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198
BUDDIIIST INDIA
So much for the carliest forms in which we find the Jātakas. The next evidence in point of date is that of the bas-reliefs on the Bharhut and Sānchi Stūpas- those invaluable records of ancient Indian archæology of which so much use has been made in this volume. Among the carvings on the railings round these stūpas are a number of scenes, each bearing as a title in characters of the third century B.C., the name of a Jātaka; and also other scenes, without a title, but similar in character. Twentyseven of the scenes have been recognised as illustrating passages in the existing Jātaka Book.' Twenty-three are still unidentified, and some of these latter are meant, no doubt, to illustrate Jātaka stories current in the community, but not included in the canonical collection.
Now let the reader compare the bas-relief above (p. 193) with the Jātaka story given above (pp. 190, foll). In the background three deer are being shot at, two are running away, one is looking back in fear, one has fallen. In the foreground, to the left, a deer lies with its head on the block. In the centre fore. ground, the king of the deer, distinguished by his antlers, crouches beside the block, and close by him is a man, presumably the cook. In the centre the king of the deer exhorts the king of the men.
It may be noticed in passing that this strange de. vice of putting several scenes of the same story on one plate is not confined to Indian art. The Greeks did the same, and it was common in Europe at the time of the revival of the arts after the dark ages.
See the list at the end of this chapter.
Shree Sudharmaswami Gyanbhandar-Umara, Surat
www.umaragyanbhandar.com
