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DECEMBER, 1893.]
NOTES ON ANTIQUITIES IN RAMANNADESA.
353
In many samples in this Plate, notably in figs. (1), (5), (7) and (9), it will be observed that the right sole is not exposed : and this in instances where the figures have obviously been built up of brick and plaster.
Figures (2) and (3) represent devotees in an attitude of prayer, and so does fig. (6), giving the back view of a favorite attitude.
Figure (4) is a sample of a " Yöd'aya Playa."
Figure (7) is especially interesting as being that of the Buddha enthroned in the jaws of & gigantic three-headed serpent, figs. (8), (8), (8). Each head has been conventionalized in the manner already described. I possess a fine example from Amarapura in wood of the Buddha seated on a throne, canopied by a seven-headed serpent, but the example in the Plate is, so far as I am yet aware, unique. Plate VII., Plate VIII. fig. 2, Plate IX., Plate IXa, Plate XII., Plate XIII.,
Plate XV. fig. 1. Plate xv. fig. 1 exhibits what is known as the Kyaikp1 Kyaikpʻun, or simply as the Kyaik pʻun, Pagoda near Pega. The remaining plates exhibit glazed bricks found in its neighbourhood, or in Mr. Jackson's Garden in the Zainganaing Quarter of Pego, or presumed to have come from these two spots.
I think an examination of the Kyaikpʻun Pagoda may throw light on the probable origin and date of these peculiar bricks, which I take to be conventional portraits and commemorative of devotees.
Now the Kyaikp'un Pagoda, a huge mass of brick 90 ft. high, shews, I think, the influence of the Cambodian style of architecture. That is, it is a solid square brick tower, on each face of which sits a huge figure of one of the four Buddhas of this dispensation, vis., Kakusandha, Köņagamana, Kassapa, and Götama. Compare this plate with those given in Fergusson's Indian Architecture, fig. 378, p. 680, and I hardly think that there can be much doubt about it. I have also a carious series of coarse chromolithographs by M. Jammes of his visit to Angkor Thom, which confirms this view. The extension of Cambodian, and later of Siamese, power, for a time, as far west as Pegu can, I think, be shewn historically.75 The Siamese influence seems to have been strongest in the latter part of the 13th and early part of the 14th centuries: in the 15th century we find the native Talaing Dynasty firmly established. The Cambodians were overthrown by the Siamese in the 14th century, and their influence was not apparently felt in Ramaññadesa after the 10th century. So that, if the Cambodians had a hand in the design of this tower, it must date back at least to the 10th century, and to its being a well-known structure in Talaing times in the 15th century we have the testimony of the Kalyani Inscriptions, in which it appears as the Mahabuddharûpa near a ferry over the Yoga, or Pegu, River.76
Plate XIII. goes to further shew the influence of Cambodian art in this region. The glazed brick shewn here is from the Zainganaing Quarter of Pegu and the costume of the figures is strongly Cambodian.77
Plates IX. and IXa exhibit two couples of figures of the portrait class, both, I believe, from Zainganaing. They also shew two versions of the inscription described ante, p. 343 f. Plate IX. shews the inscription as described, and Plate IXa shews it in a more cursive form, which is interesting on that account. Apart from the testimony of the inscription the costume
14 See ante, Vol. XXI. p. 883. There is in the Phayre Museum small stone object (broken) with the four Buddhas seated back to back. It was taken from the neighbourhood of the Kyaip'un Pagoda, and may well have been votive model of it. In Buchanan-Hamilton's "Account of the Religion and Literature of the Burmaa" in Ariatic Researches, vi., 265, the Four Buddhas turn up as Chauchasam, Gonagom, Gaspa, and Godama! In Malcolm, Travele, Vol. i. . 284. they are Kaulthan, Gaunagòn, Kathapa and Guddama, and in Siamese, Kakasan, Konagon, Kuap and Kodom. To See Phayro, History of Burma, pp. 63-66: ante, Vol. XXI. p. 877.
** Ante, p. 46. TT But see ante, p. 844 f., a to s possible Siamese origin for these figuros.
