The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c11.s1.94

c11.s1.94

The double repetition of the scene of the *stûpa* and of the ship will be noticed. We do not see any plausible explanation of it, unless we suppose that the sculptor, after having skipped more than one important incident in the history of Rudrâyaṇa, has been obliged, in order to fill up the space for decoration, to lengthen out the epilogue. In fact, we must not forget that the bas-reliefs, which were carved *in situ* and in the very stones whose juxtaposition constituted the monument, could be neither removed nor replaced. There is no absurdity, therefore, in supposing that the artist, on approaching the last angle before the northern staircase, perceived that he still had to fill five or six panels, of which he could not decently devote more than two to the *Kinnara-jâtaka* : he will then have rid himself from his embarrassment by a double repetition, which moreover was justified by the texts, while bringing right to their destination all the few persons who had escaped from Roruka, that is the goddess, Çyâmâka, Mahâkâtyâyana, and the two good ministers.