SILK ROAD ART AND

ARCHAEOLOGY

r995i 96

Journal of the Institutc of Silk Road Studies. Kamakura

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Contcnts

Exca!aIl(nr\ o1 Kurgans in rhe Southern OrcrbLrrg Disrricr.Rus\rx ar$'.ri rni..,d,iq lrL. \.nh.rr s' I R.L(.

Thc (ornit:c of Diodirlus I .Lncl lli(liotus Il. Gfeek Kirg\ ofBrctrir

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A Rclicf jn thc tsrilish \luscunr: ObLique Rctrc\cnturionof thc Clak|.l Comhincd wiLh rhc Kne€s ot' th. Burldhl and

()n lhc \(r crllcd PLrppharrtta JatakaKn.s.lithobl.Ll

The Spreäd (,f Hurps Lret\lecn tho \ctr lrd Far E.rsr

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Th! Buddhisl Deity Vajräpriri

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Säkyan-runi in Eastern lnclia and Tibctin the 11th to the l3th Centuries

Cl.tutline B,rlrzr Pttt<.,1

A. Presentation

The ateliers of Nillanda promoted in the loth c. a well ktown tvpe ofstelac. lt has the pcculiarlty of including simultaneously the narrotivc and

i_conic modes. As a natter of fact. it illustrates a sct of eight events ofSakyamuni's life. ancl tcnds tltus to tell a story, to be narratile. But simultaneousl,y, tllese events arc depictecl with an extreme econonty of means.

which is relatcd to the clevclopnlent noticcd since the post-Gupta perjod at

Särnath rvhere thc icon gains prio|ity on the cvcntual narrative fcatures re-lrted to it. I shall not discuss herc the transitional phase betNeen Sijrnathancl Nälandä, neithcr shall I rnalysc the structurc of the lndian stonc orbronze imtrges ilJustrating this iconography, refering to studies which alrcadvapproached the question."'

As a matter of fact, thc subiect of this pnper Js the stucly o[ the ico-nography illustratcd by a group of 3 hitherto unpublished tharikas which can

be grosso nodo datcd between thc 1lth and 13th c. and which hrvc been

collectcd in Tibet. A presentzrtion of tlleir style would indeed descnc a

seperrate study.':' Only their iconography will be consiclcred. but in stylc oriconography, they evidently illustrate iln intcrmediary stiigc Lrclween genuine

Inclian inages, in stone or as manuscript illuminations. and latcr paintings.

Tllev introducc various iconographic aspects, some alreacl-v and directlyrelated to the rnrterial from Nälandl, some new. r'hich will be eventuall\ in-beritecl by later thaikas listed in the appendix I. This study proposecl to lol1ow the evolutiol'l of their iconography considerecl as a whole as well ls tounderline evcntually the gcograph!cal surrounding in rvhich the different ictr-

nographic constituents emerged.For a clearer prcsentation of thcir iconography. 'iconographic motiis".

e.g. thc central trircl. the Budclhas of the past \tith Maitreya..., hirvc lrcen

isolatecl antl successively analysecl. Thc last part of thc article rvill combinelhe various observations and attempt to propose an overall scheme for thcdevelopment ol the general iconographic program.

Thahka IThis painting. mcasuring 19.5 X 28 cm. is stronlllv related to manuscrrPt

illuminatious painted in the filst part of the 11th c. ilr Bihar (fig. 1) Ycllorvi

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356 s. R. A. A.. 1V 11995i96

gold-skinrled and clad in a r.ed monastic robe. the Buddha sits, displaying thebhümispuriamudru, accompanied blr two Bodhisattvrs. The lludAhas of thepast followcd bv Maitreya, the future Buddha are painted in tlle upper rcsis-tcr whercas seven TJealing Buddhas are depicted in the lower register. Twoturther small Buddhas are depicted on either sicle of the torvei rvhereas,lrround the main image. Brahmi rnd {most prohabl\.) Säkr.r lndrr emergetrom the cloucls.

Thahka IIAlso in a privare collection. this paintirg mcäsur.es 6l X gl cm (fig. 2).

Stylistic criteria allow a clate in the first half of the l2th c., or perhaps evenslightly ea[lier. The same triad is depicted in the central field. surrouncled bytwo vrrtical rcgisters where six panels depict cvents of Sakyamuni,s life. Be_low the throne. on the left part, Milra is shown agressing the tsuiitlha rvhilehis daughtcrs trv to seduce Hin: the santc characicrs are again represcnteddcfeated in the right part. These two groups are disrrjbutecl on cither sicle olYitnantaka wllo stands below Aparäjitä paintccl on the drapery bcb$, tltcBuddha.

The uppcr resistcr concluder rhc dcpjui,,n ot ilklarnuni., biographyand includes also thc Buddhas ol the past and of the future. Future, rwoTibctan monks sits in the angles. The lowcr register inclucles scenes wlrichprecede tltc enlightenlnent with a further monk.

_. 'Ihrough its iconography. the alreadv ottcn published painting in thcZimmcrnran Family Clollection, conpares to the one undci consicleration(Appcndix I A).

Thahka IIIlhe next painring (59.5 X 69.5 cln.), in the collcction of Heidi and

Ulrich von Schroetler. illustrates a fu.ther step in the development (fig. 3).Some considerations rclated to its stylistic chtracteristics arc intr.ocluced inappenclix lI, which allows. in certain limits, to proposc a rough chronologicalschcme wherc the other paintings of the appendü I are also introduictl.Thc centlal Buddha is accompaniecl by two monks; He sits below anilrchitectural structure including five nichcs with the Tathzrgatas. .Iltc

sideregisters are narrorver but inclutle a larger nunbcr of panelJdcpictirrg evenrsfrom Säkyanuni's biogiaphy not seen previousiy. Thi side

"nil lo*.. r.g,._

ters_include 27 such square panels. The ceDtrrl parr of thc upper panel issimilar to thc one of thanka II although morc detailcd as secn bilorv.. The attack bv Mära as also split around yamilntaka: Usrrsavijaya sits in

tlre_ centrc of the throne pedestal. 't'wo further vertical registcrs are acldedrvith dcpiction of the 16 Arhats tbilowed by DharmatAla.

B^L rzE PrcRoN: SaikyainLrni

B. Iconographic Motifs

357

I The TriadWhile describing thc temple of the Bodhi in the 7th c., the Chinese pil-

grim Hiuan ts ang mentions the prescDcc of images ol Bodhisattvas in pavillions or nichcs at the entrance of thc temple whete the main image shorvcdthe Buddha displaying the bhümispariamudlä.t1i And from the followingperiod, _numerous images of the triad with Maitrcya and Avalokitc(varaaround Sakyamuni, arc known from Bihar and Bcngal and from otltcr areas.r r,

The group occun hcrc in the central pancl of thankas I & ll. As it is de-picted. it illustratcs the .\ridhanas of thc Vajräsana Buddha although it doesnot include dctails such as the vdjrc on the lotus-seat or the "four Märas"(whoever thcse can be).,j l

Avalokiteavara. white skinned and holding thc p.tdmo, stands at theBuddha's proper dgltt sidc, Maitreya in a gokl colour and prescnting thendgakasard and perhaps the kama4dalu at His proper left side. The pair ispreseryed in othcr thankas (Appendix I-A, B, D). but as sccn on thanka lll,two nronks, probably Maudgalyäyana and Säriputra, can replace the Bodhi-sattvas (and Appendix I-C, E. F).

Most of the Indian triads illustrate the .Bodlisattvas, but a set of slabs.norv dispersed, and iniatially part of a votive sttlp(t lrom Bodh Gayä incluclethe monks (fig. 12).,., They donot flank thc Buddha on the scenc of the en-lightenment but arc prese,nt when He tcaches-in a culious, but not isolated,mixture of the cvents of Särnäth and Sriivastl - and when Hc gets the madhuat VaiSäli.

In the second thaika (fig. 7), two monks attend to the Buddha at Snr-näth. Five nlen heard thc first predication but only three are in fact de-picted here silce thc two "morks" in the clouds bear the usn4a, being thusvisualized as Buddha figures. Looking, however, at onc slab lrom fromBodh Gayä (tig. l2b). it is evident that monks had to bc scen at this place.An intercsting feature whiclt this painting offers is the blue and green carna-tion of the attending monks. A sinilar dark bluc/green (?) skinned rnonkaccompanies the Buddha when the later tames Nälagiri (fig. rl). another onekneels at the Buddha's feet when he comes down from thc heaven of theTrayastri$Sas (fig. 5) and one mourns at the bed of thc deceased Buddha(fig. 10). It is evident that painting allows more personification of the va-fious characters than does sculpture. The use of particular colours must re-late to very specific ligures. Among the Buddha's discip,les, Maugdalyäyanahad the colour of thc blue lotus.lir Since hc tbrms with Sariputra a parr. onecan rightly think that the green-skinncd monk is the later. The groupsrvhich are constituted donot evidently illustrate a historical reality: the twodisciples rvcre not present at thc predication of Särnäth and were alreadv dc-

353 S. R. A. A.. IV i1995,961

par-tcd when the Buddha diccl at Ku(inagara. But thc inage can oe reaq al,li{l.renr lev<1.. rl ,(1,,(..nul

onl} rllusrrrrre llrr hii,!r:.nh\ ,,il,,irrruni ,,. i,\\'ts rnetl knr,r\'. -hut

the nresrnce of the monks at S,rnäth teitifies to therernrerpret.trrrn ot irne \pcciric n]olnent Ieading to the elabor:ition of a narrauon \.\ hrcn tends [o becotne lnorc and more ideal. TIre same miqht bc saldirlr,'ul lhe l\re.cr)cL nl Ih< B,rdhi.rttrr. on cithcr .rrlc "i ,f,. n].i" gr,jj';,imagc. thcl were of course not rhere but thcir imagcs ,*r.-inriof l.O ot tfr.cntrance of the Boclhi temple and what is incleecl illirstratecl are threc sculp_turcs which were to be scen rt Bodh Ga],ri. The paintcd (but .1r., .ur""o)triad rvhich should be basicallv understood as rei.lecting t;is realrty. is of:g,lir: "", perccivecl that wav anynore: the Boclhisatrva-; lelong to the dc_plcteo event.'

The namc-s of.the two great disciplcs are ingravcd abovc thc ying fi_9lres.on u N.rlrndt irn.rgc dcpicting thc lirst predicrtion.,,, I wouro norroenll\ rs su(h tbesc grLlJlnd_bearers but thc inscriptjons show the possibilitt,ol reading variouslJ the very sanrc iconographic motils. The labets fracl tocome necessanly after the imrge was completecl; thus. what the arttst almedat, was probably not the two mentiouccj monks but the flying figures whowere conrmonly scen on Buddhist (rr Hindu imrgcs. .fhe

inseriptiils prove.i'n lh( nllr(r rirle. rh< 1,,'ssil,ilitr ol rernrerlrr.tlflpg a p.,r,i.rl,,r'f,,,, ..,n,,n,,nmnrr. llte Ins!|ltions of thc Näiandii image as tvcll as thc monks oll theslabs of the Rodh Ga\A (airyu pK)ye the tcnclencv of stressing in art the inlportance ol thc samgho in the transmission of Budclhisl thirught, a trendwhiclt was going to find its lull expression in Tibet.

The presence lrere of convcrging Buclclhas in the cloucls abovc thc prc_rljcati,'n ur thu'l'rrring,.t Nlligirip&takes of thc same pfr.,ror".,r.n. Lf,"u:r,q) jrf\pLirr. I'ut (l^(rgilt!. in th< Jepicriorr ol th< Srjrr.ti rnir,rcl< trlt..rärne) arc ntulUnllcLl rrnr-ges ,.f SJkl,amuni (ancl wherc thev sit on a throne andqonnt cmctge lr,'rn Ihe .louJ. tig. 0). \\ hen f n\cr!tn!. lh(\ hol.l th(khqkkhera and the alnl's bowl and in rhc SarnJrlt "..n", il,"!-rhn-* ,n. liu,,,"bowidermcnt trs thc nonk in the lo$er ro$. But ther "ri BLrd.lnas: rnevhrrt tlr< rrrrrra. Il,,rr car ur ,rccLJunr t,,r il ir $e Junoi ;;;,;;;r- ,;,, i;;zon(.,o1 thc prnels rher< rhe\ arc secn is traditionnally rf," Jiuin. nn"l,",r-ul Thu rrlt-\ts._onlr Butldhls tnd not human rnonks ciiuid be visualrsed atIllrs uppcr le\cl. Ahore Suktumuni, there canDot be any human figure.

"U.11

r,ll::l:' ,,Ir caLr ,he.

thel arc suL.rordinarect to the central i,nog". u,rne]l smi e] srze I(nunrl\ itA group of three sculpturcs tiorn Teträvän, iilustrating threc clifTerentmoments oI the Buddha s existence.,r! prove that we mr.rsi identiliy theseflying ügr.Lrcs as monks hiclden behincl a üuclclha forn. Thc

".ni.ui ,.ng" i,).,1],:1"11.59 .n).

r\\'o sranLling Butlcthas showing varatla _ and abttq-anudr(l(\\rln ir lrirrt(cl \\mntelr) ol-rhe ruo tigllr(\) \\ltile t$o tl\inq ntunk\ ,,ttrrgarlancjs on either sidc of the ninrbus. Thus. jn the rugron of Nalandä_

tJrLIrL llL RoN: \JlJJLluni 359

Tctr:rvlrir. in thc l0 c.. is tracccl the possibiliry oI idcntif_ving monks in the up-pcr zone of thc image and the painting under consideratioD illustratcs thesame possibilitl. This confusing position betrvccn monks and Buddha fi-gures occurs also in some early thankas $'hele a row of cight Buddhas is srperinlposed to a row of eight nonks., ,

The grouping of the two monks iruunLl SJklrrluni heconres u connonfcature in Tibet where it replaces in latcr times tlle original triad with Bodhi-sattvas. Sincc inscr-iptions itlentify Maugdalyättrna and Stlriputra in ccrtäinpaintinss,r:) ancl since. in art. their rclation with Säkyanuni is alreadv wellrttested at the Päla pcriod. it secms verv likely thar the uninscribed tesrimo-nies also represent the t*o beloved disciplcs of rhe Buddha. Till the 15th c.in Wcstern Tibct, the two triads zrre noticcd.,r thereafter the monks seem tobc eeneralized.

The pair of gr-een and blue nonks u'eadng a yellow robe. apperrs inanother thanka together \\,ith six fufther monks who are all vellow skinnecland dressccl in a red gtrment.rLl The sante nronk. gtcen clrnatroLr arrc ver-lorv drcss, reerppears on a book cover which bclongs to a manuLscript tlated inthc rcgnal )'ear 13 of Madanapala, A.D. 1155 (fig. 1j).,., [n this case, hc iscomplementalv to the group of seven Bucldhas of the past and Maitrcva.And this ntects the obselvation introcluced abovc the confusion bct\.\eenmonks and Bucldhas all monks are potential Buddhas. Maudgalyävanaappears also very probably anong five monks who pa,v rcspect to Manjusrr.rh

2. V.tirocana and TatharlatosThe Budclha sits within zr trefoLl niuhe rurniounte.l bt .r torrer rvhere, on

the first thanka, a tsuddha. probabJl Vrirocrna. srrs jrr /ra./nri^rrra, clisplaying the dfutrmacakrupravttrtanctmudrri (fig. 1.1). In contradistinction with theseven Bucldhrs oI thc upper register (see below) who display the sarne ses,ture. his right shoulder is bare (belorv $ 5 on the dress).

