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THE INDIAN ANTIQUARY.
[APRIL, 1875.
tic evidence on which our knowledge of that period is mainly based,
Taranatha's real name was Kun-enjing; he was born in 1575, and composed his work in 1608. He was a monk of the Jonang school, which after Tsongkapa's reforms was numbered among the heterodox schools, i.e. those opposed to the prevalent sect of the Yellow mitres," though at a later period, after Taranatha's death, it was attached to that sect.
I begin with the last chapter of the book, as perhaps the most generally interesting.
1.-On Buddhist Art. “In former days human masters, who were endower with miraculous power, produced astonishing works of art. It is expressly stated in the Vinaya-agamu and other works that the wall-paintings, &c. of these masters were such as to deceive by their likeness to the actual things depicted. For some centuries after the departure of the Teacher many such masters flourished. After they had ceased to flourish, many masters appeared who were Gods in human form; these erected the eight wonderful chaityas of Magadha, the Maha bodhi, Manjusridundubhisvara, &c., and made many other objects. In the time of king A soka, Yaksha* artisaus erected tho chaityas of the eight great places, the inner enclosure of Vajrasan a, &c. In the time of Nagarjuna also many works were performed by Naga artisans. Thus the works of the Gods, Yakshas, and Nagas for many years deceived men by their reality. When in process of time all this ceased to be, it seemed as if the knowledge of art had vanished from among men. Then for a long course of years appeared many artistic efforts brought to light by the striving of the individual genius, but no fixed school or succession of artists. Later, in the time of king Buddhapaksha, the sculpture and paint- ing of the artist Bimbasîra were specially wonderful and resembled those carly works of the Gods; the number of his followers was exceedingly great, and as he was born in Maga dha the artists of his school were styled Ma-
dhyadesa Artists. In the time of king Sila lived an especially skilful delineator of the gods, born in Marwar, named Sriigadhara; he left behind him paintings and other masterpieces like those produced by the Yakshas. Those who followed his lead were called the Old Westcrn school. In the time of kings Deva pala and Srimant Dharmapala lived in Varendra [Northern Bengal] an especially skilful artist, named Dhiman; his son was Bitpålo; both these produced many works in cast metal, as well as sculptures and paintings which resembled the works of the Nâgas. The father and son gave rise to distinct schools; as the son lived in Bengal, the cast images of gods produced by their followers were called gods of the Eastern style, whatever might be the birthplace of their actual designers. In painting, the followers of the father were called the Eastern school; those of the son, as they were most numerous in Magadha, were called followers of the Madhya desa school of painting. So in Nepal, the earlier schools of art resembled the Old West school, but in the course of time a peculiar Nepalese school formed itself, which in painting and casting resembled rather the Eastcrn schools; the latest artists have no special character. In Kasmir too, there were in former times followers of the Old Western school of Madhyadesa ; later on, a certain Hasu raja founded a new school in painting and sculpture, which is now called the Kasmir school. Wherever Buddhism prevailed, skilful religious artists were found, while wherever the Mlechchas [Mahamadans] ruled, they disappeared; where, again, the Tirthya doctrines (orthodox Hinduism] prevailed, unskilful artists came to the front. Although in Puka m [Burma] and the southern countries the making of images is still going on, no specimens of the works appear to have reached Tibet. In the South three artists have had many followers: Jaya, Paroja y a, and Vijaya."
II.- Pánini. (From Chapter X.) "A companion of king Nanda was the Brabman Pånini, who was born in the west artistic style to the Någas, who were without doubt a parti. cular fraternity in Kaáinir, supposed to be under the special protection of the snake-gods. Works like the temple of Amravati, which shows an obvious Kasmir influence, were probably ascribed to Någa architects; and if the GracoBaktrian school, traces of whose influence are visible in many parts of India, represented the Yaksha art, it remains only to ascertain what works were ascribed to the Devas, and who they were.
# In another place Asoka is described as having subdued India by the aid of an army of Yaksha mercenaries; Vasiliev is inclined to connect the name Yakaha with the Yuei-chei, and suggests that they were Bak. trian Greeks. The author, however, clearly treats the Yakshas as supernatural beings a race of demigods, in the ordinary pense in which the word is used in the Pura. ncs. A good deal may be said for Vassiliev's conjecture, if we bear in mind that T&ranatha also ascribes a special
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