The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c12.16

c12.16

This monastic legend, very skilfully composed, endeavours, as we see, not merely to conciliate the contradictory notions attached to this deity, at once both cruel and propitious : in order completely to reassure the faithful, it also stands as a guarantee against any relapse of the converted *yakshiṇi* into her ancient errors. Last and in regard to decorum most important, it claims to vindicate, under colour of a contract long ago made with the Master, the installation of this former ogress in the convent, and the propriety of the worship offered to her. It is, in fact, only too clear that it is from pure concession to popular superstitions that, according to the testimony of the Chinese pilgrim Yi-tsing, the image of Hâritî was to be « found either in the porch or in a corner of the dining-hall of all Indian monasteries ». There she was, moreover, he tells us in plain terms, adored no longer as a devourer, but as a « giver » of children. Usually the « genius with the golden bag » was opposite to her — at least, when he was not, as in a number of surviving representations, seated beside her : for the common people had been quick to associate the dispenser of riches with the goddess of fecundity (¹). We may even be permitted to think that their altars must have been those not least frequented by devout laymen, the more so as both sexes were there plainly provided for. A passage from Hiuan-tsang interests us still more directly by attesting that the worship of Hâritî had been transported early into the north-west of India. While following the same itinerary, we were surprised to encounter, under a name which is nothing but an Afghan translation of hers, the mound, still miraculous, even in the eyes of present-day Musalmans, which marks the location of her principal sanctuary in this country of Gandhâra, where at about the beginning of our era the Græco-Buddhist art flourished (²).