The small Buddha in thc shrine is toppecl by the t ftttno. with its tvpicaltrcfoil shape knou'n fron numeroLLs carved examplc.,., tn thc other thank-as. He is also depicted with the dglrt shoulder barc: in one cxample, hc tlis-plays the bhütnispariamutlrrl (fig. 10), in the othcr cases tltc dlnnnotokrapro,vdrt tantudtLl (lig. 3 & 1a). The painting in the coilcction of Heidi &Ulrich von Schroccler (fig. 3) sustains our identification of this Budclha withVairocana since it inclucles the complete pentacl of Tathägltas aLtove the ccn-tral inrage. Aud although this painting illustrltes thc most comprehensive.but also latcr, stage in the iconographic motil of the .rbove the central image,it seens that it procccds frolt thc previoLLs stages of devclopment whcn onlyone or three Jinas dcpicted. Onc should also not neglect the fact that the twomarn gestures of the Buddha .lre the bhünispar.iamutLra ttnd the dharnqt:ukra-prararla unrudrA which svrnbolize thc moments when Säkyamuni becameBuddha and rvhen He dccicled to spcak the Dharmd and gathered thc first

:l()(l S R. A. A.. 1\/ i1995r!61

meinbers of the.!drgr.r thus the moments wltere tltc tri.ratna emerged..Between the first thrcc paintings (1. Il, AppeDdix I-A) where rlDlv onc

single Talha.qata is dcpictccl and this painting. a group of stone carvings fromSouthcirst Bangladesh finds its place. Though the group oI tltc Paircata-thagatrs is comnronlV met rvith on Bodhisattv:t and 'l'ara imagcs from Biharand Bengal in the llth and 12th c.. these stelae from Banglaclcsh (fig. l5) -

which share much morc than other sculptrLre $itlt the paintings under consideration. as will be sccr in thc course of tltis articlc. clonot integrate. all ofthern this penlad. (fnc image includes only thc Jina displaving the bhünis-pariunLtdrA, onc inclucles three Jinas lvith rcspcctively I6e dlunnacakntpra-vurtdnarnudra. the bhümitparTon /dr.i and the |aradantulrA. two shoN thecomplete set: around the ceDtral cnlightened Jina. otrc rccognizes the Jinasrtith dharnu(ukruprqrafiuvntudnl, vaütldmudrü on our Ieft aüd \,'ithahha,,-antutlrtt antl tll4,irnnudra on our rigllt.',,

'l'llere is no doubt that the five Jinas or Tathtjgaras ar.e here illustratcd$ith AlsoLrllva in the central position and this probabl_v because at BoclhGay.r Säkyarnuni became aksobhyu as Paul Mus demonstrated a ltrng tirneago. )

In later 'libetan painliugs, the five.Tinas are all with right shouldernakecl like on the painting of fig. 3. Since in lndia. Säklarnuni irs a teacheris depicted with both shouldcrs covered (see below $ 5). it is evident tltat anatter'r1pt wirs made to undcrline a cliffetence betwccn the tetching Buddha inthe spirc with thc right shoulder bare. trbovc thc Enlightened C)nc. and thehunran Bucldha teaching. lndian sculptors enhanced in somc cxantple thisclifTcrcnce and the slLprentacv of thc central Vairocana by adorning Him witha crown and various jewels.,ri,

1'he paintilg of fig. 3 introduces besides a sixth .Tina cro\\'lr]g rhearchitecturirl structure: presenting the dharmaukrapruvortunarntLdra, hc isprobabl) Mrhilvairocana. On the very sarnc paintiog. the Tathijgatas aredcpictcd. each of thern. witltin i1 shrinc and above them an cmpty niche hasbccn clravn. -l'his structure remincls of the Iletagi imagc (fig. 15) where twoJinas are superimposcd on thc two sicie small sltrines. But it announces also apainting n'lrere a motif rcminding of the viivavairtt bas been painted abovcthree oI the Jinas (Appendix I-B).

Thc tirlkrrving stage shows sevcn Jinas clisplaying all of thcm the sestur-eof tcaching (Appendix I-C: fig. 16) or different ones (Appcndix I-D).

A fiLrther developDlent of the Tath,rgatas icouography in this positioDillustrates them with thrcc faces ancl six arns, as thc) occur in the lirst zr4,-dala of the Nisputnavogavali e-g.:r A\ such. they tppear above an cight-armed lnd three(four?)-faced Grccn Tirzrr' where Aksobhya is painted inthc nichc of the shrine above the goddcss. surrounded. iD thc upper register.frorn (our) left to (our) right, bv Ratnasambhava (vellow. with jervel in themiddle right hand), Amittibha (red. lotus). Vairocana (rvhite. wheel) and

B^LrzL Pr.RoN: Sak!!muni 36i

Amirghasiddhi (grecn. double vajrd). .lhe central position of Aksobhva re_ntnds that in the sccond aantJala of the same texi. the Tathirgaia hls tbrj?kll thc gre_cn Sparsavajrä. who is horvever rclated ro Anroghr;iddhi likeIDe ureen l 'tr" 't'

3. The Buddhas oJ the past and MaitrelaThe paintincs introduce iit the upper registcr the seven Buddhas ot thc

past lbllo$'ed by Maitreya. Thev all stand, vcllow/gold skinnecl. in I girr_mcnt with both shoulders cover-ed ancl displaying the ihurmacakrnpravarrurn-mutlra. 'fhe lludciha of the future appcars nolnailly as a Bodhisatrva rvtththe right hand in front of the breast showin-q pcr'haps the rit(ükafttudtä.Each of then can stanci below a rree which spreiiis its branches around thethite nimbus as a kind of cnlargetl nimbus rv-hercas the trunk is crecrco Dehincl the Budtlhe

'I'hc samc iconographic notif reappears in the other thüikas under sur_rc1- Whcrcu: in the eurlr group (I, Il. Appendix I A), the tsucldhas are ful_I (]us\e1 rn thc trrer group. rhcir right shoulder is nakcd (lII, Appenclix I-B, D). The same canonical group surmouDts also a Manjusri,.n aicl thc im,ages fron Soutllcast Banglagesh (fig. 17a-b).i], We notice hou,er,er, in theseexilmples. that the Buddhas shorv diiTcrent mu(lrl.e and not cxclusively, as tnthc prescnt case. thc gesture of teaching.

, 'fhc Zimmetmad painting illustrates anotlter departing fron the canonic_

al group secn on fig. 1 & 2. 'l'hus, olc notices re.spectiiely six and tjvc fi_gurcs rvho are lcaning on trces; on each side three Bucldha only arc depicted.nr1 rhir 3rnup ,,, .i\ i\ (,,nlplureJ b) ch:rrd\.lrr\ lrke Burihisi,lr\.j., r.(.\lhlJmunl ts not ltcgrrlcd in thL,glorrp

In.Bihal, we only knorv one stela, from Ghosrav:rir (fig. 1fl) rvhcre thcgroup is clepicted above the biography of Strkyanruni. Furiher example areknown wherc thc Buddhas ancj Maitreva are the thema of thc carving (fig.20).,:r, tos, of them were found in thc area of Borlh Gayä and can be g/oj.to tnodo dated in thc 1lth and l2th c. A hithcrt,r uniclentitied group hasrlso been carved on the drum of a votive c4lt-y4 now in the Inclian- Museum(fig. le).',.,

_ 'Ihc sanc group reappears on the ahcady quoted images from SoutheastBangladesh wherc it undergoes. llowevcr, u ilight .hung"i These are erghtBuddhas who arc depicted. i.e. Mairre,rr is s.en as.r Bui.lha rnd no more as.l Boclhis'lttva.L!, 'fhcy are also depictccl on thanka Ill.

A row of sevcnthe first thanka (fig.the lap aDd presentsgroup reappears oll

1, The Healing Butldhasbluc-skinned Buddhas is depictcd in the lower row of1). Each of then holds a bowl in the lefl hand lying in

the fruit ol the nyrobolan in the right hancl. Thi sinea paiDting depicting the grecn eight-armed TAra: five

362 S.R A {. tV lirqj )ö)

Buddhas occupy the lower row anci two are seen on either side of the God_des.5' head;. their, dark complexion joiried t(, thet mudrA.t i.f' ,"r.".frf", tlr.bhütttispariamudra, explains that ihey uere. in_u re.ent putii.*ion ,rong,yidentified.with Ak5obhya r', They .rccur also below the'Budclha drsplayingthe bhümisparsamLtdld on an()ther tharjka,,,,

". _ _Bhaisajyaguru occurs as one of the four deities occupying te centralfield of a.painting now in the Mus6e Guimet.o,, H. " nLro-ü"'iuirl O.iry onvarious thankas tiom Khara Khoto,. presenting the myrobolan in thc dghthand and holding the bowl full of fruiis in n15 fip.,,, ii-,f*'p"'frfirn"O p"i"arngs trom this group, seven yellow skinned Budähas, Clsptoyinl u,,rious ges_tures arc.painted in thc upper row, who havc been iaentifiea-as his atten-dants. 'I'hus, one notices either tr gloup of seven blue_skinn.ä gu,fahu,. nff

_Ol:f,1yi"g the samc nudra ancl preienting ttre same attritruies-oi o gru.,p n,seven yellow-skinned Buddhas, without iny attribute but |jfro\ving O,tf.r"ntgesturcs. The second group occurs as subordonate to the biire-skinnedBhaisajyaguru who is si;ila;to tt..euJahur;i;h. ri^, ir"ri-_li."ra i, "",bc.thc fruits filling the bowl. Thc rirsr gruup appuars r)n painriDgs which arestylisticaliy closer to Indian probrypes, ln.fuä_g'tfr" on. Liäer s"urvey wrrrctrI think was realised in an Indian atelier whereäs ttre t<lrara fn,ito group,sstylistically much more distant liom Indjan painting.

, The painting under survcy woulcl be, in the actual stage of our know_ledq.e,.rhc errtiest erumpte of ihe relotion'b"twcenl;k;;;il unj,n" ,.u.nMedrcinc BuJdlta.. An illLrminalion nl ii Nepille\c manuscript pre\er!edIt-,CaTbridsej iab.cls a depiction of rhe Bu.ldha u,;;. .;i;;;.",r.", n,berng Arogyaiult Bhousajyt-Bhartdraka_vujrasanah.L't fn"..

"rlri, o, u .',uater of fact, a close relation between the_Biddlru ut eoafCuya aJ cfrui.uiy_ztguru. Foucher, while publishing rhe Camhr id-qe -"n u".r,pi,- * ppo..A tnutthe two epithets refered ro the icures mirrculiuse" q""-i:iJor"-5iui, ..nre.accomplir". The Medicine Buddha shows tt" a."p'üf u"-"ol,"ui'*n,.t tr"_longs also to Aksobhya, and the latter is also the uiJtoriou, gud,il.,u ot goOLcayä per cxcellenria.rir This still unexplor"a t"rution- t .t ulin

'a r<soonyaand Bhaisajyaguru is obvious in Central Ärion pointin!, 1"ii."ril. ,1"" ,fr.material here considered), where, facing Amitabha *hJ..it", on it " w.r,"rnPara-dise, the Hearing Buddha rulcs orer thc Easrcrn paradisc. visudhi-vardürya, a quarter also ruled b1 Aksobhla. , The, .f.ltoÄi'rrn, u""nsrnce a long period included rn the lite of Sakyamuni, U.i...l,ig-il" f_"u...As a result it became the medicinal fruit per ercellentia, ,.le ieul qur sortdigne de" servir [e Bienheureux,,, !"r and atso the nnty on. *t i.tr'.ü" UuOalucould offer as medicine

, A, further element of Bhaisajyaguru.s iconography is the pdtr,a. Muchcould. be said concerning this artribute of SatyuIrluii.'.Ifr.-.ninir"t ä*, o ,i,"traditional attributc of the monk, often seen'togethef iri- rtr."inournor.(sec here tig. 'r) A bowr ftrrr of matrhu is arso ofärcct t.ry ir," ,rrnnt"u ,,, ,n.

B \Lrzr, Pk Ro\: SakyNnruni r6i

B-ucldla at Vai(äl (here fig. 8) and is a coDstant clernent oI the iconograph!of this cvent. Säkyamuni's pa d will be also transmittecl to Mrrrreya, rncFuturc Buddhr.,r, it belongs thus to the paraphernalia of thc Buticlha.

Ima-{es of thc Healins Bucidha Bhaigajva.euru are verv rar.c in the Sub_continent but not ineristent at it was assume(Lby D. Ktirniurg_Saltcr.,,,, InNo-rtheast India. two sculptures can be inclentified as such. The inage foundrt Vikr.rmrlrrrr.r. St,utltetst Banqladesh, can tre datecl in the llth or l2th c.,:rlln hcr rrcntinncLl lrticle, D. Klimburg_salter dcnies this identilication but$ithout anv further convincing clemcnts. Within thc colltcxt where lt wasdrscovered. this image remains indced isolated. lt is a lacr that the cutt otthis Buddha did not pcnetratc cleeplv iD Northcast Inciia anci thus thc tew im_agcs oI Him rvhich arc known from the area are dcprived fronl anv conslstentcontext. -l'his could explain why this Buddha. on this very irnage. cloes notpresent the borvl e.g.-for in Northeast India. tltc borvl is usuallti clepictccl inthe lap of thc Buddha. with hancls in dh,vtinanudtä, as givcn to Hrm bv themonkcv at VaiSali. But the Buddha sllows here thc fruit in thc right hrnrl.which is thc peculiar attibute of Bltaisajvaguru.

. A second. and earlier pcrhaps fron the llth or carlv 9th c._exanrplc isknown to us. which was forrncl lf Nilandä (fig. 21). In those two exanples.tirc object presented bl the Bucldha can never be idcntified with a je\vcl _which rvould cventuallv justify an iclentiijcation with Rarnasambhavit(although thc latter rsually opens thc hand in tltc vuratlamudra without oftering an1, attribute). Thc jewcl, 6e it mani olrdtl14. prescnts a very spectlicfrom u'hich dificres too nuch from the shape of thc tibjcct depicted on thcsetwo sculptures. to be cvel-idcntiticd herc.,,tr

1he presence of the seven Healing Buddhas below the eignr-armedGreen Tara mentioneci above contributes to nakc of this paintine; ..protectrve" thanka. 'l'hc eight imagcs of the soclcless on the siilc regiiters reflectthe protective forms which she assumes in front of thc eighi great tears.AslaIrlahilbhava.

5. The Ei(ht Great Etents

,fhe e1clu. uhieh i. hrrL.,lepicred r.rllie. tullr nirh ecnuirre Indirrn.cul_turcd examples wherc it is also centered on the Budclha at His enlightenmcnt.A cornparison with tllose images shorv that spccific sceltes are aiwils pairecl.i.e. the taming of Nalagiri at Raisir js paireci with the dcscent from tne ocs_cent ot thc.heavcn of the 33 gods at Siiika(ya (fig. a_5). rhe tjrsr prcdicationat Sarnath is paired rvith rhc Sravasri miraclc (fig. fi_7) anil thc gifi of nudhuat Vai(äli is symncrric to rhe birrh in the park of Lurnbini (fig. g_9). Thep..lrintrdnq at KuSinagara tops the rcpresent.rtion (fig. l0). It is*cviclent thatthe (umposition is rulud hl the svmmetr-v of the sccnes: the Bucldha stands$rth rhe rilhr hund strcrched in the first case. he sits and displays the d,4d,._inoutkrupt drartunamudru in the sccond.',,, The strict applicatiori of the rule

s. R. A. A.. IV 119!5/96)

of veJtical symmetry is also a featurc shared \lilh the stonc car\,ings.,*, Some extremcly rarc voti,"e calryar illusrraie "f"ä-

ilr."f,ärr"pny o,Säk1'amuni. although most of thcm onl,v.' include four _"i", "r.rir.,,., .'rhe same cycrus occurs also in niiniature p"i;ri;;i";;*;';;orn eitherbook covers,o., or the tjrst ancl last luiios ol manuscripis.",, -itre.e

orso, tfresvmmetty holds a determining positit,n in rh. groupingioL s..n.r'-.,n ,n" Oitf"_Icnt foliosAil that proves the importance of this cyclus from thc 9th c. and on-wards in lndia, more particularly at Nalandä.

l. The enlightenment. The central.inage illustrates the enlighterrrrenr: as

I:: T,:: tl i & q). rhe imlqes of Aparijita ""a V"^art"r""i,.iow rr, be_rong ro lr: r.r)nogritnh). The Krodha_stancls in the centre of the attack byMirl. Itr the ieti prrt of this resister. the latter stands on fris cnorrr,lt, !ino,rt-ing it rhe Butl.lhi $hile his thiee claughtcrs clance (onc of them holcling abird, a parrot?, on hcr lcft etbow).. tn-rhe ,igr,t p_t) irr" g.j'rjii. o*."r"A,in his traditional nleditative position,,,, comforted bv his daushrers. .l.he

very same daughters, *r,o "." a.pi.r.:.r ,j;,,.;;; l;,;l ,,,,, ollilll ,n. o"odha or bowing to Him with both hands clarpedln *,r 7r1"-tt,[r,))).' ena "tllrclatecl to thc event, Vasudharä and MälL ,g"r"

"ü";;"..r,; ;irher sicle ofthe pedcstal.

