The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c11.s1.196

c11.s1.196

Lower scene. Cf. p. 220. It will be noticed that the flight of Manoharâ is the only movement in the slightest degree violent that we shall have to encounter in the whole series of these bas-reliefs (cf., however, further pl. XXXVI, 1, lower scene). Scarcely do guards and courtiers allow themselves to betray at the sight of her a gesture of surprise. The birds figured on her left have no other object — if it is absolutely necessary to ascribe one to them (cf. p. 251) — than to emphasize the aerial character of her flight.