hand
is in the posture of granting a wish. To the left
is the bull, Nandi. The upper part and the
sides of the slab are carved like No. 3856B,
except the lotus on the top, instead of the usual
Kirttimukha. (From Bihar.) 3' 3" x 1' 8|".

No. 3832. Another figure of Siva, smaller in size than the pre-
ceding one, and differing in the following particu-
lars : the goblin (preta) is to the right instead of
to the left, and the figure of Durga to the left
instead of to the right. In front of the pedestal
is a devotee, and the top has the Kirttimukha.
(From Bihar.) 2' x 1' if".

Nos. 3855, 3838, 3847, 3841, 3850, 3842, 3843, 3844,3839 :
Images of Siva and Durga (Parvati), in amorous
posture. Siva's bull kneels under his right foot,
and Durga's lion likewise is placed under one of
her feet. Siva holds the trident (trisula) in one
of his hands, and Durga is holding a mirror {dar-
pana), or a lotus. Compare with these later sta-
tues of Siva and Durga, the sand-stone 'image
from Kosambi (near Allahabad) , of the Gupta
year 139 = A. D. 458-9. It is instructive to com-
pare the staff and conventional manner of treat-
ment in this older image with the suggestive pos-

ture of the divine couple in the later statues.
3855-2' 2fxi' 2i"; 3838—1' 8f"xi' 31";

3847-1' 3" * io|" ; 3841-2' 4f x 1' 5" ; 3850-

2' 3i" x i' 8"— 3842-3' II? x 2' J" ; 3843-2' 2" x
1' 5i"; 3844-ir nFxi' 2"; 3839-11^x8";
Kosambi image — 2' 3§" x 13I".

In the centre of the cabinet, two statues, Nos#
3848 and 3849. On one side Siva and Durga. ; on
the other side Visnu and Laksmi. 3848 — 1' 4J"
x 11" ; 3849—1' 9" x 1' 2V.

CABINET 15.

Nos. 6270 and 3953. Two images of Durga, with four hands.
One of the right hands holds a rosary and the
other is in the posture of granting a wish. One
of the left hands holds a Kamandalu and the
other a branch of a tree. In the upper part of
the slab is a small figure of Ganesa and a small
Linga. Note the two plantain trees, one on each
side of the figure. To the left of Durga is a figure
of a lion, and to the right another animal, per-
haps a leopard ; on 6270 it is clearly a bull.
(From Bihar.) 6270— 8±" x 6"; 3953—1' 7\" *
nf.

No. 3947. A figure of Vagisvari, with four hands, two of which
are represented as drawing the tongues of two
demons by means of two pincers. Of the remain-
ing two hands, one holds an axe, and the other
an object like a mace. The goddess is sitting on
a cushion, laid upon the back of a lion, in the
" ardhaparyanka " posture. The right leg rests
on a lotus. The body of the goddess is moder-
ately ornamented ; she wears a crown on her head.
In the upper part of the slab are two small figures

of Vidyadharas with garlands. There is an in-
scription on the pedestal of the statue, which says
that this image of Vagisvari Bhattarika was
covered with gold and consecrated at Nalanda, in
the year I, month Asvina, during the reign of
Gopaladeva. Strictly speaking, this is a Buddhist
image, as it was evidently put up and worshipped
inside a Buddhist sanctuary. (From Bihar.)
2' io§" x 1/ 9".

N°« 3943- An image of Durga, killing the buffalo- demon
(Mahishamardim). The hands are in the posture
of throwing a spear. To the right of the figure
is a male attendant holding an umbrella over
the head. Two figures of Vidyadharas with
garlands.1 (From Bihar.) 3' if" x 1' 10".
,, 3954. A figure of Yamuna, standing on a tortoise, attended,
to the right, by a female figure with a chauri, and
to the left by a male figure with an umbrella.
The figure has two hands, in which she holds
a lotus with stalk. The statue was placed on
one of the lower sides of a temple door, where
we generally find an image of Yamuna on one
side, and of Ganga on the other side. (From
Bihar.) 1' 10" x 1' 2" '.

,, 3920. A figure of Ganesa, with six hands, two of which
are lost. Of the two existing right hands, one
holds a rosary and the other a lotus, and of the
two remaining left hands, one holds a pomegra-
nate, and the other an object which has not been
identified. On each side of the figure is an atten-
dant, probably a Gana ; that to the left holds a

r3'

vessel. 1' 5|" + 1' if

l The buffalo is the animal of Yama, the God of death, and this
well-known type of Durga probably symbolises the principle of life
{Durga) destroying death ( Yama), in the shape of a buffalo — T. B.