. The depiction of the lower rcgister is similar to its represcntation insculptures tuom Southeast Bangtadesh (fig. 11 & zz) "ra

L"i"iJüi., tt" i.age at Jagdi(pur near Nalandi afig. z:).' lr""grl'i" iii, ürlgi.'rti, p"u tllslightl), dammaged, one still ,..ngn,r., thc shapc of the seated defeatedMara in_the lower right corner (fldl.23b) *itf, li, i"rgf,t"., t"."f,ig in t o"tof him. Let us also remember ttut aparalita i, .t.pi.;;J';;;;;og. u.ongthe dancing drugJrrers (fic. 2ic). Beskle, onc ".L*. i, ifr" -r""r. ,p"".r

rr"hind the kneuling Vusu<JharJ, u ferocious male figure stanC;ng, ivtro trotcts asword in the leli hand. He d()es not eviclentlv ireathen theäucldta aUovcbut looks in the direction of M,tra shootlng at the latter and one couru won_der whether he is not a Krodha. A ,..nil ,i,r,ilo. figu." i, aii;ii"o ,n r.rrght corner behind Aparäjirä, hotding a club ""a

g..",i"g1i* e'iäira; courohe be a Krodha also? perhaps yamantaka?The sculptures show two version-s of thc iconographv of the enlighten_nent. Thus. the stelac from Bihar illustrating tfr. -e+ii,Cr""i^'grients

ack_l"*|"dq.". the tonetiness of Sikyamuni at that- mornen? nJ ln.f il" n",rn".the Bodhisattvas or thc monks whri n g onl y th e

"" r i gi, i*."" i,, n ä

",';: T"t:"1':t":":'^:1:::l"llJ5":

"oTli:from votive r/rip.rs at Bodh Gaya. The unfy .rolrlff.:;-tnn*l äu, *n"r.thc Bodhisattvas are included in the cyclus of the Eight Eu.nir,'o.. rn.,__ages ^f rom Southeast Ban-qladesh (fi g. t.S;. r.,

2. The birth. Mäya stands, crossecl legs bclow the tree (fig. 9); her sis_

tcr. darkskinned. stands bebincl her. The future Buddha is depicted thricc:coning out of het side, received by Brahlnä who holds Hirn in a cloth and

rvorshiped b)' the same god again (whereas Inrira/Sakta appcars on theelephant in the upper left corner) after He made his seven steps in the fourdirections which are symbolically represented by red circlcs distibuted in the

shape of a cross. At Jagdi(pur. thcse are sevcD lotuses supcrimposed bclowthe infant which symboiized the conquest of thc world; on thc very sjrme im

BA! rrL PrcRoN: Snkylmuni

agc. He occurs twice ls it is often the case-rj,l

The Zimmcrman paintitg illustrates the qucen

togetiler, a positioll rather rare in lndian sculpture butimage,'j,r. and on thc manuscript illustrations.I'r' AlsoiDgs retain, on the whole. the position of crosscd legs.

365

with legs standingnoticed on the Betagi

thc comparltive palnt-

3. The gi.ft o/ maclhu at Vaiiali. Again, the depiction of the scene fullyagrees with its representation in Indian sculpturcs and ilh.rminations (fig. 8)

Thc red monkcy stands in front of Säkyamuni, offering Him the bowl oftnadhu. Out of happiness. he dances, iD the lower left corner, and trows

hirnself in a $'ell, painted in the front. As a result, he is reborn as a

heavenly figure clepicted in the upper right cornet, carrying tlle sword4. The first predit:atittn Samath. Fivc disciples arc traditionall)' said

to have lrcard this fift seflnon. However, thc artist trünsformed here thistradition (fig. 7). Trvo monks, of a dark carnation, respectively biue and

grccn. sit on cither sjde of the Buddha, the hands clnsped in thc gesture ofrespcct. They listen to Him rvho displays the cLharmacakrapt arattdnamudrA-A third Dlonk sits in the lowcr part. saluting the tsuddha with the left hand.

ln front of hinr. sit a dark-skinncd bearded man. only drcssed with a shortblue loin, who js evidently no monk but displays the samc bewildermcnt.with open cyes and thc right hand directed towards Säk1'amuni. Besides, twoBuddhalike figures are hovcring in the clouds in the upper part of the panel.

Who are they? I would suggest that thcse are the two remaining nonksrvho wcre privilegcd to heard the lirst sermon but sincc they occupy a higb

position in the scenc, a position rvhich is traditionally occupied by heavenly

figures (such as the onc, symmetric to tlle newly rebotn monkcy in the lowcl'panel), the artist ma,v have lelt that tltis was not an approprirtc place ior a

human being and added the ttprya, transforming them in Buddhas Theyshare with the monk of lower row. the same gesture and expresslon ot asto-

nishment. if not of ad[liration.Who is the human figure in the lower right corner? He might he cither

Narabatta (Narada, Nälaka), the ncphew of Asita rvho is sccn in the lowerrigirt coner of the painting, or Yaia (Yasa. Yaioda). tbe first lavman to bc

convcrted.l:" I would rathcr suggest thc first identification since tlle figureaDpears to be zrn ascetic and not the son of n r-ich bankcr' Under the naneo1 Mohäkät1'äno. hc will intensively contribute to the spread of thc new

tought.

s. R. A. A . IV /1995,'96)

... T.he Zjrr.m5rnlan ptinting shows a clearer dcpiction of event since the

l,j-::-til: u,r:,pL"r iu-e ilit grouped around rhe Buddha. But ctoing so, thellrllsr J o$.-d htntsclf nlore sprce in thc lower part of the pancl ancl whereas..n the considcred painting rtig. 7), the whcel and thc decrs occuDy orc thrrd,o_' 'n.."..n1.:.,r.

tt is usurlll rhe case in seulprure. ,-rn rhe Zimmciman painr_ln{. tnts motrt covers rll the lower part. The wheel iS therc proportionnallylarger, which paves the way to latcr dcvelopment of tle tläna wnere rnedeers can cventuallv disappear (D, E. F).

A._further comparison with the Zimmerman paiDting and with the iaterones, illustratcs well how Inclian is the painting il. Inäinn artists tbllowedvanous rules related to the dress of the Buddha although exceptions can ncv_er be ruled out. Two major trends are noticed. In tf,e first iase. wlife Ais_playing a gcsture with the hand only, Säkyamuni has usually the right shoul_dcr .nitked *Th_is.

\ould justitj on the first painting the naked shoutder ofIne nL'alrng Buddhi\s (v adamudra) or of Amlt^yus who offers the vase cont.llnrng thc nefirr uf irnnr,rrralirl whereas the meditating Amitäbha has bothsnourders.co\ered. here eremplified with the main image or with those ln thetower rugrster. tndeed, \\hen the Buddha figure displavs a gesture with bothhands. either thc dhdrmd(akrd|ruvattanamu.tra or the dlryAnomudra, bothsn('utdcrs irre usuül) corered. This rule is particularly appiied to the repre_scntat()n of central images in päla period.r,.r fle .eco,ia thanka (fig. 2)shows the same rules.

In the second case, even though the Buddha displays a mudtu \\rth theright hand only, both shoulders are covered. This is observed with the"sccondary" Buclclha images which are distributed around tlre centrat one.,.,It is thun e\ident that the opposition bare/covcred shoulder has to sustain thenrer üh\ ber\ecn the mrin ancl the lateral depictions within one single im_age. Local departings tiom this rule are also possiblc. Thus, the atelicr ac_tive in the 9th c. at Kurkihar, illustrates the central i.ug" tulfu Or.rr.athough showin-g a gesture with the right hand only.(.,, An;;;e-l.-u,ur" ,",also introduced in order to indicate this hierarchy of the figurei. i.e. pleatescould be incised on the monastic dress of the central imagl. not of the sidelmages (t)

The painting in the Zinmerman collection (Appendix I_A) departs tromgencral Indian rules since the Buddha at Sarnäih ana Sr,,vasti toi tt",iglrtshoulder naked. And only the Buddhas of the past have both shouldcrs co_rerc(l_

. TIe bare right shoulder is also gencralizccl oll all rhe subscquent parnt_rngs .(fig 3 & 16)(C-F) whirtevcr rh. depicred e\cnr ,,nJ- "i*u., ,n.Buddha.

. 5. Mirqcle of Sravastt. If the muitiplication of the Buddha irnages (tig.6) corstirLrtes onc oI the nrrior events in Sakyamuni,s life in India. it is evi_ocnt thrt rt dtd not hold rhis position anymorc in later.times as betrayed by

vanous extmple. In some examples, it seems altogether to halve dts-appeared: various panels can show the euaaha teachi?g, Lrui-it',tn., notsecnr. in the present state of knowicclgc, possibie to idcntifr-;h;n; wrth moref:.]rl:,1.19 E

)'/le,rc ^two superi-pö.seä scc".r, in ir,.-"pf",l'l"t,.nrn..,

are dcplctect. probably Särnhth and Srävastr).

..6. Tlrc descent from the lrcave.n ol rltt -13 gsJt, ur Snil,.1s,ya. Very nor._mally. ,

Säkyant uni is rrccontpanieci bv Ärahmä url S"trnlinar,l *ho hotcis thenmb.ella. the three of thenr sranding at rhe foor of rhe fuaa"i 1tg. -11. rl.tsuddha displays tbe varadamudra and is welcome bv a blue ,kiin.u lnon*ll1: f".:lr u, his feet. This ägure cloes not appear i, ,,on.i.r.,f'pir."" tr*,,comInonlv depictcd in the illuminations of manuscripts.,,!l

,"" ll:.,i:._l^.-',lln q,ri,nltLrq departs from rhc l;dian tradition: ir ocprcrsLr)( Duocnit reichrng tnri hJ\ing ,both_

shoulclers coverccl. Most prob;bly.we are thus remernbered that in this Hetrven, He taught the inoriro to Hi"mother. This is thc sccne which is also iniegrated'on f"L. ifr""i", ffff,Appendix I-B).

BArrzr. Pi.rRoN: Sakyanruni -i7

:..-thc hming ut ',,tnlogoi Acconpanicd by a group of monks. the

3:i*l;:"";i li:_g,llc.1h; wilcr etephant *r,o i,ä.pi.i"ää ,i,"'iol"., "gn,cornor (fig. :t). Trvo fuither monks are .."",, ;,, ;;-i.;"::..;':;:i"" """'

, :, ,].. seeD il-l the uppor part of the pane].

fJ:',::l]1c_^:1,::l:"dican-t b_owl.trnd rh< Ahakktnra. ri'n'..;r'ir,. l.ii.ti,"'"ithe filst predication at Sairnäth (above A_4), they wcar tt e ,srri"o.'Ihe blue monk wearing a yellow garmont holds a particulir position: heis taller thrrn the othe. -^-1.. i.-,r:-,, ^.-'-,-,[t..,,L:L ln:"::l.' monks standinibehincr *re euaäira'a;,f;ö;;;,

",:1.^ T.:l i:ll",j above, in the cover.of:a manuscript, ;;;;;';.;iäffi; ;;jll:.1*l l" i,mong i, group of cight nonks ,,t""airg i" irr"'ä.lijnu un nthanka (above g l).

, ll: The death of the Buddha. The scene crowns the painting as rt usually!T ',":.:r: seutprure {fig t5). Six rnonks ,t,

". ,,""ä "fl'"r?,unO

tl. a._Lsir\cu .11uoonc. m()urnrng l1im. A biue_skinned figure is ilepicted behindthe bed. srretühing his.rrghr lrm in the direction nLif.,. Su,iJ"h,." Dr..r.arlxc J monK! ne \\etrs ho$e\cr rhe us. t1i;d. At the end of the bcd. Lwo goosstand. one bcing Brahmä, the second one probabll, Sakra/Inclra ulro r."n inthe clepiction of rhis evcnt in manuscript ;Iumi";ti;;;.,;,

^'-;""ä2o h,ru.r,above the Buddha.

_. The painting innovatcs in illustrating the cremation of the tsuddha.Thus, Agni stands. red-skirned ancl haloed by flames.r.,r in [on, ot tt"cremation grounds above tvhich novcrs a stalpo; on the other side, a orue_skinned divine ligure holds a shawl with t anai cinss"a in f._, ui-ri. o..ur,.Il: i:'::::. l*il.perhrps herp to recosnizc h".. t;;;;;vui.not u.u,,,\vno appears In tht\ upner resister in the later paintings. lnclecd, on thethirti p:Linting ifig. 1,1). Vujra; t,:o.*, il thc central panel illustratrng rheporrntrvona, at tllc feet of the Buddha. holding the uolru in i;ont ot tt"breast and thc ghdnta in the tefr hand. His ""i"", L äj"L

"t f

"", 'o

....nno

368 s R. A. 4.. ]V 119951t)61

similar figure sits in a separate panel. This malc character holds the same

attributes, but sits on a throne-like construction and is attended by twoBodllisattvas. Althongh his colour is uot dark blue but brown rcd, he seems

also to be another representätion of thc saDle being.Vajfasattva as Suprene Bucldha,l"r rcilppeals on the thairka f-C (fig. 16).

On thanka I-8. thc pair occuls: both hold thc sane attributes in the same

manner but they cionot sit the sane wav and are of dillerent colours (blueand gleen) and on painting I D. three such imzrges are paintcd, aPparently oldiffcrent colours."')

On thc second painting (fig. 10). it is evident that the cremütion of Bud-dh;r is complcmentary to the death sincc it is painled in the same panel. Onanother painting (I-C) (fig. 16), the br.rrning Buddha displa)-s the gesture ofteaching; He sits on a throne in a niche surroundecl bv tlames whereas nonksand deities, including a naga, pay Him their respect. Thc same ,scene is seen

on thanka I-D. ln these various examplcs, only the bust of Sakyamunr rs

visible. On the painting lI (fig. 10), a.tltpd hovcrs abovc the crematron andthis is probably the same monument which is depicted on the third painting(fig. 2.1): no flamc is visible but a .!li?d is paintcd in the drum of which theIace of the Bucidha is seel. l'he first illustratcs the stüpa hovering abovethe deceased and abovc the bumilg Buddha, the scconcl one shows the san]e

monument really put abovc the dead body and replacing thc crenlationground, thus expressing at thc bcst identilication of the Bucldha with tlte jt,ipn. Thc painting l-B illustrates an intclmediary stage: the Butldha displaysthe dhamacdkrapravartunamudrA in the cail-v.r at the basis of rvhich flamesare depicted.,'',

At the light of what precedes, rve shoulti havc anothcr look at the scene

of tcaching depicted in thc uppcr register of the Zimmerman painting. lthas becn variousiy interpretated.l'i) Due to its position. this scene is as lmportant as thc death scene and between thc two scenes, a.tlrp4 hovers. ThcBuddha, whose bust only is visible. sits abovc a pedestal within a large redhalo which completcly surounds Him (comparc to tlte red halos in the leftrcgister. they never comprehend fully the nimbus). A compa son with thevarious scenes of cremation which are observed on the othcr paintings.aliows us to recognize here an illustration of the same iconography.

The Zimmcrman painting includes a fulther interesting feature. r.e. theeight Jtipds which from a row at the upper edgc. Tltel' are veq/ likely themonuments where thc Buddha's relics have bccn hidden at his death as

alrcady sunnised by John Huntington.('o The eight.tltpr,,- conclude also thebiography on a pailting irom Tsaparrngr"', where the illustratjon of the post-deirth scenes is cxtrcmeiy detailed and illlows to bctter understandjng of whatis onll' aimed at on thc paintings in discussion. From lcft to riEltt, we see thecremation of the body, a monument (lower part of the s/i7lt.l as scen from thenext scene) rvhich is half burning. the same monument complcte witll its

llArrJ7E p(r()\: Saktdmuni

ciome being surrounded by monks and clivinc figures who worship it.

-r69

6. The subsidiary Eventsthe Zimnteman painting introduce a lower reglsterSrkv:rmurri . hiocraplrl are d<nicreJ mo:\t ot lhenrHe bccltnc BuJJhc I lip. I I J Ihu\. \\.' rec,,gnt,/c.

