Indian Antiquary Vol 52

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

Page 404

374
THE INDIAN ANTIQUARY
[ DECEMBER, 1923
Cades delineate the scenes in clearly divided panels, engraved on the sculptures of different periods, and while in others they represent more than one event the old practice of engraving Inscriptions in later in one and the same panel, as marking a transitional periods on the same sculpture is well known. Mr. stage of development between the Jataka reliefs Bhattacharya would have accepted the existing on the Sachf stúpa, where there is no division epigraph on O (a) l as evidence of its date, had it at all of separate events on the one hand, and the contained the name of the actual donor of the Gandhorn reliefs on the other, where obviously he sculpture. Now though none of the five steles meant to convey there is no trace of the primitive (Ca 1-5) in the Sarnath Museum boars such an practice, each independent scene being exhibited inscription, it is fortunate that we can remind the in a separate compartment. Mr. Bhattacharya, critic of four steles in exactly the same style, which therefore, "concl.dee that the GandhArs reliefs were found at Sarnath itself by General Cunningham of this kind are copied from the steles of Sarnath in 1838-36 and are now preserved in the Indian and that the Mathurê reliefs represent an inter- Museum, Calcutta. One of these reliefs bears an mediate stage between the Sarnath and Gandhậra inscription in typical Gupta characters and clearly representations." 'In the present advanced state supplies the information insisted on by Mr. Bhattaof our knowledge of the sculptural art of India itcharya; for it states that this image of the Teacher appears scarcely necessary to offer any detailed (gastri) was caused to be made by A cartain comment on such a belated theory. The sole gupta (Cunningham, A.S.R., vol. I, p. 123 and foundation of Mr. Bhattacharya's conclusion is his Pl. XXXIV, 4). It may be hoped that Mr. Bhattabelief that the SArnáth steles are anterior to the charya will now be convinced of his error. early GandhAra sculptures. The following paragraph P. 120, footnote 44.- The author of the Sarndth will show the untenability of this view.
Catalogue is charged with lack of consistenoy, for Pp. 117-119. o(a) 1.-This stele representing the while he correctly identifies the two figures de four main events from the life of the Buddha has picted on the base of B (6) 181 alongside of the in the Sarnath Oatalogue been assigned to the 5th first five disciples as the two donors of that sculpture, century A.D. Mr. Bhattacharya believes the he describes a similar figure in C(a), as having been sculpture to be earlier than the Gandhåra reliefs added for the sake of symmetry. Mr. Bhattacharya of this kind in the Indian Museum, Calcutta. His will, however, note that the possibility of the figure reasons are these :-(1) the latter represent a maturer in the latter sculpture also being a donor is not execution of the subjects portrayed than the denied. Then where does inconsistency come in 1 Sarnáth reliefs, and (2) that the Gandhara sculptures P. 120, 11.14-16.--Mr. Bhattacharya finds yet dolineate, besides the main events, others which another error in my description of O (a) 1 in the are absent in the Sarnath slabs, as for example i Sar:.4th Catalogue, for he says that behind the dying the seven steps of the infant Bodhisattva -by the Buddha there are five figures of mourners, wherese side of the birth soene. As regards Mr. Bhatta by & mistake I make out only four. It Mr. Bhatcharya's first argument, it is sufficient to observe tacharya will read with care the Sarnath Oatalogue, that the closest examination of the reliefs illustrating p. 185, II. 23-27, he will find that I have actually the career of the Buddha at Sarnath fails to reveal described six Aguros (neither four nor five), namely, any difference in artistio treatment between thom four ordinary mourners and two dryads or tree Bud several hundreds of other sculptures in authentic spirits, which are issuing from the foliage of the twin Cupta style, some of whidh bear contemporary adlo trees under which the Buddha attained inscriptions dated in the Gupta era. Nor doos | Parinirudna. the second argument carry any greater weight, for P. 133, L 4.-Por. Sanchi', read. Maski."
une scene of taking the seven steps 18 missing Pp. 141-142, D (a) 14 and 16.These two rail. in all the five steles (Ca 1-5) in the Sarnath Museum,
ing pillars contain the following two inscriptions its place is taken by the First Bath and the other Sihaye adhi Janteyikdye thabho and (Bhajriniye events are as detailed in treatment as then seemed
sahan Jateyikd[ye thabho ddnan) which have been necessary. The absence at Sarnath, as also at
translated (Sarnath Catalogue, pp. 210 and 211) Mathura, of many of the less important events and
as "The pillar (is the gift) of Jariteyika with Siha" Jataka stories that are so abundant in Gandhara and "[This pillar is the gift) of Jatoyika together is, however, an admitted fact and was due to the with Bharini." Mr. Bhattacharys approves of sculptors of the Gangetic regions having chosen and quotes the translation of the second inscription. only the main events for portrayal.
In the first inscription, however, he considers the Mr. Bhattacharya takes the author of the Sarnath rendering given in the Sarnath Oatalogue as incorrect, Catalogue to task for assigning this slab to the and he himself proposes to interpret the words Gupta period without giving any reasons. The Sthaye adhi as the title “Shahan whahi" and to Gupta inscription containing the Buddhist formula suggest that the donor named here was a male ye dharmd eto, out on the back of the soulpture inhabitant of Persia. It appears to me that Mr. proves nothing, because the same formula is found Bhattacharya has fallen into this error on account: