The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.22

c7.s1.t2.22

placed upon the front of the pillar, as it forms the dénouement of the episode in the *Mahâvagga* (I. 20, 15; wanting in the *Mahâvastu*) : « At this time there fell out of season a heavy rain, and a great flood followed ». You will understand henceforward why the Nairañjanâ has risen to the point of washing the lower branches of the trees, to the greatest terror of the monkeys who have taken refuge there, and also to the evident satisfaction of the water birds and even of a crocodile. On the swollen waters of the river old Kâçyapa hastens in a curiously jointed canoe, attended by two ascetics with paddles, to the assistance of the Blessed One. But the latter has left his seat (relegated to the bottom at the right of the composition), and has formed for himself a « promenade », which allows him to walk about with dry feet in the midst of the wild waters. This time the anchorite cannot but recognize the transcendent superiority of his host : when we see him again below, standing on the bank with his disciples, he is turning his back towards us, in order to make in the direction of the master's *caṅkrama* the gesture of submission or *añjali* (¹).