1'hc painting lI andwhcre various scencs ofrclated to his life beforctrom right to left:

9. Tlte horoscop. Suddhodana presents his son to Asita.10..The great departure. A monument represents Kapilavastu at thc mo_

ment of the great departure. Returning to thc citv. the .sad Kanthaka, withbowed head. is secn in the foreground, carrving the crown rvhereas abovehim.. rvhich is also background. fl1,ing figurci a; depicted on a prnt cloudrvhich comcs out of the palace. .fhiough their position rnd the'ir gesture,one can suppose thesc are the di!inL heings \\ho hclpeeJ Sakl:Lmuni in thenight of His dcparture.,6N At thtt plrce, ih. Zin,-.rn,.n printing differs:the_city is not represented but rathcr th< tuo rromcnts of tlt(j deplrture, tlretsoclhisattva on his horse is accornprnierl b1 Chlndlk.r rnti is protectecl bythree archers.6't The same chaLacters, rrith r;rious *",,ponr. a.!. shield andsword, are crrved on the images from Southeast Banglrdr:h 1trg.'22;. On thevery same painting. the farewell ol Gautama to Hii groon'a-na His horse,carving the crown! is introduced between the greät departurc antl thchoroscop.

,..... !r.; ,0,,,,"r:,,:c, Ir is dcpictcd dght in rhe cenrrc of the lower register,

lust hEl,'w Yrmantrka. l'hc [esture is not without rerninding the one shownby MairjuSri holding the same attributc. i.e. the sword witn uihicl the tsodhi-sattva cuts }is hair. Trvo gods, BrahmA ancl Sakra sit on either sicle, rcaclytn rceei\e the h.Lir.' .'fuo .clryas are painted in thc upper part of rnls scencuhcreilr one i. 1'1;nt.,1 in Ih< Zinrmurmrrr naiDtine.'l jtt cenrr;rl posirion,'l rhis..cn( might e,,ntrihute In lndicille tts rntporl_ance in the biography. It is also noticed on tllc third thairka even thäughmor-e cvents havc been there introduced (belorv $ 7). Tlris monlcnt marksthe translbrmation ol the prince in an ascetic. He siill rvears the skirt ancl ashawl across thc breast but the shapc of His 7a1a htrs alreacly the shrpe ot thell.!atrd.(rr) And although He ltas not yet reached tbe supreme enlightcnmentjn the nexr scene. He rppclr\ there_as a Buddha, whi;h rightlv 'uncterlinesIn( .(.nlIirl no\tll,,n ol the r,'n.u1C, in 5allrntuni s hio{ri,nhr.

12..The ilift of Jood. Süäta kneels in tlrnr of ihe'future Buddha. Acorv and hcr calf are depicted abovc (behind) her. tn the tbreground. anenigmatic scele is depictcd. A ligure kneeis towrrds the ..nii.. l,rtaingperhaps a piecc of cloth in front of rvhat coukl be a poncl or a river. Couklit.be Säkyamuni washing his robc or rcceiving the rag of n,rdha, ih" ,"ruantof Suiiltä?'lr But what is the red star_shapccl form in'the midOte of tne ntuesurfacc? ancl what is the profilerl red_dreised half figure on the lcJt sile of

-17{l :i R. ^.,\..

l\. t{){l-ir96l

this bluc form?As one sees. thc sccnc with Suiilttl is septl-ated from k)nsure Lty tnother

onc on the Zimmcrman painting and the sccnc in the foreground isaltogether ignorcd.

.13. Thc meLlitLtting llwld.ha with u la\, person. One malc figrLre stanclson Sak)-amuni's proper right. paling respcct to rhe laler with the left hand.Thc sccne replaces thc dcpiction of thc future Buddha beins agrcsscd bvlilltrgers rvho fills His cars with dust ts seen on tltc Ziminerman painting.In both clepictions. the (future) Buclclha meclitates.

11. Mtrt:ilinda proteds tlle Butldln wln tLisplay-s the gestwe 01 teo.hi g.The scenc occurs also on tlte Zimmelolan painting.

Thcsc scenes doDot bclong to tlte trrditionnal stock of Buddltist imrsin-ery in Easter lndia. On the contrarv, they are depictcd io l2th and l3th c.monumcnts of Pagan whcrc thev are thc object oI numcrous stelae. lD scnlp-turcs from SolLtltcast Bangladesh. thc) are likewisc integr.rted within a largericonography proerarn identical 1o the one which is hcre painted. Looking atthem. one notices also that tltc scenes belonging to the period preceeding thcenlightcnmcnt are tbe sanc ancl are all distributed in the same sequel in theloNer register.'', Onll dctails can diilcr. c.g. the scenc of the horcrsuop canbe cnlargeci b) the dcpiction of coultistns, the horse Kanthaka can bc cle-pictccl twice: at thc great departurc and $hen Säklamuni bids farcrvell tohim ancl His gtoom. These t\\'o sccnes are also followed by thc tonsurewhere thc future Budclha is surrounded b_v Brahm:r and Strkra. The tsudclhaprotected by Mucilinda lllcditates rvhereas on the paintings. He teachcs.This moment like tltat aeeression of the Bodhisattva by pcople throwiDg dustinto His ears are not ncccssarily integratcd in the lowct register: on thc Be-tagi inrage.,'r, thcv are ciistributed in the side registcrs. On the inage in theDhaka Buddhist monastelv.Ll! thcy are ciistributed sicle by sidc above thegroLLp of thc Iower register. surrounded bv dcpictions of Jambhala and of atemale gocldess. also seen on the lndian N{useum sculpturc..', who b\ hcrwa)r of standing and hcr tttribute. the pot. could be Vasuclharh. Holvcvcr.duc to her proxinitv with the scenes prcceeding the enlightenment. it michtalso be possible that she is Suiata. A confusion of both charactcrs can alsonot be excludcd.

It is thus eviclent lhat thc painting illustratecl here lig. 2 ancl the one rnthe Zimmerman collcction. belong to thc same iconographic tradition. Afurther comparativc clement. in this rcspect. is the rcndcring of the attack bVNllra. l'his tradition is also exenplificcl by Lrook-covcrs where not onlv thecight traditional grcat events are illustrated bul alsc secondary oncs whichare those noticccl here.'',,

7, Further derclopme t oJ SAk!.tmuni's biographyThc third painting under survel (1ig. 3) cleparts lrom the two prevrous

Ba!rzr, Pr( RoN: Saklamnni 371

ones aDd introduccs the more typical Tibetan narrative way. The biography isdistributed in a scries of square. or rectangular, panels which tbrm like aliame to thc painting. It starts in thc upper right corner and conclucles logi-cally in the upper part \\ith the painirvatn. 'I'he stylistic treatment is ex-tremelv simplified. compared to the previous paintings, the line is harder. thcforms are not rouDd but rather:ingular. an evolutiorr already perceptiblc inthe Zimlrrerman painting. Although the numbcr of scenes is much l.rrger.those which werc seen in the lower register occupy still the same placc withthe lon.urc u'u;rll1 in the rniL.ldl<.

Since the outer frane strictly dcpicts Sakyamuni's biography, the par-ticular distribution of thc six great events distributed in the side regislcr\ r\seen above. has disappcared. Thus. we recognizc from the upper right cornergoing downwardsr 1. The Bodhisattva in Tugita heaven. 2. He givcs Maitreyathe beiewelled crown. 3. The Bodhisattva assuming the form of an clephant.4. Thc birth. -5. The prediction by Asita. 6. Szrkyamuni learns rvriting. 7. De-vadatta kills an elephant who comes to fetch the Bodhisattva by throwinghim in the gate of thc city; Nanda appears and pulls, holding the tail, theanimal out of the gatc (finally the .Bodhisattva himself throws away thc corp-se). 8. Thc competition of swimmiDg. 9. The contest in shooting. /0. TheIour mectings: four figures stand in thc four cornen outsidc the palace. 1/.Thc same is garded lor prevcnting the Bodhisattva to abandon it. ,12. Thcgrcat depzrrture. 1-3. Sikyarnuni bids farewell to Kalthaka and Chandaka. 11.The tonsure (with the cai.tya). 15. Villagers stuff dust in tlte mcclitatingSäkyanuni's cars. /6. Sujätä offers the future Buddha His last meal beforethe enlightcnment. a large pot is sccn behind her. 17. Svastika offen thegrass. -18. The teaching Buddha sits below Mucilinda who stands also in frontof Him. (Taking into cousidcration the biographical events on tlte othcrpaintings, it is possible that the standing naga is Kalika.) /9. 'the nerchantsTrapusa and Bhallika offer the Buddha His first meal alter thc enlighten-ment.20. Thc first predication at Särnäth (no deer is depictcd but twowheels). 21. The Buddha holds a bowl in His left hand and is surrounded byIour figures who are probably thc four gods of the directions_who offeredHim four mendicant bowls which melted in one single.22. The Sravasll mira-cle. 2-1. The Buddha teachcs, surrounded by monks. 24. The Vai6äli miraclc.25. l'he taning of Näl,rgiri. 26. The Strnkä(ya miracle: the Buddha is de-picted as if climbing the ladder and not as is coming down tiom the heavenof thc Trayamstrim(as. 27. The Bucidha teaches (two whccls like in 20) tothe gods in the same heaven. -28. The parinirväna with monks ancl gods sur-rouding the Buddha (for further remarks. see $ 5, A 8). On the whole. thcsequence is thus very intcresting since it seems to conclude the biography bythe retunr to hcavcn. The teaching scene in the upper lelt corncr is sym-metic indeed to the representation of thc future Buddha stil in Tusita. Butin an cvident aim at relating the tcaching Buddha in the upper left corner

-17: S. R. A A IV Ll995,tl6

with the depiction in thc upper ri-qhr cor.ner. the artists pertubatcd tlle chro-nological scquence ol thc events, making of the visit to the Trayanstrim(ztsand the predicatiou which took place thcrc. the lilst event of the biograph!,before thc decease.

A sumnlary contparison u'ith latcr paintings shows that the narr tioll tL_nrrrns g,"o.rl., nrodo the samc. Slieht vlriations are noticed in thc conpusi_tion or- flLrthcr scenes arc intl-oduccd. We shall here onlv luention s(Dnc ex_.rtnl)le-

ln painting 1 ß. the conception is reprcsented as usuall] kno*n. i.c. q,iththe reclinin-q Mayä anci the l1vinu elephant.

Ptlitlting I-( (fig. 16) introduccs rhe first meditation. l1 stresses thcteaching oI thc Bucldha since on thc left side, nine scencs illustrarc this func-tion (and bcsicie, all thc scven Buclclha fi,qurcs of the shrine above the ccntralimrse). Thc sanle paintins shows the tlLLddha receiving the bcjervelled cak-ra fron rhc hand of a Bodhisattva.., it shorvs perhaps also thc visil ot Slkrato the Buddha.

Painting l-D introduccs scencs which remain for tltc nromenrunidcntified.i' The nlecting with Kalika is sccn in the lorver left corner. thefour Regents offering thc mendicant bowl arc also paintecl.

Pdinti.ng I-E oflers a much nore detailcd vesion of the biographv. rvhichreminds of a painling fron Tsapdrans.r' Both paintings are pcrhaps content-porary. sharing not only the siime iconographical program but also the use oIidentical motils (cornpare e.g. the hair cut of tltc artendins mollks) althoughthev cviclently rcssort to dillcrent st)listic tr-ends.

Paintitg I-F includcs the reprcsentatioD of the liehr agaiDst the nag.r .rrUluvilr'ä. Bcsicles, hundred, jatatas are distributed around thc ceotral partrvhere is dcpicted thc iife of Sakvamunr.

8. YamantakaRight in thc centre of Mzrra's attack, is dcpicted a blue character. show_

ing a frightful face. He appears herc on thankas It and III. as wcll as on thecomparativc paintings A, B & C. -Ihe Krodhii yamäntaka stands abovc apeclestal or a ntountain below or within which a monstruous open mouth isdepicted \\'ith two circular eycs (fig. 26). The Mafijulimükrkalpri dcscribesthe god as slanclins on thc mountain.'',) lt is obvious that the funcrion ofYamantaka is to destroy this face rvhich he stabs \l'ith llis sword hcl.t by thctwo front hands. Yanijrtaka or Yamäri destroys Yama, god of thc Death, aname which ciesignatcs also tlte cternal encmv ol thc Buddha. i.e. Mira.A verv large inage of the god is still visiblc at Uodh Gava and it is requrrecrio relatc the prescnce of this sculpturc in this sitc to rhe evcnt which tookplacc therein (fig. 27).,,,, It is this vcry particular psvchic context which justifics the prescnce of thc Krodha L.rciou' Säkyamuni ruling over thc Evil anclattaining thc Bodhi. After Ihe M a i juirinüld kalpa rvhich calls yamantakd

lla! rrr Pr( RoN: Srk!!nruni t7l

the dest()yer of, all obstacles ,r,r and illtroduces Him in thc lower part ofpaintines below Srikvantuni, it is thc Kriraal.l/lr ärikalpa which preservcs thetrace of this link ancl recalls thal the BrLddh.r e\okell \aminrriJ rr rne rwr_light in order to destroy Mara and Yama.'..r

Yanlantaka, black or blue. stilnds on I red background. His right frceis white. his left onc is red. He has six hands holdins attributcs which are.difficult to recognize. Horvcver. ir is clelrL) rhe *riuid qtieh he stabs intothe open moLLth of the moDster whcreas the four othcr hands might illustratevarious theatening gesturcs. Hc rlso *u.rrs a tigrr skin

"r,.un.l the hips.-l he god on the Zimmcrman painting (Appendix I-A) stands iD a circle of

flames. and on the third painting considered ltcre. the cc]ge of the recl aurao(Jr\ rhull t,'lJ lrnes inJi\'irltng tlJnt(:.

Yam,lnt.rka is clirectll'rclated to Mairju<n since hc is a lerocious errrana_tion ol thc Bodhisattva. His relation with Sakyrnuni is closely interncngreqwith thc respective positions of Marljuiri anci the Budclha. The problen isvery complex. but rle can sunrrrrize Jt in rrrrng rhat the doclhisattvaassumes the toaching function of Sakyamuni whcn the latter reaches the cn_liehtenntent; the Bodhisattva is the spoken rvorcl, he is the lisht cmersing uurof the Bucldha and reminds thar at Bodh Gavä alreadv. the u,hccl of Dhirnrais alreadv potentiallv moved when Siikvan1uni becotnes Buddlta.,",

Yrmäntaka belonas, like Nlanju(n, to tlte kuld of Aksobhva and as paulMus dcmonstrated, the Bucldha ot Bndh G.r\t is ttks,,hh,,a. tscins belorvthc Buddha, the Krodha is also in front of Him at the East and assumes thusalso his function of protcctor ctl the mantJaltt. Thc Krodlta as an cmrnation.as protector and as dcstrover, is knotvn since thc 1(hh c. He appears rn arouncl ntedallion otr stone scuiptur€s frum Nillndj lil< the onc ieprocluceclhcre fig. 28 which rcpresents perhaps the transfolnation of Amitäbha intoManjuSri or Dharrna(aikhasamädhi ManjuSri.e"

The represcntatiolt of the Krobha oD the thankas is dircctlv rclatecl tothe iiirge stela showilg hirn at Bodh Gava. 'l'he size of this sculprure sug_gests lts r]lpo ance although we shall nevcr know its oriqinal Dosition in thccomplex of thc Bodhi teinple. Bur I uould sugcust rhatlhc larnfings donotonly illustrate the I'ictory of the lluddha on Miira/yama. but that tnev arsotcproducc the particular situation of this ver)r sculpturc rvith thc imrgi w,rr-shipped in the Boclhi remplc.

ln later timcs (Appcndix D to F e.g.). the Krodha disappears from suchpaintings but gains its independance sinee hc Ls the ot,jict of nurnerousthankas,-

9. AparAJkiA draperv falls bclow the lotus on which

second thaDka, it is adorned L-ry a reprcsentatiouGanapati (fig. 26). The samc goddess appears inZimnerrnan painting (Appcndix t-A).

slILts the Buddha. On thef Aparajitä trampling ona round nedallion on the

-r71 s R. A. A.. rv i1995/961

.._. This feminine eafih deity rras often depiuted on inJepcnLlanr stelac atNälanda and in its region and as such, upp.".s on ,fr. f.l!ri.,f .f ,f," fnrg.Ja-qdi(pur .image (fig. 27b). -lhe satthaii.s."lt h.r. Ai,;;i; aird ctescribcher trarnpling on Ganapati.('o

. Bodh Gayä stands in thc tradition startcd in the Gupta period when thegoddcss was seen alone without Vasuclhrrä, ttre sec,rni ea.ii'r1riri,. O" "6th c. pedestrr,ßr' shc arises out ot the ground. trre lcft hand strctchcd back_war{s a1d whistling with the right handit ttre Iips. f.rom itr. Stlr*

". "nO nn-\\'-zuds. Aparajita shows a dilltrent attitutle, wherc shc turns towards her leitside with thc left hand at her shoulcler (or her breast) on.f-tlr. rignt ur,rl tuthe side of the head.

