The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.4

c7.s1.t2.4

horse-shoe; the top one has one story, surmounted by an uncovered terrace, which is surrounded on three sides by a group of buildings. It is difficult in the present state of the stone to judge of the distribution of the persons on the lower panel; but the five following ones, divided likewise into three compartments by columns with or without Persepolitan capitals, are all composed in the same manner. The centre is occupied by a divine personage, as is proved by the thunderbolt which he holds in his right hand and the vase of ambrosia in his left. God though he be, he is for the rest conceived in the image of an Indian king. Behind him stand the bearers of his parasol and fly-flapper, insignia of his royalty; on his right, in the same surroundings, but on a slightly lower seat, is his viceroy (*uparâja*). At his left are seen the musicians and dancers of his court. It is well known that this concert-ballet is according to Indian ideas the indispensable accompaniment of a happy mundane life. Indications of trees form the background. On the upper terrace, as on a balcony, lean two other gods, likewise fanned by women.