The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.11

c7.s1.t2.11

b) Apparently he was still somewhat distrustful of the intelligence of his spectators ; for, in order to give more precision, he has been careful to put in the first row at the left a nyagrodha tree surrounded by a balustrade. This Ficus indica (clearly distinguished from the açvattha or Ficus religiosa, as it is represented, for instance, on the face of the left jamb) is evidently intended to symbolise by itself the nyagrodha-ârâma at the gates of Kapilavastu, which on the same occasion king Çuddhodana assigned to his son for a residence. Henceforth the meaning of the upper bas-relief becomes, reciprocally, clear enough. It represents in the same elliptical manner the Buddha seated upon a throne, under this same nyagrodha, in the before-mentioned hermitage; and the said king, his father — always to be recognized by the spindle-shaped object kept in its place by a buckle of gems on the top of his turban — « renders homage to him for the third time », whilst the Çâkyas, whose pride has been broken by the miracle, imitate his example. As always, the tree is adorned with garlands and surmounted by a parasol of honour, whilst in the heavens two divinities, mounted on griffons, and two others, half man and half bird, bring still more garlands or cause flowers to rain down.