The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.36

c7.s1.t2.36

a) Front face. — We have already stated (above p. 75) what from the point of view of Buddhist iconography constitutes the chief interest of the central panel (pl. X, 1). On the left we perceive the stereotyped representation of a town, proved by the context to be Kapilavastu, in its streets and at its windows the customary animation is to be seen (cf. § 7 a and 8 b) : it is clear that the sculptor has not troubled himself in the least about the fact — which of course he knew as well as we do — that the escape of the Bodhisattva took place during the night. The latter, on his good horse Kaṇṭhaka, is passing through the city gate « the great departure » (*Mahâbhinishkramaṇa*); and we can follow, to the right, in no less than four successive editions, the progress of his miraculous course : but on each occasion the embroidered rug which serves as a saddle to his steed is presented to us without a rider. Each time also the cortège is the same : Chandaka, the faithful attendant, holds, as usual, the parasol; four Gods are lifting the horse's feet, in order, it was thought, that the sound of his shoes might not give the alarm; another has taken possession of the fly-flapper: two others, who at first are dwarfs, but for the sake of variety, strangely enough, grow bigger by degrees as they advance towards the right, are carrying the ewer and the sandals; next, others are throwing flowers, waving their scarves, or beating the heavenly drums. When the right jamb of the gate forces the sculptor to end the series of his repetitions, the attendant and the horse are, as it is written, taking leave of their Master. But the latter is figured only by the gigantic imprint of his feet, marked by the wheel and surmounted by the fly-flapper and the parasol. Finally, at the bottom on the right, Chandaka is returning to the house, leading with him Kaṇṭhaka and bringing (in his right hand and in a kind of wallet slung over his shoulder) the jewels which the young prince has just taken off for ever, in order to embrace the religious life. The three persons, at once both edified and contrite, who follow, are, doubtless, the emissaries whom king Çuddhodana vainly charged to bring back his son.