No. 3922. A figure of Ganesa seated, with four hands, two of
which hold a battle-axe and a lotus. Of the
other two, one holds a fruit, while the other rests
on the right leg. The body is surrounded by a
snake. (From Bihar.) 2.' |" x 1' 8".

,, 3921. A figure of Ganesa dancing, with eight hands, two of
which hold a serpent over the head. One of the
remaining right hands holds a battle-axe, another
a rosary, and the third is in the posture of
6 ' vydkhydna." Of the remaining left hands one
holds a fruit, the second a bell, and the third
rests on the belly. Attended by a male figure on
each side, that to the left holding a vessel. (From
Bihar.) 3' x 1' 8".

,, 5625. Another figure of Ganesa with eight hands; all the
right ones lost. There are two attendants, one
on each side. Two Vidyadharas are seen in the
upper part of the slab. The base shows a rich
floral moulding, with a small portrait of the
donor of the statue to the right, and the sacred
animal of Ganesa, the rat, to the left. (From
Gangarampur, District Dinaj pur, Ban Rajar Gar.)
2' 6J" x 1' \".

,, 3812. An image of Kamadeva, sitting between his two
wives, Rati and Trisha, on a lotus, in the " ardha,
paryahka" posture. The right leg of Kamadeva
rests on the back of a Makara. (From Bihar.)

2'5r*i'5i"-

,, 381 1. A similar but smaller sculpture. (From Bihar.)
1' 3" x ibf*.

CABINET 14.

Nos. 3902, 3903, 3904, 3905: — Four images of Brahman, two
standing, two seated. Three of his four heads

are visible. Among his emblems should be noted
the water-pot (kalasa) ; see my remarks above,
on page — , with reference to the Bodhisattva
Maitreya, the Buddhist adaptation of Brahman.
The hamsa, or goose, the animal of Brahman,
is seen under the right foot of Brahman on 3902
and 3903. On 3904, Brahman is attended by
a Rishi, who stands in the left lower corner of
the image. All the four images come from
Bihar. 3902 — i' 4"xiiJ"; 3903 — i' 4j//xio/";
3904—1' Hi" x 1' i|"; 3905—1' 8" x iif".
No. 3914. A statue ofAgni, riding on a ram (w^sk), with
two hands, one of which holds a rosary and the
other a Kamandalu. Agni is represented as a
corpulent dwarf, with a beard, and flames all
around his body. (From Bihar.) i' 8|" x n|.
„ 3919. A female figure with an elephant mouth and four
hands, representing the female counterpart (sak-
ti) of Ganesa. (From Bihar.) 2' x 1' 3I".

9} 3939- A female figure with four hands, representing the
female counterpart (sakti) of Vishnu. She is rid-
ing on Garuda and holding the same weapons as
those of Vishnu. The figure is mutilated. (From
Bihar.) 1' 31" x iof".

., 3940. Another figure similar to No. 3939. The feet
of the goddess are on the hands of Garuda.
(From Bihar.) i' 10J x 1/ 4J".

>> 3938. A two-armed female figure representing Indrani,
or the female counterpart (sakti) of Indra, sit-
ting in the " ardhaparyahka " posture on a lotus
and holding in the right hand a Vajra or
thunderbolt, and in the left hand a chauri. On
each side, an elephant, with a female riding on

it. (From Bihar.) 27 4" x 1' 4

4 •

3944. A female figure with three eyes and four hands,
three of which hold a trident, a battle-axe and a

lotus ; the remaining hand rests on the left thigh ;
seated in " ardhaparyahka" posture, with the
right leg resting on a bull. The figure represents
the female counterpart (sakti) of Mahadeva.
(From Bihar.) z' 3" x 1' 3|".

No. 3946. A form of Durga, with four hands, two of which
hold a sword and a shield. One is in the pos-
ture of granting a wish, and the second hand
holds the child Karttikeya sitting on her lap.
The goddess is riding on a lion. (From Bihar.)
1' ifxi'f.

,, 3942. A four-handed female figure, probably some form
of Kali. Only one hand, holding a small animal,
is preserved; all the others are mutilated. The
goddess wears a garland of skulls (mundamala)
around her body, and below her seat is a pros-
trate male figure. (From Bihar.) 1/ 10J" x 1/
4i"

,, 3941- Another female figure with four hands, holding in
the left hands a bow and a trident, and in the
right hands a lotus and a skull. She has three
eyes, wears a garland of skulls, and is sitting on
a prostrate male figure. This is probably
another form of the goddess Kali. (From Bihar.)
2' x 1' 3|".

>> 3943- A figure of chamunda, with four hands, the right
hands holding a skull and a sword, and one of
the left hands holding a trident and touching
the face, and the other resting on the left leg.
The goddess wears a garland of skulls, is sitting
on a human body, and is represented as so very
emaciated that her very bones are visible.
Within her stomach is a scorpion. (From
Bihar.) 2' ii" x 1' 3§".

