The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.16

c7.s1.t2.16

b) However the case may be, the panel immediately below represents patently the miracle of the « victory over the wicked serpent », the first in the version of the Mahâvagga, the last in that of the Mahâvastu. Buddha has been allowed by the oldest of the Kâçyapas to pass the night, at his own risk and peril, in a fire-temple, in spite of the redoubtable nâga which inhabits it (pl. IX, 1). The latter at once attacks him, and the two struggle together for a long time, smoke against smoke, flame against flame, until the final defeat of the dragon. This is why we here see flames escaping by the horse-shoe bays in the rounded roof of the temple, « as if it were a prey to fire ». Through the pillars supporting the roof, between the fire altar (or rather vessel of fire) and the five-headed hood of the serpent you see the throne of the invisible Buddha. On either side Brahmanic anchorites, characterised by their high conical-shaped head-dresses and their bark-garments, are contemplating with surprise or respect the victory of the Blessed One, whilst below, to the left, three young novices are hastening to go and fill pitchers at the Nairañjanâ. Their intention, if we are to believe the analogy of Gandhâra (cf. Art gréco-bouddhique du Gandhâra, fig. 224, 225 b, etc.), is to use them in extinguishing the fire. On the right an ascetic has just made his report to the old Kâçyapa, seated on a rolled-up mat (brishi) on the threshold of his round hut, with its roof of leaves (parnaçâlâ); a band is passed round his knees and loins, and his head is leaning upon an esparto cushion. In front is a row of trees along the bank of the river. The instruments of the Vedic sacrifice, an elephant, antelopes, two buffalos, which lift their heads with an air of alarm, trees swarming with monkeys, complete or close the picture of the hermitage. On the whole, the miracle is related as minutely as was possible to the sculptor. The whole question is to find out whether he has not sought, in accordance with his habit, to combine two subjects. At the middle bottom, in the river — indicated as usual by waved lines, lotuses and aquatic birds — an adult anchorite, who is about to bathe, seems to be watching a fire-cauldron, placed in unstable equilibrium on the edge of the water. If we remember that one of the wonders accomplished by Buddha consisted precisely in creating fires, in order to allow the Brahmans to warm themselves on leaving the bath, we cannot help asking ourselves whether we have not here at least one allusion to this further *prâtihârya* (cf. Mahâvagga, I, 20, 15).