The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.19

c7.s1.t2.19

But for the initiated all the details of the decoration have at the same time an edifying signification. The texts tell us, in fact, that according to the will of the Blessed One these logs and these fires alternately refused and consented, the former to allow themselves to be split and the latter to let themselves burn. That is why, on the right, one of the anchorites continues to hold his axe in the air, without being able to lower it (¹); whilst his neighbour has just succeeded by a lucky stroke in splitting his piece of wood. It is also for the same reason that, of the two Brahmans who are lighting their fires by fanning them with esparto screens, the one in the second row cannot succeed in obtaining any flame whatever, whilst the one in the first row sees his fire blaze up brightly. These two miracles are related to us by the *Mahâvagga* (I, 20, 12-13) in the same breath. But what then would be the role of the anchorite on the left? We imagine that we must turn to the *Mahâvastu* (III, p. 426, l. 15-18) for the answer. His attitude suffices by itself to indicate the twofold marvel, which is perfectly analogous to the preceding ones, of the offering which at first will not be detached from the spoon, then at last consents to fall — in the shape of a snail doubled up — into the sacrificial pile (pl. IX, 1).