„ 4190. A slab with representation of Siva and the seven
S'aktis. The order commences from the right

in the following order : Siva, Brahmani, Rudra-
ni, Vaishnavi, Karttikeya. Indrani, Varahi and
chamundi. The names of the figures have been
inscribed below them.1 (From Bihar.) i' J"
* 3' 2".
No. 4191. A smaller slab representing the same deities,
but in a reversed order. (From Bihar.) nf " x
2' 4§".
,, 4189. Portion of a slab representing the above figures.
(From Bihar.) 7^" x i' 6|".

,, 3831. Linga with images of Surya, Ganesa, Vishnu, and
Durga. (From Bihar.) i' 5" x 10".

,, 3828. Iyinga with images of Surya, Ganesa, Vishnu, and
Durga. (From Bihar.) 2' 1" x i' 3".

,, 3830. Iyinga with figures of Surya, Ganesa, Karttikeya,
and Durga. (From Bihar.) ir 3!" x iof".

CABINET 13.

No. 4220. A Naga and a Nagi standing together. From
the waist the upper part of their bodies are
human, while the lower parts are those of snakes,
and there are hoods over their heads. The bodies
of the Naga and the Nagi are richly ornamen-
ted ; the Naga holds a very thick garland in his
hands. (From Bihar.) 3' 3" x 1' J".

,, 4148. A similar sculpture, only the Nagi, instead of
being to the left of the Naga as in No. 4220,
stands to the right. (From Bihar.) 3'5"xV

l Similar images of the S'aktis, or the Divine mothers of later Hindu
Mythology, frequently bear ancient inscriptions, giving the name of each
figure, evidently in order to avoid mixing up these curious deities. The
best known instance of this kind are the so-called Chaushat (Chatuh-
shashti) Joginis at Bheraghat, near Jubbulpore, C.P. — T. Bloch.

No. 4216. Sculpture similar to No. 4220. (From Bihar.)
3'ii"*i'3".
,, 3960. A Ndga-rdja, or serpent-king, seated in the " vaj-
raparyanka" posture, with a rosary in the right
hand and a fruit (?) in the left. Seven serpents
form a canopy over the head of the figure with
their hoods. On the pedestal of the figure is
inscribed the name of the donor. (From Bihar.)
3' 3i" * 2' 2"
,, 4144. A slab showing two figures of Nagas in relievo,
one on each side of a human figure, probably
Krishna, who stands under a tree. The sculpture
is much mutilated. (From Bihar.) i' 7J" x 2'3".

,, 3908. A figure of Kubera, sitting in " ardhaparyanka"
posture on a lotus, with two hands, holding a
purse and another uncertain obj ect. (From Bihar.)
1' 9" x 1' 2".

(J 3905. A four-handed male figure, sitting in " ardhapar-
yanka " posture, much mutilated, probably Ku-
bera. (From Bihar.) i' 11" x 1' i£".

,, 3915. A male figure with four hands, perhaps Bhairava,
holding a sword, a trident, a fruit (?) and a skull.
He sits in the " ardhaparyanka " posture and is
represented as a corpulent, ugly-looking demon.
(From Bihar.) 2' 8f" x 1' 8| '.

,, 3916. An unfinished statue of some male deity, with the
crescent in his right hand, and a bowl in his
left. (From Bihar.) 27 io|" x 1' 7%".

,, 3909. An image of Kubera, face mutilated. (From Bihar.)
2' I" x 1' 54"

,, 3912. Another image of Kubera. Part of the nimbus
broken. (From Bihar.) 2' 9" x 1' 2".

j> 3899- A figure with a human body and the head of a
boar, perhaps some peculiar form of the boar in-
carnation (vardhdvatdra) of Vishnu. (From Bihar.)
2' l|" x I' 2".

CABINET 12.

JAINA SCULPTURES.

No. 3702. An erect figure of Chandraprabha, the eighth Jina,
recognisable by the crescent sign on the pedestal.
On each side of the figure is an attendant with a
chauri in hand. Below the feet of the figure is
the crescent symbol, with a tree on each side.
Two small, kneeling devotees on each side of the
crescent symbol. The tiers of the temple, inside
which the Jina stands, are filled with rows of
small Jinas, in the usual fashion of later Jina
statues. (From Gwalior.) Presented by the Inter-
national Exhibition, Calcutta. 3' 4^" x 1' 71".

„ 4218. A male and a female figure with a child on her
lap, seated side by side under a tree, above
which is a figure of the Jina Rishabhanatha, recog-
nisable by his symbol, the bull, sitting in the
posture of meditation, with an umbrella over his
head; one male attendant on each side. On the
pedestal, six human figures, in various postures.
(From Bihar.) 2' 3|" x i' l\"\

No. 6292. A slab with six Jaina figures, one a female.
i'4"xio".