The oldest indcpenclant represcntation of this deity in Bihar. conlc tromNalandai and can bq dared jn ihe cartv sth c. As ar d ol; Ä;;rajrtä tram_plcs a malc figure. symbol of the ,,wiiked fr.ingr,, *ti.f, ,lr.'ll,r"tu, autv todt.trov. Bur .he i\ lurnerl\ louard\ the lcir rrnO f, *.'(]rnp""1.O f.i' r|1attend.rnt who carries the umbrellu,, rnd represcnts lr,,frrrri än.f tfra otfra,bad and fierce deitics" which the,text bestoivs n, "tt"n,lint-"t ".u.rers

uponthe goddess.o') Thc leti hand is drawn back to the breasi'whereis ttre rigltonc is held out towards the backtext menrion rhese positions

"" ä' ;::,i:::l': # ;))l,l' :;r'::,::X,t ä,, "il;g.t:httapa!atdrjan ikahrdayastl.titavamabiuj a."', Btrt on

"odi". i_ufir, n.,rn".the noose nor thcatening gesture are iilustratecl ,in". th. Go;;;r", holcls her

F^il llr:l:,uith rhe ierd:perhaps a remindcr or n". t.Iur,. o.igin and ofnet-e\cnturt tr<s qtth l<rtility. lt is also likely tllat is the gesture oiscrved atrnc ljuprl .pcrrod. Le. the fingers touching the lips, wliich has now beentrunsturrncd $irh. the hrnd harJng slippccl dc,wnwartjs. But if ;h; tcxts rndi_c Le rne tnreatenrng gcsttrrc, thc craftsmen have done it in their owr) rvav! rc_\(lli|lc the (irrlhl] nalure ul lhc goLldü..

.Aprr;lirar trrmples llso u human figure on a gtll c. image of the Budtlhaattaining thc eniightenment stilr to be seen at Ghosräviin, a site rocated tothe east of.Nalandi (Iig. 30).". But on all_other kno*n "*a_pler, stnringahoridy with the llth c. stela i1)m paeh.rr Hills, nor,f., "i Cufil.", upto tfr"J.agdiSpur image. it is a figure rrith elephrnr fr.".t *t-lJ ih" gnoO"rl,destrovs-("'

. Tiris character must evidentiy be rclated to the Ganapati meltionec] inthe rexts: ganapdtisdmakrunta. The sd(lhana t as utso not to'rgnti"n'ilr. initiufposrhon of Aparäjitä, which is to attack Mara and his army-since she has tod(str) compl<rely rhc hatl hein-qs,,, (ßesamaranirdalutu.,.' ln-iti, .unn.._ron. we snoulLl atso mentjon that the- -fierce

six_armed goddess describecl bysa"dhana 192,L qt destroys the Grahas. Howcver, on tt . .nfy i". -r'"in ,rnug",of the goddess known to us. datable in the t2ih .. nnO ,.j"i"J,,,'in. guo}l

-Gayä,stylistic idiom (fig.29).ru,;, t. still the eieph:rnt_he"C.i

'g"ä *1. i,trampled do\ln.

B \urzE PrcRoN: Sakvamuni 175

It is in thc region ol Nhlandn, in the course of the 8th c.. that theclephant-headed tigure is substituted to the human character. Aparäiitä tram-ples the "Lord of the Galas", beings which are, in the Saiva context. relatedto the ground, to the mountain. She is herself a telluric deity as wc alreadymentioned it. As Marie-Th6rdse dc Mallmann also explained it. the maledcm,-rnirrc chlracl<r ult,r herrs the.rme nilmc. con.lilule5 I douhlet ol iirland is the chief of the Mahäbhütas trampled by Bhütadanrara.('1 The lotuson rvhich stands AparäjitA can also be sustained by the king of the elephants.It is a rathcr complex network of relations between Bucldhist and Saivapantheons which is introduced by this goddess-a tltema which goes beyondthe aim of the present study. Tlte introduction of Ganapati undcr Aparäiitacould also be relatcd to the telluric svmbolism reflccted by tlte clephant eventhough otl]er basic ideas crept into the god's personnality during the pcriodsince Gane<a symbolizes thc obstacle or vighna and is also callcdVinäyaka.r!ü, It is this aspect which will be tramplcci by the KrodhaVighnaDtaka. rßr

During the Pala peried, Gane(a forms with the Navagraltas a singlegroup often reproduccd.i") They are norshipped in order to erirdicrte an\,obstacle from the daily life; their presence or their evocation below Apartr-jitri, the "Invinciblc", pertakes of a phenomenon which was then well spread,i.e. the transposition of certain Hindu deities in the Buddhist pantheon whiletheir signification is reversed or while, as it is the case rvith Gane(a, their ori-ginal mcaning is rediscovcred. From their contemporary position in theHindu pantheon as climinators oI obstrcles, Calesl rnrl tÄe Grahas zLre re-duced to penonily these obstaclcs. As a result, they will be trampled bystlonger than them. Already during the post-Gupta pedod, Ganeia calledVinayaka, was compared to Miira, since he creates fear, a maior obstaclc tothe meditation.l,,o

10. Aqpt$aviiaraThis goddess sits in padmAsan.t in a niche bcb$' the Brddha of thanka

III (fig. 31). She appeared in thc last wave of iconographic novelties beloreBuddhism rvas erzrdicated from its native land. Images of Usnisavijali rrerare in India.','r As she is depicted here, the "Victory of the aJrrJa" tallieswith the description given in sddhanas,,u"t even though she is there said to bewhitc q,hile here shc has a light brown colour.,o!, Her ferocious left face isdark blue whereas the right one is gold and peaccful. Eight-arrncd, Usnisavijaya holds in thc right hands the vifvavajra iu front of the brcast. tne arrowirnd a lotus \\'ith a tiny and rather unrecognizable gold image of a Buddhaand prescnts the vara(lamudra witb the lowcr hand. The left hands hokl theprjd in front of tlte breast. the bow ancl the pürnaghata in the lap while dis-playing the abhuyamudü with the rcrnaining fourth hand.

Usnisaviiayä bebngs to the k&/a of Vairocana who appears in the upper

-a

37rr s. R .\ \. t\ lggjLror

part ot the telnple structure (above $ 2) and her presence hcre.trla r|:cJ l,' \lrrnLlinp,'rl c,rrlrer prrirrrinp, rs crijtntll rcl:rted,'n MJtc hul ;rlso to rhe .l ctrrnplrrhl.. Right^omplcredl*hich] is in ir.irua" as quored by ALhayakaragu'ptx.,, '

where Aptrato thc Victorvenliehtenment

c)n either sicle of thc o.o"rr",, jlr,",1:ii*di1" ,tunaing Bodhisatt!.s. rwo rlgures hare beetr.pilrnted. Onll thcir bust emergcs ou-t of the lower levcl ofrire pcLle\tirt. the sJmc liajl r)ccurs. oll the Zinmermzln ptinting. The figurcon our lcti is female and on the th.likr uüder surre_r 1trg. J1. pr'cscnts rn trcrfolded hands a jar rvhcreas the rishr side cl)arlcter. nuie. srrJtches lis right

hand in the direction of the Budclha. 'fhc pair is noticcd on ,.uln,ur", ,rurnBihar wherc it.can evitlently bc idcntil.iccl ivith Vasudhara ancl tie cteteatedMitra (fig. 12 a).t , ,

These two characters summarize the ,.Temptation.. and its subsequentdefeat. They symbolizc the demoniac forces oi Mtira which rulc ovcr thchuman universe ancl thc generositv of the Earth whonl the Evil One tnes tocatclr iD his toils. Various sähatuls iüe consecrated to Vasuclhara trut thevnercr .lL.rrrl'e hrr:.:h<.rppcrrrr prercnrh: ljlnh(r. .lre,,,,t"p.,,,t,,nr ,.fr._sentations of tllc goddess nevcr illu\triltc lter as testit\ing t,. Sakvamuni.su itrtcsr.

These t$'o charactels ciisappear on l.rtel paintir)gs. berng replacccr oV rrvonil!,irs in.,n( p: intrnp tAppcn.lir I-Ctrrr. u.urllr nv mrn.r,u,,u. filr..,,t,,1arc half knecling and appear as if carrving the pedcstal ot tle thnit.. i.tt.irmonstrons shape distortion of trciui l<.rtUrcs. h.rir ull :ptear.l irround tltehLrrLl lrke I In. t( dllLJu. u. ln iLl(nrih rhern rrith menrhei..,.t M1,,,.

",n,r*,ho try to shakc Sakyarnuni s throne (Appendix I B. E & F). A tatercndering. but probablv ülso one of the most dramaiic tleat;;nt ot thcTenrptrri,,n.. rs i.llustrircd h) rhc often publishecl (but unfortunatelv arwavs rnr\trik . lü \rhlte)fald uf rhe Btr.rrrn Mll.slrnt ot Frnu Arr.. Orithi. lrinr_llt:1.f.:_|)-!:,.]:: -"_1rrc

eqtli\rtcnr to AD t56(]..r.hc nronstrous ligures oerongtnere s\ tdeDtl\ to Marr.

12. The ArlwtsThe third painting introduces the set o{ thc l6 Arhrts, an iconographic

motif \hich is resolutely 'l'ibetan. Some can be properl-v named, othcr onescan onlv be tentativelv sincc their spccific attributes can ire atrsent. which re_sults that sone of them arc idenric;]. Thus, rve rccognize. *urfin! f,.,rln tfr.lower left corner, on the Buddha.s propcr right sicle:*l Ajita. 2. tianakavatsa. 3. Angaja (?), ,1. Kalika. 6. Vanavisin. 7. Kan akabhniadva ia anci lJ. Va_jnputra.(/),.and descending from thc upper right comcr. on iir"--cudalr",,proper lcft side; 9. Ilakula, 10. Rahula. 1i. Cuciapanthaka, 12. pindolabharr_advlr1a. 13. Panthaka. 1,1. Ntrgascna. 15. Gopaka

"n,t tO. Airl.au., '

B^L:rZ| P( RoN: Srkyarnuni 3',7',1

Thcy are followed by the representation of Dharmatala who carrics onhis back the pile of manuscripts and is accompanied by the tigel.r ',,

Thc same group of seventeen (or cighteen) characters is clepicted in thelowcr register of a painting showins u m,rre deraiLed rcrsjon ot Sikyamuni,sbiography enlarged with the depiction ol jotakas (Appcnctix l-F). And intwo side rcgisters. thcy are distributed around anothcr version of the Bud-dha,s litc dated around 1,100 (Appendix I-E). A slightly later parnung(Appendix I-D) shorvs the sixtcen Arhats around thc temple structure withinwhich sits the crowned Buddha. Tltey appear also on a painting in thc Brit-ish Museum, dated around 1450, rhich is. though producctl in Cintral Tibet.rcated to paintings from Westen Tibet.1,.)

'I'he Arhats prescrve their position in the side rcgisters untill a latcrperiod as seen on Western TiL]ctan thankas from thc 15th c. ancl on|ards.In the Richmond painting. dated around 1450,r '', like in one in the Zimmcr-man collection which has becn variously dated botween the 1sth c. and1650rir ri the Arhats zrre distributed below a group of either thirty-five Bucidharnrages showing yarious mudfuts or twenty-seveD ones prescnting alI the dhur_macakrupravattanamudfi. It would thus appcar that in Western Tibet. thcArhats arc ciepicted in the lower part of the image whcreas in Ccntral Tibct.they prescNe a higltcr position in the composition. In Central Tibet also,they first appear together with a detailed version ol Siik_vamuni s life rvhilc la-ter in Western Tibet, they bclons to a ma\dal.r whcre other groups of Bud-dhas are distributed, who illustrate the transnrission of Buddhiit LeacnrneIhr,'ueh \uc.c\\i\ e errs.

Whether the reprcsentation of the Arhats is related to China. India haclits owu tradition of depicting monks and othcr holy characters.(Lß, Scantv in-fornation only survives in Tibetan soulces. mentionning the prcsence of prrr-traits of monks painted on thc walls of Vikramasila.l,.') whercas a Chinesemonk visiting N:ilandä. noted that "there are macle nanv paintinss of Bud,JhJ. Bodils:1ll\ir\ rnJ Arhirr:.. pilinl.Ll nn lnclra el,,rh'.

In this context. one should remember Ihat the Mah.juirtmalakatpa cle-scribes a large assemblv which listens to tlte Buddha tcaching and which in-ciudes a group of citht Pratvkabuddhas unrl eighr Muhlsrirakis. Whilc theyare all listed in the chapter dealing with the larlc pata. only Sariputra andMahämaudgalyäyana arc named in the chapter concerncd with thc middlepdtu.n:: A comparison of the list given in this text with the Arltats of theTibetan paintincs leads to the conclusion that the two groups havc very litticrn common. As a matter ol fact. only Rilhula is quotcd by the text and thctwo close disciplcs of the Buddha, mcntioned 1n the Muitiuirimüktkalpa,donot appear in the 'Iibetan grouping as Arhats. In the dcscription of thesccond painting, these two adepts Jre the onl) r)nes ro be properly naneclaDd said to cafiy the cAmar.t which reminds of their position on either sideof thc Enlishtened One.

s. R. A. A.. tV i1995/961

, Although of ljttie bearing in the study of the enlightenrnent as illustratedhere, the description siven bi thc text is of some relevance iD the context otTibetan painting and allows a better xnderstandirrg- oi'if,. ';-nog.upn1,

ofsome reated early paintings ,ii,r -llr:. ll 11. a.r"ripiion olilr. ii.r, prin,ing.the nost detailed elc. the Mai jurr,m,itnttpa ,nenii"n" t*u lroup, ut

",gfrtBodhisattvas each on eirher sicte of Sakra'muni.-;;;';;';..i;;i"r s properright side, above the tsodhisatt.another one

"f .ist; M;;;;;;;"';:,".i1i."1 ;r":'ilj l1l,äi.ilill,.Hff i:.:a cclestial palace rvherc eight .l.athlgrtrs r.. ,f.pi.t"J-iit-o, Jti_rn.t.i. to tt

"two llnes of MahASrävakas and pratr-ek.r bu ddh rJ). fl.'"ig# i.,fragnau, ur"evidently related to the Buddhas of the past and the future although the listsot names donor coincide.r,,', .l-o end, the tcxt also iJuäes Jn'iir-,r.."riptionYam,rntaka and the Tarä. resoectiveiy ." rh. ;;;p;;i;il "nä

'.irn, ,u,", .rtlre BudJhl irr rhc lorver f,lrr of rrre parntrng. ,

Kcrurniüg tu thc images. q,hat clo we ilbserve,/ At the Lhakhang_Somalj^1]:"1;1

. like on cloth-paintrngs,, :,, groups of charircters arc distriburedI:r,ll lt" central image of the.Buddha

"r, *ith ,o,r,, ."uaiu.t_"nr, ,rl.yarc tntroduced in the text. Thus, the eight Tathigatas,

"fl.,i.,i"nurg, ur"Plll-::9

i" rhe.upper regi\rer; rhe two groupi of Maha-Sravakas nrict t ratyeka_rrudühas rrc di\rrrbutcLl belou rhem on eithcr side of thc guaO;al.i h"aO an.lthe monks are seen below the Rudclhas (anct not aUovi- itri.'i, 'in r. t.rt;.The Tarä and yamäntaka are introttucej ot th.

";l-oi th"';;,r"0, ",

o"arri,äillXfiX'il::i

*c two Ntsas Nanda and upanancla' ur" il.'üä'.0 in,t"From a general survey of the paintings showing the Arhats with or with_

::,:-?l:t."t"1, and Hwan-(an, rr oecomes evident that thcy are prcsenr onparllungs or on sets of oaintinos having ibr main thema, ilr" OJp,"uon n,Säkyanluni's enlightcnment suräunded eventually by the represenrarron otother evenrs of His life. The 1-jrh c. p"intt"-q;'ii# *..,"i"""lu a.",.",Tibet,deprrt ttom rhe earlier printings in Ccntral Tibet or from these morc:]:::!l ,"1:"q,i rhe patr sr) tisric tr.-na. gn\v"u"r. ,ln i.o,,.i.uot i. r.n,ur"already noticed above ($ l), i.e. rhe^monks ,.pr,,.ing tt,. UuJiisltuas ,n tletriad was already noticed on somc'rhis new i"t.;',"t"t,;;;;';;':; €;l:l,:.il'..:il:i1ff i"lj;,j;i;.111,?;paintings donot irustrate rrrtcr.).rensa thc.t.nr *hi;;-i;;of 0r,,." ", o.o}r3:l_l':: thc Buddha,presents the bowl on l,e nn" h,,nj,-ii..'H!",, o..nn _panred by two monks (who coulcl evidently_not be p.erent at ihc eient.l or U-vMritrevt :rn,l Manirrlrr uho replat.e, Aral,,kiresv:rra.

