Indian Antiquary Vol 52

Author(s): Richard Carnac Temple, Stephen Meredyth Edwardes, Krishnaswami Aiyangar
Publisher: Swati Publications

Page 402

372
THE INDIAN ANTIQUARY
DECEMBER, 1923
that they are moant to demonstrate the subordina. Bharhut, now preserved in the Indian Museum: tion of the Hindu gods, whose vehicles they are, Calcutta, is fashioned in a different variety of atone to the founder of Buddhism. He himself further and bears no polish. The large balustrado which suggests that these animals are shown in motion surrounds the main stdpa at SANchi is aleo not to signify that the Buddhist doctrine will continue polished like the products of Asokan crafterden. to flourish as long as animals of these species Nor is it correct to say, as Mr. Bhattacharya does, exist on the earth. The real purpose of the that the Asoka railing unearthed in the southern circular member of the capital and the animale chapel of the Main Shrine at Sarnath is inscribed carved on it appears to be to illustrate the Anotatta with short votive records of donors, like the railings lake. (Vide Guide to the Buddhist Ruins at Sarnath, at Bharhut and safchf; for no such records have 3rd edition.)
been noticed on the visible portion of the Sarnath P. 88, para. 2.- In this paragraph Mr. Bhatta- railing. The two inscriptions containing the name charys criticises the view of European archeologists of the Sarvistiv din sect which do exist on this that the Buddha image was created by the Greco. railing merely record the fact of the railing being Buddhist artists after the appearance of the in the possession of the above sect. Mr. BhattaMahayana mct of the Buddhists. He seeks to prove charya Appears to have been lod into this errop that images of the Buddha were made in India by by a supposition that the short inscription contain Indian sculptors several centuries before Christ ing the name of the nun Sarvahikd occurs on the on the evidence of the inscription (DI. 9) of Aboka railing. In reality this inscription is engraved Kumaradevi, queen of Govindachandra of Kansuj, on & stone (No. Da 39 in the Museum at Sârnâth) which states that this lady had an image of the which belonged to an altogether separate railing, of Buddha at Sarnath restored in accordance with the a later date, part of which has survived on way in which it existed in the days of Dharmaboka. the outside wall of the rectangular walled court He adds that unless this queen told a deliberate immediately to the east of the Main Shrine. lie, we must accept the existence of Buddha images P. 90, 13.-For D (9) 4, read D (g) 4. in ancient times, for why were the artists who 1 P. 92, last para.The red stone colossal atatuo produced the fine Asoka capital and the magnificent (No. Ba 1 in the Sarnath Museum) shows a minia. sculptures of Sanchi incapable of making imagesture figure of a lion standing between the feet of the of the Buddha ? Of course Mr. Bhattacharya statue and Dr. Vogel suggested that the figure was himself knows of no Buddha images of an earlier meant to distinguish the statue as one of the Sakya. date than those of GandhArs 88 actually existing simha Gautama before his enlightenment. Mr. anywhere. I agree with Mr. Bhattacharya that Bhattacharya rejecte this view, as he is unable to Kumaradevi had no object in recording a falsehood understand why the symbol of "the Lion of the or deceiving the future generations. It was, how. Sakya race" should have been represented under over, a case of misunderstanding or vague and wrong the feet of the statue. Ho is, therefore, of opinion information. The inscription of Kumaradevi, on that the figure of the lion in question must have whose evidence Mr. Bhattacharya solely relies, is been intended to symbolise something else, that fully fourteen centurios later than the time of Aboka is not known to him. This point seems to need no Kumaradevi was no trained Archaeologist. She further comment, because presumably Mr. Bhattssaw the principal image of the Master at Sarnath, charya's difficulty is due to his reading under which, owing to the ignorance of the prieste in charge instead of between the feet of the statue. or to their desire to impress her with its high anti- P. 103. B (d) 2.-In my Oatalogue of the M quity, was described to be as ancient as the famous Bom of Archaeology of Sarnath, I have, following patron of the Buddhist Church. As a true believer Dr. Vogel, identified this image tentatively as one and pious votary she accepted the information as of the Bodhisattva Maitreya. Mr. Bhattacharya correct and the poet who composed the inscription rejects this view because images of Maitreya, acmentioned it as a fact. In this connection it is cording to his Dhyana, ought to have three eyes, interesting to be able to cite the parallel cases of four arms and the posture of preaching, whereas Hiuen Thsang, who habitually refera monuments this image has only two eyes and two arms and is of a later date to Asoka, or the church on St. Thomas' representod in the gift-bestowing attitude (varaMount at Madras where an inferior copy of mudra). For these reasons and on account of the Renaissance Madonna is pointed out still as the Dhyani-Buddha in the forehead of the Bodhisattva work of St. Thomas with every desire for truth and what he believes to be a lotus stalk in his left and certainty with no intention of guilo.
hand, Mr. Bhattacharya is inclined to identify this Page 89, para. 3.-This paragraph is meant to image with the Bodhisattva Avalokitesvara. contime the description of the Aboka railing at It would have been unnecessary for me to anSarnath from the preceding paragraph. Here we swer Mr. Bhattacharya's objections on this point, are informed that the railing is polished in the same if he had given in his book all the characteristics way as the railings at Saschf and Bharhut. It of Maitreya enumerated in the addhana of this will be observed, howover, that tho railing from deity, as quoted in M. A. Foucher's ftude sur