,, 6274. A Jina seated under a canopy formed by three
umbrellas. A modern piece of carving. 1' 6"
x 1' *".

TABLE B -NORTH.

No. 2671. A portion of a stone arch with a Kirttimukha and
floral decorations. (From Bodh Gaya.) 9§" x 2'
41".
,, 2668. A piece of sculpture, probably the upper part of
an arch. (From Bodh Gaya.) i' 4!" x 2' 6".

No. 4536. A chlorite slab, found among the debris around
the Black Pagoda at Konarak, near Puri, in
Orissa. The legend, to which this statue refers,
has not yet been discovered. 2' 6" x i' 5 J".

TABLE C.-NORTH.

No. 3952. A female deity, with a child on her lap. One of
the four hands holds a child, and the remaining
three hold a thunderbolt, a noose and a fruit (?).
The figure is seated in the ' ' ardhaparyanka ' '
posture on a throne supported by two lions.
According to the inscription on the base of the
image, the name of this deity was Mundesvari, a
form of Durga, who had a temple at some dis-
tance from Bhabua, in the Shahabad District of
Bihar. (From Ghosrawan.) 2' 3 J" x 1/ 2§".

Nos. 3955 and 3957. Two female deities, one with three faces
and six hands, dancing on a prostrate figure of
Ganesa. Perhaps some Buddhist deities. (From
Bihar.) 3955— 2,2,/ x i'3i" \ 3957— *' 4i" * io|".

No. 3956. An unfinished image of some female deity of un-
known name. (From Bihar.) 2' f" x i' J".

>> 395°- A female figure with four hands, sitting in the
' 4 vajraparyanka ' ' posture. Canopy formed by
seven hoods of cobras above head. The left
hands hold a manuscript and a vessel, and one
of the right hands holds a rosary and the other is
in the posture of granting a wish. To the right,
a Linga, and to the left a figure of Ganesa in re-
lief. The figure is that of Manasa. In front of
the pedestal is a vessel, out of which two serpents
are coming forth. (From Bihar.) 1' 5" x 10 J".

,, 3951. A female figure seated in the "vajraparyanka"
posture, with two hands, one of which holds a

fruit and the other grasps a child, sitting on her
lap. Canopy formed by hoods of snakes behind
the figure, from which it appears that the sculp-
ture represents Manasa with Astika. (From
Bihar.) i' 8J" x i' 3".

No. 3918. An image of Ganesa, much mutilated. (From
Bihar.) 1' 2f" x 1' \".
»> 3945- A female figure with four hands sitting on a lion.
The hands hold the tail of the lion, a fruit, a
sword and a shield. The figure is probably that
of Jagaddhattri. (From Bihar.) 1' 5" x 1' 1".
<> 3833' Krishna and Radha, inside a niche. Very much
worn off. (From Bihar.) 1' 8£" x 1' |".

Nos. 3843, 3842, 3855, 3852, 3854, 3835, 3845, 3834:--S'iva
and Durga; same as above, page 86 ff. 3843 —
I' 3i" x l' ; 3842-1' 10" x 1' ij" ; 3855— i' 9" x
nf"; 3852-2' ii£" x I' 9r ; 3854-3' 8" xi'

10"; 3835-1' 5i"xn*"; 3845-1' 5" *"t";

3834-1' 5" x 10".
Nos. 3860, 6078, 3885, 3881, 3894, 3896, 3867, 3870, 3865,

3872, 3873, 3871, 3863, 3861, 3866, 3886:—

Statues of Vishnu, of the usual types, described
above, page 82 ff. 3860 — 2' 2" x 1' 3J" ; 5078—

3' 6" x 1' 9*" ; 3885-3' 2" x i' 7r ; 3881-2' 9"
x 1' 4r ; 3894-3' ii" * 1' 74" ; 3896-3' 2" x
i'7i"; 3867-2' x 1' 2j"; 3870-1' 5i"x 10";
3865-1' 10" x 1' 2|" ; 3872-2' 4" x 1' 1" ; 3873
-3'6"xi'7i"; 3871-2' 9" x 1' 5i"; 3863-

2' ioj" x 1' 6" ; 3861— 2' 9" x 1' 8J" ; 3866—2'
9|" x 1' 6r ; 3886-3' x 1' 6i".
No. 3932 *md another without number : — Statues of Surya, of
the usual type ; see above, page 81 ff. 3932 —
2' x 1' 6" ; no number — 3' 4" x 1' 10".

Baptist Mission Press, Ca cutta.

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Full text of "Supplementary catalogue of the archaeological collection of the Indian Museum / by the late Theodore Bloch"

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