''ut the piiintirg under su'vey differentiates itself frour aI trre ornerknown examples ina.smuch as thc_Arhats are dressed accordjng to the so_called Indian style,',\r i.e. the monks *"u, gnrl,.,"n,, in ."A,"*iii*'_o o,r.cokrurs. Moreover, the monks ,.. t,n"t"a' ui--it,." I".g. 'J"'liii"-

^a ,1.i,head is haloed bv a nimbus with the two protucling trängutar points wfrlcfl

B^rr7E PrcRoN: SäklamuDi

trace their origin in India. This rvould thus be, in theknowlcdge. the earlicst surviving, and, upto nou', thetherc exists "Indian" way of sho$'ing the Arhats, butdose not fit with the textunl prescriptions) examplepainting thc Arhats.

379

prcsent Stagc of ouronly known real (i.e.the scheme of coloursof the Indian rvav of

C, Conclusion

It is evident that the same structure lies behind those various Datnunssand that it traccs its origin to the earlier paintings studied here. One cindistinguish a first phase in the 11th and l2th c.. including rhe firsr two thank-as, the Zimmerman painting, the sculptures from Southeast Bangladesh anda group of book covcrs ilnd nanuscripts. Besides, witlt thc set ol eight greatevents which constitutes the main part of thc painting, it is sinilar to thenurncrous stelae from Bihar depicting thc same iconography. The exact(gcographical) provenance of the second painting (fig. 2) will probably be theobject of numerous discussions as it is alreadv the case for thc Zimmermanpainting a dilcmna rvhich will never <nd: i. it ln.liun or nur?. l c. was rrpaintecl in lndia? But they conld also have been painted by Indian artistsoutside Inclia, or they could have been painted by non-Indian artists whoprovccl evidently an intime knowledge of the Indian stylc and iconographv. ltis cvident that in the present state of knorvleclge these discussions are rathervain. A dircct connection in the Indian soil exists. but connections can alsobe traced with Pagan or the Hinalayan range. This altogcther proves theinternirtional nature of the Buddist community at the period.

Thc second phase is exenplified by the third painting (fig.3) rvhere adramatic departurc from the genuine lndian structure encountered previouslyhas been achievcci. The painting dose not stress anvmore tlte cight greatmoments of Säkyamuni s life but provicles a morc cletailed narration of thebiography; besides. the scquence is chronological u'hereas in the first group,the scencs were distributed according to rules of symmetr]. The paintings I-B& C (fig. 16) belong to the same phase although they show clifferences. i.e.the disappearancc of Aparäjitä and the replacement of the Bodltisattvas bymonks or the number of Jinas in the shrine which counts to seven rn onecase. This phase has probably to be rclated to the post-Pala pcriod, althoughit still betravs a verv strong stylistic relation to Inriia in the rcpresentation ofthe ceDtral image and of the Arhats but the introduction of Usnisavijayä be-lorv thc Buddha, replacing Aparäjitä. renilds of the inportance oI this deityin wood-paintilgs from Khara Khoto. Thus, a date after the 12th c. for thispainting is likelv. It might even be contemporary with the painting I-B, whichwlrs recently ascribed a 14th c. dataiion (compare the large volatiles and thenimbus c.g.).

The third phasc is illustrated by paintings I-D & E, two painrings ro be

38il s. R. A. A., IV i19Sa/961

dated probably in the l5th c. Both include the Arhats like the painting ot fig..l hlll Jcpatl lrom it b) \howing lhe crLrwneLl BudJha nr olfen'nr a more mr_nute rcndering of the biography and including a lineage of lnrli'all rnd Tibe-tan nronks in thc upper ro$.

AcknowledgementsI am grateful to the private collectors who

paintings in their possession and offered me theirprovided the illustration for this article. I wishSchroeder who shared with me his researcll on the& i6.

Appendix I: Comparative Material

Thahkq AThe Zimmerman Farnily Collection. Ref.; pat(Nepal or Tibet, 14th c.): pal ed. 1984, p. 63, car.c.); Reynolds 1986. p. 176. fig. 1l (Tiber. 13th cington 1990. p. 3t6-318. cat. 107 (Tibct, late ltth199.L, p. 111-146, cat. 81 (centrat Tibet, 12th c.);(Tibet. 12th c. ).

Thahku B

allowed me to study thekind hospitality. They alsoalso to thank Ulrich vonpaintings illustratcd figs. 3

1975, p. 71, cat.311 (Tibct. 13th-14th)i Huntington/Hunt-or early l2th c.): PalChayet 1994, pl. 170

Rossi/Casey Singer 1994, cat. 14 (Central Tibet, 1,lth c.).

Thahka CPdvate collection, 63 x 53cm. Fig. i6.

Thahku DP:1. tlTl: tig. 2 4 (Nqp3l or Tibet, 14rh c.); pal etl. 1984. cat. 13{lloL't. rt[r c.): ( asey SinAer lagg. tig. l,l {lrbet. l5th c.].

Thahkd ECasev Singcr 1988, fig. 12 (Tibet, c. 1400 A.D.).

Thahka FSotheby's New York 17. 6. 1993. lot 39.

Appendix lI: Origin of the paintings

While discussing the iconography of an object, the cultural context rn whichthe later was realised is too often ignored by art historians. Vicc_versa, those

B^Lrzr, prcRoN: Sikyamunj 38t

studying the stylistic devclopnent olien neglects a proper idcnditicatron. Andin both cases, the historical surrounding rimains untouched. I believe thatit, would possible to ascribe a probable geographical provcnancc anc a possr_ble date to portable paintings if one woulcj take systematically into considcra_tion the murals which adorned the Tibetan nonasteries, sone of them still tobc seen. I also donot think rhät it is possible to separate the iconographictrom the stylistic bias, both bcing ways of reading an art object in order toapproirch at the ncarest the histodcal essence of this object. Howcvcr, onehas to decide fbr a separation of the two approaches tbr the only sake ofclearness in the analysis but it is cvident thatjiese approaches are deeplv in-telrningled: the structure of the image an aspect which depends on th()sty-iistic analysis, is rooted in the iconography oi the imagc and in the case otthc prescnt study, the iconography is rclated to thc geolraphical origin of theparnttngs - a chapter which is rather, but not exclusivcly.- depending on thcstvlistic studv.

I havc explained elsewhere (at the Lonclon confercnce of June 199,1)why I suspect that the small thanka has a Northeast Indian orisin. Srmilar_ly, the second thanka was produced in an atelier extremelv

"lär" to Indinnprototypcs whereas the Zimmcrman painting. sharing wrth this printing the

same rconography! illustrates a dramatically difTerent stylistic option, ;hichcan be relatcd to the latest stylistic developments of Alclii or to the school ofragall.

Now rvhat aboutJhe third painting (fig. 3)? It shows without any doubtan iconographical and stylistic overall stru;ture which reminds of the otherparntrDgs under consideration but it stays however aloof lrom thcm. I thinkthat this thanka, like some other ones which I shall shortlv mention below,belong to a phase introducing in Western Tibet a stylistic anri iconographictrend originating in Eastern India befbre having passed through CentralTibet. As a matter of fact, they include treatments of motil.s noticed inwall-paintings from Western and not Central Tibet. The iconographic prog_ram of thesc paintings, on the whole, relate them to Centr;l iiUet andbeyond to Eastem India. Thus, although it is impossible to be more pre_cise, in the actual state of the knowledge, about thj real geographieal prove_nance ot these paintings, they can be considered ro b"lr än'intermitliaryposition betwcen Central and Western Tibet, probably in the 13th c. Theipredate perhaps the paintings of the Lhakhang_Soma of Alchi whcre thäornanlcnts are '-sed with parcimony, the outline delineating the body is cx_trenely hard and the movement often clumsy,(i}) a trend whlch is already no_ticea,ble in the.Zimrnerman painting but occurs here also in the scencs deprct_ing Säkyamuni's biography.

. Beside the image of the Buddha under consideration, two more painr_rngs are here more particularly relevant. The first one depicts A.itabhu,,,,,the second one is a rather long roll showing eight deities, i.e. the pancatathä_

3S2 S. R. A A.. I\ il!95i9ij

gatas. Sarkvrmuni. Va.jradharr arld'1,,, It is evident that these two parnlngsarc rclated, including trcatnrents oI tnotifs rvhich donot appear on othcr simi-lar thaikas oI Tathaisatast, ,',

'l'he deitics wear a short stripped skirt but onc notices also a diapha-nous ulatcrial coveing the lower p.rrt oI the lcgs which is adorned by a regularly distributed tlower likc small motif.

A broad sht\\'1 covers the brcast. falling in a lalge loop oD the leftshoulder. (Ir case i1 shrwl crosses tltc brcast of a deitv in Central Tibcr. thematerial is transparent.,r "l

The ribbons which are attached to the tiara are knotted in the back.-l'lle! arc not visible on tltcsc two pajntings wherers they constitute a distinc-tivc fcature on the paintiDgs from Centrtil Tibet. All rvhat remains herc aretwo sinall protuding bows above thc cars. Similarly. most of thc tiaras atthc Lhakhang-Soma of Alchi donot inciucle the llying ribbons noticcd on thethairkas lron C"trttol Tib.t.,',,

Plain carrings pierce the lobesl thev are not genrmed likc on the groupfrom Ccntral Tibet.

Apparentlv attaclrcd to the knot bchincl the arms. a small piece of iab-ric falls on the outcl side of the arm (thc Amitabha) or on both sides.

These trlo paintings share with the Buddha imagc (fig.3). somc othermotrts:

A golclcn line. firnly drarvn. indicates thc outer- linil of the cushioDbehind the deitv.

The upper linc of the forehead has rhe traditional bow shape in thepaintings lronl Ccntrrl Tibet. as it is observed here on the first two paintings(figs. 1 & 2). Horvever. on the prcscntl) considercd three thankas. tlre cen-tral point has ireer cut. replacccl b] a short horizontal btLt alrcady slightlvbent line (a fcature later conmonly observed at Tsaparzrng.,,,' or in the Kulnbum of (;yantse.'r"r whcrc it shtxvs a furthcr step in the cvolution: the shortbent linc is cieepll curved and its two extrenlitics form thin points-see hercdlarving I for a sunlntary skctch of the evolution).

Clomparine tltis painting to the Buddha image includcd on the verticalscroll. one notices the strong narking of the edgc of the dress, particulrrlv inthe hollow of the elborv, a fcature illso visiblc at the snaller Buclclha figur.esof tho respective paintings. On the contrary. the edge of the monastic gar-ment is alnost unperceptible on fis. 2 (thanka ll) rvhcrc it is paintcd in aslightly darkcr rcd rvith a thin gold line. On the first tharlka (lig. 11 anc onthe Zinrmernan painting. this edec is simplv not marked. -l'he

edgcs of thenonastic drcss are indicatetl the sarne rval in the Lhakhang-Soma oIAlchi.r|l

This small gfoup of printings coustitutes thus a coltcrcnt uhole sharingstvlistic features rvhich announcc tlrc late "Western Tibetan version of thePala st,vle' murals at Alclti',r' although they remain deeply roorecl in thc Clen-

BArr^. PrRoN: Sakyalnuni l8-l

tral TiLrctan stylistic idiom.

NO'fES

l. A recenl \ludy bt Janice Leoshko (199i,9.1) dc.ls with thc inagcs at thc Prla pcriod. For compLemenrar! documenlatio!. see hcr fbotnotcs 2. l. 9. 11. Add io her bibliograthical reteren.es rhosequoted ir Bautze Picnr 198qb, p. 198. Wc should rl$i mention lhe rena.ks made bv Woodrard Jf1990. I. l:l l7 conccrning thc position wilhin lhe image. i.e. the .diry/, ol dre eight scenes Thc''!isual stnmctrl *hichhc noticcs in lhe overrll dislributio. is aho a.otponentolthe stchc showing thc ciehl cycnts (tsrulze-Picrcn 1992b. p. 17 l8 & 25).

2. lhis was lhc topic ol n) conlribut r dudng the Corferercc "Tibctan Art: towards a dctinilion olStylc which tmk place in I-ondoi in June 1994. but tbr somc spccific rcasons, the publ'shcr lnd thecditoß decided not to have ny plpef "Thc ElaborNtion of a Stylc: Eastcrn lndian Moliis and Fornsi. Earlt Tibetan(?) Painting . priftcd.

l. I-eoshko 1988b. f.:16.1 /öid.,r. For illustrations, s.c: Huntington 1981, fig. 103. r32, 180. 223. 238

5. 11 is evidenl that thc cxprcssion "four Marai hrs been appLied 1o differenl groups of gods of senidivnre bein8s Thus. whcrcrs in the .ii./ld44,n.i/t, lhel_ personniry the obsta.les to the erlightennrent(sc. walman 1959. p. 112-125) and a.e called Kle3a. skandha, MrIyü and Devxputra. in texts likc drcSnherdinrrikhfnvirttun(, ther- becone gods respeclively named Kubera. Brahmr, Yrmr rnd lndraand in thc Ntsrrrr4l.)A4!al, thet are Vi$i!/Hari. Brahm.. Mahcsvaü/Hrfa Nnd lNhr (Ilall'nrnnl9ij6. p. 258) and a! obsened previously, tbe four appcNf rmong otlrcr dcitics altack'ng thc tluddhaon the ifrage at Jagdiipur and on thosc fronr lrom Soüthcast Banelldcsh (tig 15) (Baulze-Picron1992a. p. 106). In the srdldrds, thcy arc dcpictcd bclo* the Buddha's lhrone ("hich led HockfieldNlalandra 1985, p 72to id.nrify thcm in thc )rkMr scen helo$ aBuddhdfigu.e; bul they xre n.r -felatilelv coDmon as thc author writcs il. She quotes nvo exanples. t. 76 note 52.bul lhe t-rixni irn.Bc docs not includc any atlanl bul characters who belong to the group ol lhe raltdldtrar ) wh.rcas in thc othcr sources, ihe) r.e lrlnpled b! Helrtra. Their position belos the thforcnnplics rhcir intierioily to the Buddha since whatever lhe lonns asülred by thc mcmbcrs of Mara\uny. it is on either side of the head and the toßo of Säkyrmuni tlut thct arc dinributcd and this.sincc the Gupln period. Besides. üe adants .re noticcd with thc clcphants and lbns on a largepcdesal *alled in the enbance of the Mabant s compound at Aodh Caya. tt is very likclv lhal thesource lor these adanrs is locrtcd at Bodh Grya whcrc !t rhc Guptr period. such chlra.les were

cärled rogether $ith lions on th. cdgc ot thc slab ol thc Vajraslna. They occur äl5o on cenan' $abssupposed to be from Bufma (1 Bautzc Picron 19i18, note,1: lt):2. rbitl(n, 12. Huntington/Hüntington 1990. cat. 61,. Bfown 19llil. fig. lt: L Bautzc-Pictun 1988. note.l: 1.1 , Hüntington/Hunti|gton1990. cat.62i.1. Calcric Dons Wiener. Ne* York).

6. Placsbkc 1971. pl. 37 (hcre lig 12h). Mrllebrein 19E4, cat. 26 p. .13.16 (hcfe lB. 12a). Banisti 1981.ägs. 56 & 60 (twice lhe elenl of Vaiiili) or Woodwafd Jf 1990. fig 7 (hcrc lig 12c). lhcsc four slc-lac bclong rogether as a contarison of their "decofanvc and iconographic molils shows il. e.e. thekrlnnukhu, the scrolls linking the later to dre volatilcs. thc gcsturcs disph!'cd by the thrce tiny Bud-dha ligur€s above.. . all elements Bhich ditlef on thc nvo othcr slabs for thc rrtild, slill 1o be ta Jtr,

7. Gröibold 19E,1, p. 186

8 tjpasxk 1967, fig. 1. Zimmer 1955. pl. 376.9. Bautze Picron 11J86, p. 111 112.

l0 Brutze Picron 1q89a. pl. 11 & p.263: l0 *here relere.ces to lhe olher two images xre glven (thcClcrcllnl imagc is lgain published hr. HuntingtonlHuntnrgton 1990. cal li).

1l lhangkn Kal.nlat 1992. Mäi And lurther WesI. at the LhNkhang Sonu ol Alchi: Pal 1984, pl. 10,

Palltournier 1982. SLI & 2 (both paintings base their iconogr.phjc stmcturc on thc descripttun ol thelargc cloth püinting included ln the Mdniknihildkdl,rd, Laloü 1910, p. l1-38).

12. Esseni fhingo 1989. cat. II 92. p. 50 e.8.13. Rhie/Thu.man 1991, car. 3.6 (monks)! car.:l.Pal 1911.1, fis. 11,Pal l991.cat 100 (Bodhisattvas)

11. Thaügka Kalen.ler 1992. Mai.

38,1

l5

11.

t0.21.

s. R. A. A.,I\ l19951116

Asnlliyhe Mult,tci lt)91. p 13C].s.\ Sinscf 199.1. ilg. llBrutze I'icron 1995. fig.5,7.Bautze Picron 1992!./äi1.,,, iig.7 (oft Jnrr).3 & 6 (three tnr!s). | & 1.: & 5 (u\e Jinrs).Mus 193.1. p l78sqrAs nr the g.oup which used 10 bclonling to rhe hrgc Jrgdigur sreta: Brulzc pi.ron t9E9f. tig /j(::mung l6), lr 181 ',15 & | 267r Bha(acharyr I9S9. fig lr Leo\hko 199-t/9.t. tjg. 7.\l ll '.,r. l^' -,..1,n \1.,r. r\:, ....,t ..U.,, .pr In, !!. | ...,..r(t\rr ( J\c\ \ ucr lqo.l ü| 1lMallinrnn 19116. p ,13 .1:l & 151 :15:1.

Rossiicrset Singer 199,1, ü1. 12.Bautze Picron 1992!. fig. l:1.Bcstrlc ihe_nuge reprcdu.ed hcre fig 20 (t, ,ftr tublishc.t b) Kcirh 1910. tig. : krwer righr..rncf:Guptr 1q15. p 57 n 16). see: l rndian Mu\eunt,," ,i:lr 1n"n",jt N-r:. pi. Xxxln_.)i:. r" iunyi"-""1

',1." B.c. sl (BoErji tej3. pl. xrv_e: ß. Bha|lchft,-)a iers. ig +r; 1.t,, wu) it].,,.

:j) 1..]idrrn.f.uk.uT-f rl r1 BeJ LrÄr.ft bcr\reen p.8 & e: Banertii ter.l. pl. xixibi 7r.|1,r air,.p tqr t]. lt) A rurLhlr \nr rrclri. Lhc Nätänta srvte, ilhßrftting rhe LiShr Frenrs.,n_cludes rlso the scvcn Buddhrs ot lhc pxsr !bole lhe ima8e. tr $rs dtscolered;t A)ud;y!, Thaihnd

2).tl21

25.

26.2l

28. lf rtr. Budllra displa,jrigthe bhnhispußa,üatl.r. is ro bc locaLed in the c.steh qurrrer. (hcn N,*rrrclaoccupres thc nofih-crstcr. quart.r. lhc Buddhrs di\piav. starLing tion rhc frcbable ersrun onc rrdtn thc pturluksitiunt, abhdrot. tthunltcdknqtutatt,""n.. t,",,,tir,.. uhha\;hl.. .thranun. the kst rigurc shows thc tthunaacdktupnwnuuntlJ,r hf .,s \r!n nr fig 1,., h( \ rc.!$.|ed This n notw,rhout renindi.g rhe jconography ot lhc third lhanka (tig 3, afd bclos S 7) $:hcrc rhe tLrtur€ Buddha rfterß. rdorncd. tea.hiDg i. rhe hcxven of the r.usitas ir thc upper dghl conrer. bcture hrndLin!hi\ crow. lo Mailre)a. ir rhc lolto\ltng pinet A furlhcr detdjt ,"ryrr", rt,e Büddhr !r rhc L.ßte;;qurrrer lrom rhe orher oncs, since rokls r.e irdicalcd on his nronasri! garhent ilhire trrc orher o.eswcar a phin dre$. tt he is Sakyahuni. thcr rhc belc{ültcd gu.t.tt, *,i,t,t LJc \rDd\lin bur I am norluljv convinccd rhlr rhis idenriicarion shourtr hc sereLrrlr Ar rh.'r |eri,,.r rr rn ghirelr bc rher rhc ngurc has atso ro be rccognized as dre hisrorical Buddh! sti in rhc heavcn. It;righr rhus be possiblerhrl the o cr hrs r{) bc fead tronr the crstern quarre. (thcn Vipa!}!r) .nd 3"t"g.i",,r,. *"" ,.

""u ",^ tle ndrltin quurer *irh Srkyamunt reaching and pfe.eding Maitrcyr19. An imale lrom Nälanda illusrra(cs r rransitionnat phrse in Maitreya.s iconogrrph!. Aheady sccn r' aBuddhr, ilhosc hc wears the hon.sti. {armenr_ but sri| ! Bodhisattra, "tu," ie .u.t". trr" u.,"-mc.rs lnd rhe hcad dress_ hc srand\ hpt.w ! bunch ot nrAzlaslr. Scc Huntirgro. t9ti.1. lrg. t-lj &tlhrtrlchrry! 1989. it8. 27 with hjs iootnol.5! n furrher refd.n.es. tn thosc rarnus punrrcatrons.thc nacc is idenlilicd as RrrDasahbhara.Rossirarscr Sirger 199.1. p 3lThntlgkt Kileüd.t 1992. Mti.Bagui! 1990. crt. l. p.22 2lPiotrovsk) 1993. cat.7 & E. t t20 122Klimburg Saller l!9:l- p.502.Rerdine bv Fouchcr l90il. pl. iIL 5, p tOt 10.1 & 9.].Mus l9:.1. p. l78sqf.Gra.bold 198.1. p. i2Er KliDburg-srtrer t99J. p. 502. For pcltior l9tl.that _un bcsoin d. pa,allalijne ajl trjt opposcf.the easi.m and {,esle.nlafeau 1963. p. l16.

jt). Mus 191,1.-p 832 sec rho Klimburs Salrcr r993. p. 502-50i concerning rhis obje.lKlinrbrrg Saltcr 1993. p.501 & tbornorc J Onc shoütd also nolicc thlr bc!ar..trgun'!rrdürv!prabharaja was invoked at the beginnlrg oi thc /zrirs,r *.i cn ntbündrtor ofr hostilrl by Jayavarnxn ViI (Finot 1903. p 13 1.r. 23. t9). ArdIwo !colytes oi dre Buddhx are. Iike jn Ccnrnt Asir. Sürlruirocanacar.tarocisnxrohinisr (il(r!, p. l9_ 21.29)

p. 36. iI seems ro be likel!

lndia. rhe Bhai\rj!

4l Hrnrington 198,1. fig. 208: Bharrlrchar.va 19.\9. tig. |]: jn rle tcgcn{1. this aurhor cllh hjm l{rLnasambhrva_ but ir rhe tcxr. p 352, $rircs rhat ..thrs BuLlllhJ se.ms. ro b! !udLlhi ßhi,s.rl\xguru .rndrn tlre snmc nore undcrrnres thar rhe dcir! tr' Ls r'r h,'rn J r.$(r n rfi I ahr hrnt rs.rcrr.. see arso

his fo()rndcs i7 & 38 wirh ärrrhef rere.enccs

BALnzr- P(rlo\: Sarkvdmuni 385

nuring IIe imrgc Rarnato the scuLttLtrc, !ll of lhem

.ll. Bautze Plcrcn 1995. fi!. 2-3.5-7.

.1.1. BrüIze Pi.ron 1992b.

.15. Scc B6Disti l!64 & a6risri lrlEl. p..11 5:t nr the tour great evenrs. \\ood\rard Jr li)90, tig. I illuslr '! , J, \.l rJ: " rf e !h .r, r.

.16 E g. Prl l9t):1. ft1..+i Palhak 1986. pl. 17: Pal,Njeech pckarik 19E8. tig 21.It E.g. Losty 1932- cat.5. E.9i Zralf l9lj5, cat. 155. 156: corakshkarlDcsri 19E7. tt. Ib.

VIII-a. lX. Xh: Huntrngton/Hunri.gton 1990. car.5S & 59: prl t99l_ c!t. t. 3. i,6 /1

thobsrrphcd at Nor by Rdhula Sa.k.ilyrlanx ilu\rrarcs thc bioq.afh) till the g.err(aptrrenrh. thc mn.uscripr $!s tcti untinishcd) (parhatt I9E6. pt 1q 2:t)

]II. IV.b.

.18. Qua!Liolli 19i19. p. 350 219. Bautze Picrun l99lx.il. Nihnda: Hunlington 193:1. lig. 128: Lakhi Sarli: tkutzc picron 1991i92, fi! .tb or in Sourhelrr Llang

ladcsh: Baurre-Picron 1992a. fig -162 &:1. A larer painring f.om crgc lRhie,thurman 1991. ca( (,)nross tb. inlxnl raking his stets in thc 1oüf di.e.rions.

51. Brutrc-Picron 1992a. ä9. 36 1

52. Abovc notcs:Iir.17. Butnotonthe No. maDuscripr. e.q: pathrk 1986. pt 17 (cover) &20(totio).i3. Foucher 19.19, 21.1215 & 168.5.1. E.r. Huntington 198,1, fig 7.1i. i.l. 15, lö.3.r,15. 17,38.39...55 E.g. Hunllnglon 198.1. lig 5.1. 11.1.

56 tr.g Hrntlne(on 19E,1, fig. 11,1. 116. I. thir wa:. thc aretier ot Krrkihar inhcritc.t a rreltncnr rlsonoriccd nr the (Llupta rnd) po\r(jupta period (rätt,r,. U8.6.9. 10. t7. 19)

5l E.s. Hurtirgt.n 1984. tl!.5,1; Bautzc-Picfor 199lr92.lig. 2.3.5.j8. Pai 1991. p. 5i identilics tbc figtrre ,r! lhc nun Utprievrrna. lho \routd havc been rhe fithe vrnlld ro hale sclcomcd rhe Buddba ar his des.enl..thc jd.ntiti.alion (Utfatä) is rßu fropo\cdby I eoshko 1993/9.1. p 25.1. Unforthulett),. both aürhors donot qile Lhe tcxtual sourccs ior their

59. (lorakshklr/Dcsri 19E7, pl. X-b-prüabl! a ro in Wood\ra.d Jr t9ll1. tig. 2860. On Agni and his r.txrion silh thc Buddhr, sec SDodgr.s 1992. p.26q & lj661. NIaU'na.f l.rE6. p. .ll9 ,120.

62 WNnran 1990. p. 51.61. I hc painting ha\ unlofunatelv onll bccn published in lJ/W.6.1. Onc could ferhäps also suggest lhar th. crenarior conccrns o.t! Lhe ninn.tüdkatu rnd rclcah the

dhunrukard ol rl:e Buddhr which woutd be attuded br' thc gesture disptrlc.t bv the Buddhr whitebumine: SDodgrxs 1992. p.35ir.

65 As a second dcticrion of lhc Sirnath elenr by Hunri.gton,tlunrington t990. p. j17 or a\ lhe dccisn rol the lurLtrc Duddha, stiLl in thc hellen ot thc Tusna to be rcbortr by prl_ e(t. 19.1.1. t. 63 (a vicw critized b! HunlinerofHunrington 1990. t. ]l.1norc j)

6ri. lluntirgton,Huntirgton 1990. p -lt7118 Once morc. rhis has been tully inisundersrood bv pal 199t,p. 1.+,1. jn a. ob!ious cilort to disqu.lift Hunlin{lorr.s d.nrificarton. (Atthoügh it is nor posihle toagrcc alwlys sith rll iclcntificatioir proposed b! HuDrnrgtor, o. f'v an! orher co easuc, ore shouldnoncth.lcss be talr to lcccft then *hcn wc reach the sam. corclusions.) prt retrres inlc..t the,rripdol thc dcath scene wilh this ro\r. bll hc crn aho nor ottcr !ny llleii!tirc cxplenarion.

67. Rhicilhufman 1991. car. 6.68. Foucher 191q, p 10.1: Foucaux 1E3.1. p. 191,192.69 Thus. I disrgrcc *ith Huntington s idterprdrnon who see! hcrc a representarior ot the contcst at rhe

cnd of which C.ütanra won his bridc. 1990. p. ll7.ill. Th.\ represenr thc 3i gods of lhc talira,^Lra, louctrcf I9.19, p lt5 116: Foucaui lllil,l, p. 197-198.7l Llu ston 1912. II- l0 quores rhe t,ulita\,tstatu \6erc ir is said rtat monum.nrs $ere crccrcd \rhere thc

scprratnrn lron Chrndaka rook place and where Bo(lh;rrtlx clt his h!ir.72 Ihis cv.nt is.lso repcrrcd on lso kiczcs in rhe Hfa\athonzu oi pagrn (picha.d 1991. i1g 477j p.

293. Oshcgowaloshcgow 1988, pt. 65). a monutuenr approximaretv drtcd in the t3rh c. The Lwoinez.s nound , third onc sith fonrairs of 28 reaching Buddhas.

71. Foucau: 1881. t.229r tsu-ston 19:12, p 3l-i4.7:1. Bautre-Picron1992a.

3E6

75

11.

t8.

S. R. A. A.. IV i1995i9ari

tlcside $mc cxamples quorcd nbove in nore.16. scc Zwrlt 1985. car..19 & 50.Iroucher 19.19, 2(19. xiter rhc Lalirrvisrrralhß painling has unlülunrt.lr o.lt bccn plbiish.d ir b/s !nt its derails afe nol ahvays readrblc: palcd. 198.1. 66 idcntilies Slobally Elents frotrr the Entj8hrenmcnt Cv.le.. ir the totrer ;cgisler *ithoutan! tufther detri| he recognizcs Säklamuni\ nother nr rhe middle scene of the tefr r;gisrer. which\ee'ns unlikelt sincc the desccnr lfoin rhc Tfayanst.iN!:is is.lepidcd in rhe uppcr pan.Rhier'Ihurma. 1991. car. 6.Lalou 19-10. f. l7 & 48Leoshko 1987. p.260-267 & fig 126 127i I_eoshko I988b_ tig.9 il.Lalou 19311. p.37.Watnan 1959, p. 126. also quored by Lcoshko 1987. p.203.llautze Picron 1991.Mus 19:15. p. lTll sqrMrlln.nr 1963. p.38.Rhie/lhurmxn 1991. car. l0:l-106 p.232-287.MalimoD 19E6. p. 103 10,1, B. Llhattacharyya 1958, p. 2.15 2.16. Sahal 1975. p. 23j t37 (witho!1 ex-clüding thc cxßtence ol a cerrain rntagonism b\ rhe Buddhists rowi s the Hindu pa.rheon. rt \rouub., none thc les. Nrone to justil!. as done br B Sahai. thc exisrencc of this goddes throurh thisrntagonism alonei her roors are Buddhisi and dircctll retatcd to rhe Bodhi).Lcoshko l96ilc. fi!. E

lndilr Museum inv 39.13 (Kranrrisch t92i). fig. I or 19E3, tis 11 ] Harte 1977. fig 5c lir the lasr t\rocases, she is identjfi.d \rirh Dürgä1. Scngupta l99l is rhc fi6r to mcntif! propcrll ihe dcn).).She shorvs thus d positior opposcd to the onc illusbated.t Aianta and Etbn \!hcre !he was depicledbeLos lhc Buddha s lcti kree and ilrs ru.ned tosxrds thc ccnbe ot thc coftrpositjor. facing. at Etlora.Bhndeli (in sanctuar! 26 ol Ajanta. Bhüdevi occutied thc cenrre ol rhe kr*cr r.gister ind sholvedh.r back). At Jaldi(pur, she goes thus r\ray from rhe cenrrc.Mrllnann 1986. /... .t.Ll. BhalrachaNya 1958. p 246.Erutze Picn'n (iI the prest. tig. 16

Saraswati l977.ill 18.1; Ashcr 1980, pl. 1]4i Leoshko 1988._ tig. 1lSrraswati 1977. ill. 186 l87i Scnguptn l991. tig 2.Mxllmann 1986- p 103 note -l/rld.,n. p 103i B. tsh.ttxcharlya 195E. p 215 216.Re.e.lll {nd br-. Sothcbl\ New York, l7 6. 1993. tol1.19Nlallhann 1986. p 102.

Nlitra 1965. p. t9 ard !q..lig E.9. lll. l,l. 15.I ancrstef l99l - p.282.Two wood painfings fron Khrrr Khoto tlcpict het nandutu1.15: scc atso Bdguin 1990, cal. 22 p. 56 5E).Mallnrann 19E6. p. 3lj9 390.

;;

9t.

ltrt.t0l.IIJ].r03ll).1.

105

107

t0ll.109

(P'otro!sk\ 199i, car 20 & 21. p. 1,12

tsut r texl \ars rhat she i\ ',sin1lar to rhc sky in autonh.- Maltihann 1986_ p lll9. nore 12. \rh,ch rsamcndcd b! the trcnch scholar in -sinihr to the moon in autonrn.j.

llll. Wrynan I990. f. 1.1.1-1.15.

lll Eg. Huntington 19E,1. äg.54. 135. tgti Leoshko 1987. tig. .16,17. 5l-52i Leoshko 1988a. ü8. t.1iBan'sti 1981,lig.61.

112. Mallnrnn 1986. p.,1.11 .1,12:8 Bha acharyya l95ij. p. 202 203_ 24:l t.lj. lf shc is obvioustr retltcd tothe lcrnlity on th.sc inages. it

's howelcr likety rhat rhc got.ten crrs inenlionc.l b! thc sddrarar afc

preservcd in rhe vrsc olfered by the goddcss when recn ar the tcct ot rhe Bud.lha (see aho BaurzcPic.on 1992. p. 2l-23 & :16, who considers thc god.tess of turtilitt in Bihar).

l1l. Pal I975. car..1t fal t97ll. fi! 106-107i Sheppcrd Slus\er t9E8, tigs. 1.1 15.l l.1 ft is.ot clclf whethcr the fourlh.nd rhe eigtrrh Arhlt arc not ro b. cxchangcd (their lnnoures are

nor rerr- clear). in shich case, rhe sequel soukt Ngree wirh th. list p.olided iv Rhie/Thurman l9,l.

B^urzF PrcRoN: Säkyanruni

p 78. See EssenlfhiDgo 1989, crt. 1I9298 and Rhie/Thurman 1991, p.78 & l1l2-103 for thc attributes and geslures ol the nronks.

115. RhierThurman 1991, cal l,1. p. ll0'111.116. Rhie/Thunnan 1991, cat.:l p.76 79 sith iurther relerences.117. RhielTbuman 1991, cat.:l p.80 8:1.

118. P.l ct ali' 199i, car. 100 p. 169 17i) aith lurthe. reierence\ earlier. V. Rcl,nokls had d.rcd the tainrirg ir thc 15th c.: Reynolds 1986.fig. 12 and p. lTtj Selen Arhats lre paintcd on tbc loBer lefi part.six on thc lowcr riSht prft ard three oc.upy the cenlxl parl of the iower reeistcr surroundcd bt Dhafmatlla rnd H*!n-San.

ll9 Pal 1990, p 67 notes that the conccpt of thc rrbals ofiginated ir Irdia" bur that ponra)al of humanteachers both hythical and historical... was cxtfcucll popular in China and Japan.. '(shereas novisual trace survived in India) And underlincs thdt thc 'Tibctans refe very likel! inspired by theChinese cuft of the lohans .

120 Chaüdhary 1975. p. 6 & 15 is ihe firs! conlemporar) lulhor ro mcntioD the paintings of Vikrana(ila(a.d not Jare Casey Singer as suggesled bv Kossak 1991, p. l08r scc also Clasey Singer 199i1. p. 108,notc 60, whcrc she feters to lhe soürce des.ribins Alisa having asked ior paintings to be m.de in Vik

121 11 is lhe merit of lohn rnd Susan Hünti|Bton to have recentlt quoted this imponrnl Chincsc tcsrrhony which remained so far ncglcclcd. It.ppeaß in a lreatise or panrting.oftpiled in l167 by DcngChün (1990. p. 100 atler van Gulik nrcniioncd in tbcir notcs 115 116).Lalou 19:10. p. 15 &.14.I exclude froin this study a late Tibelan painling rcproduccd in Tharyka Kdlehdet 199:1. Oklober-which illustrates the only known (ro ne) exanrple where thc rrtist was cvidentlt, follownrg the direc-tncs Bilcn b) the Malilltrrrlaftalpa in the depiction ol the tsuddha, üppcr lcä qnarter.Lalou 193!. p. 7-8. 3l35 & 4ii L€vi/Chavannes 1916 quoled h\' l-alou p. 43 nolc 6.I alou. p. 37 & .1,1i sec rlso thc platc which nrnmarizes the descriplion al the end ol thc loluBc.PalrFournier 1982, LS l. LS 12 (dctril) of Pal 1984. pl. 10.

Th@gka Kutcn.l.r 1992. Mai.Three stlles of depicling lhe Arhrrs are listcd iD thc Tibctan soürces. i.e. Chinese. Tibelan and lndi-!nt tbe lndian way is said to have been introduccd by r pandit havirg accompanied Ati(a: Tucci 19,19.

p. 562, quoled by Pal 1990- p. 68'71 or Rhiellhurman 1991. p. 102 103. As Pal nores, p 71. ,L rs

fathef nüpfising that tlre text lo.ales the Arhals in a landscapc, rn clcmcnt gererxlly ignored in India. ancl . lcalufe Bhich is also not shown on the paintine ot fig. 3.Pal/lbu.nier p. 21-22 discusscs drc .late and the (yle of lhese paintings. Sonrc portrblc plintings illuslrl]le the stylistic idiom of thc Lhakang Sonra mürah: Pal 19E4, pl. ll and p. .13-4,1 whcrc thc conrpnrison i! made. pl.,13 (a latcr dcvclopment), Prl 19E3, cat. p3. p. l:16. Th€ nurals werc reccntlvdated _probably... hre t21h to 13th ccntury" by Rbie/Thunnar 1991. p. 26.1. One shoukl also nohccIhaI this slylistic trend occurs in secondary sccncs st thc Kxmbtrr of GyaDtser Pal I98,1. !1. 20.

122.

12i.

r24.t25126

127.

128.

129.

130. Casey Singer 199.1. lig. 19

131. Rosi/Casey Sirger 1994. car.2 p.8'9.132. E.e. Casey Singer 1994. fig. 2i)21r Pal 1984,pI.7-9.lll. Thc paintings julslrated bv Pal 1984. pI.9. Pal 1915_ cat ll and Rhicnhurmrn 1991. tig 12, belorg

all thrcc to r snrglc sct134. Pal/fournicr. LS 5.6.11.9. 11. 13, l:1. 16, 18,21.23.25, ]0.12...r LS 7 is lhe cxccption).135. 'Iucci 1935/1989, p1. Xll-XV. XXI XXIX.l16 Tucci l91l/r9E9,lig 211 . 279. 295. 395.ll7 PaliFournier 19i12. LS 26 & LS 2lJ.

l:lE. Pal/Fou.nier 1982. p 22 and passim.

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;f;tl:[rä il'li;l]:1"cntar' uth to 12' c., s'uctürc !nd nroriü. ue itier tndah,t\.*r stürtien.

]9IJE

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Prcrenanc. lnd prescnt locrtion .Puaotehtu ol oti.,tat stt,r" rr,,llT?:

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o",\' . ,-. J.-'' , , ',i,:l):,; 1,",;:::1.,1,..ii""^:.:..,,i 1'Ji.-,;li.,,rn,Buddho,

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A pretiDrinarl Repon on rhc Bud

,n,,c,,,._"" ,",;,,", üü; !l .'::.:ä,.^i: .l;il ,il1

3;:.t;,.i:;1,,l;:1 ; T,,tr,r1,s, ./qr, .d

Thc Srete.i. Bjhar and ßenaat. ErhA tl.cot.ryt, pa,ck ot ttt" ,,,,,, ;,::i,':

h '!ftur e-s\ mrktr\ üt( nFusinan. tn(tian Art dntt

,,,.'"" *,;,;:i.i;";',;;;';';::::""" \nttsAri

'ont"e'L' (r h\ t re' i4 R,\cu and Karer R

Le culrc de la Grandc Dacse au Bi

,ro.;"i;ir;;;; ;;:n"r;uccsse 2au

b'hrr n€ri'rionar d! vll" ru xlr" \i..rc supptent(hn, h.72 asli

NlantLirr ru gcsre de l.ensejgnem.il

,,,r-*r',i^t'. rvitti.i,"";,i;:;:ü:,i:ii,liill"i,:ntloq@ Etu''r t'ou"e (Bruxe cs ., t'i.se 21 27

i:.':,; il:,,:j :',"',:ri ,l':i '1',cB'dh, 'n , ,!-1 1,,J r,,,",a.,n,(,,, f:'iLal';;; ;;-'':,'i

'lJ'[iüli'.; '"i"':::,'i::::l:.1':#r' liJXJi#li;Jl,'ij;:i;';i1;J

Le ghupe des huil gr!nds Bodhisar!

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,*,," ,i,# i;,i;,i,; ;;);ä,):":11!ll'ä 'illi ;:

Büddha Ga\l rdnu! 01 tP ttorat Asiu'|ic so.ü,- ol

u,,,,,,,. ;,'1";]:,;;,11" ," r.Hihntatü. catdt,)ru. d. td rtohuti,h Lk,t.t r:auhlitt, p^tis.1s,)0.

lgElsur un stüpr votif de l.A$rtorh Museuin, .,1rtr,r ,4 ri.r., vol. XXBVII. 196.{, p. I5l t5a,.

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ol'",,".,,ji,lft"1f;'i"""'osl'?" carcutt! re5E

B, ftthJ 5,t\.,m, n, -t ^) turt4t t,thrt

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B^L,zr Prcxor: Sakvamuni 389

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Painting in CcnrfalTibet, cll 950,1,100.,1riä,r Är/d., vot. LIV 1,2, 1i)9,1, p. 37-136.Scc bclos ünder Ro$i

ChaudhaN. Radbakrishna 1975lhe.Uüir.ttit, of Viknnajah, Pl\tra. 1915.

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A er At.haologle du Tibo. P^tis.Codas (;eorse 1959

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Fsten. G. W. & Thi.go, I.T. 198!Die {;t ter.l(s Hindldya, Budllhßtische Kuhst Tih.ts, Die Sdtnh un!: Ger.l Wollga,( 6jj.r. N,lLin

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Foucaux, Philippe Edoua 188.1

Le Ldlitu Vi!tatu. Da\El.pp.tacat les Jeu, .orkndnt I'histuift du tsu.|dhd Cakyunouni; t1ttui.,,undts\an.e t6qu i sa pridi.zrior, rraduil du sanskrit en üanlxis. vol. t. p.fis. 188.1.

Iouchcr, Alfred 1900

Etl.le su I il.nogatphie bnudlhütuc .]e I Inde, vol. 1. prr's. 1900.19.19

Lu ri. .]u Bauddhu d aptus ks teftt d kt nraüunekß dc I In.te, p^tis, 1919.Gonkshkar. S.dashiv & Desai- KalpaDa 19E7

^n llluslrated Nlanus.ripl ol Ailirdrdl,ar kn traitlnpnrdnliri i. thc Asiaric Socicty of Bomba).

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Mt'n1.lo.ie d..t lti.lßcheh Duddhi.eaß, ir HW Hau$ig. .d.Wijrkrhuch det lnylhobgi.. B^ndV. Stütt8art. 198:1.

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un.l lts lntethdlnnul L?8a.r. Dryton. 1990

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, to,ostuphk rt6 Lbft'.s poLte\ (pdru) dah,tt Mutjjuiinütaketpa, p^tis.lt 0Lanca\tcf. I-ervis R l!StCanesa i. Clrina: Nlerhods ot Traf+.rning rhc Demoric, a;urcsh, S 11ti4 ol M Alidh Gad, e.t.. Ru,.,r I Br.- , \.a\ \,, I t".t p ,- ."

Lc1Ahk.. rJ. !c lr877he ltuD{aptlr of Btit.ltßl S.üttures of the I,nta rnt S.ri peria.ts frohl Badht:er,, yh. t). Dir-.(rr. ti^n. Le Ut ^ s|e r | \cr. \ ( .unbl. tuc-

The case of th. Two Wirnesses to rhePr!rrpa.lilva Pal. Bonrba!, ,rr*, o ,n-i'ounot

Enlightcnmcnl A Pot'Pouni of hdiur Atl cd

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VL l9l5, p 51.1

1916. p. 5 50. p. lil9 l0.+

possibte bearing ot thc ^tfa

D4,rr of Cambo2. 1965. p. 1:l-17.

[sai d archdoloeie .eli[ieusc .omparac.Bulbtitl d. I Eel? Fmheu, a *t,t"r"

ihl Zei.hot dcs ßu.tdhisnüß ur.t AniKurt in Bknnd,2ALta.tahrc Ar.hilektut, Mdtefti uhtt I,kt\tik,ntuftrr. Leipzig. 198E.

Pal. Pratapadirya 1975

B r,l |du I e. u,r_ n.\ ar . rT. i i I n. ni!, In ,I (,.\( .t. I on h ,. tupr |..,..1\ rr.rF

ur'?4/, rorne XXXIV l9l:l. Hrnoi. 1935. p. li5:100Osh.gosa, Niia und Oshegor, Scrgei t9S8

l97lt

I98.1

1990

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391

vol. 20. Janurry Feb.uary l990. p. ()6 78.

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A BuLlrlhist Pdtudi.\., the l\lutult of A!.hi, w.sten Hrnuto),ds, BAsct. ßa2..t Ucc.h Pekarik. Julia l9E8

Butl.lhisl Book tttuhinuliars, New york ... I9E8.ct alii r 99l

An of lt HnntLatas. Tt.utrt.s lton Nqdt und titj.t. \rirh cortribltions by la. Atsop. HerlhcrStoddard. and Valrac Reynolds, N.\r york. 1991.

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Lon Et"pn. ol th. Sitk Koad, Butthist Att frcn Kh.ru Khato (X_XIhh centul_rl. N,titano. 199:].Pl.eshke. llcrben 1972

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N.Lc on a Buddhin Femrte Dctt\. t,tnn Mutud Autktin.Sheppc Sluse.. Mary 1988

trodhgrra and NepdL. tjolt'adra, th. stte of oti|ht.nn.nt,P. 125 1.12

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'lLrcci. Giu\eppc 19,19

Tib4toi I'aiit.rl S.rolLt, k üa,1911).Upasak, (l S 1967

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Vogel. Jern Philippe I95.1'lh. Past Buddhas add Kalyapr i. IDtirn Ar1 and [pigrafhv.,1Jtarka, [enktüift [. tl.tha, Lcip

S. R, A. A.. IV

zig_ 1954. p. E06-826.

lhe wuy ol thc Butj.tha, New Delhi. 1956.The Way 1993

The wu)' or Lrt Buddha, dn Exhibitioh on Butrtlhist At rtIrn the .arte.tk)n oJ trt rhtlen M6.un.... Finc Arts M*eun of Monsoria, uraanbaalar. septcmbe; ree3. carc"ii". r;;,1.

---Wrynran, Alex 1959

Studies ln YaDa and Mat^, In.lo huaiak.tautnaL, rcil. I , t. 1959. p.4:t71. vol lll.2, p I12-1i 1.

1990

... The Butklhitt Terttds, Lighl on InJo Tib.tak Evteticirnt, Dethi.199tit.Woodward Jr. Hnan W. t98t

Burnrcse sculfrücs and In.lian paintnrg. (:hhuvi 2, Rai Ktisrtharrusa Frricirutn t votunle, et).Ananda Krishna. VaraDasi. 1981. D. 21-2.1.1990

The l.itc ot rhc Buddba in the p;,t, NI(D.stic Erlironment- Th( Jaunat ol the Watteß Art (;atl.r'I, !ol. 48. 1990, p. 13 27.

Zlnmcf. Heinrich 1955Th( A of tndian Asta, Ncw york. 1955.

Zwali. W. 19E5

Auddhisth, A dnt Fdith, Lordon, 1985.

Beurze-PrcnoN: Säkyamuni 393

Fig. 1. Buddha, private collection.

394 s. R. A. A., rV (r99st96)

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