The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.42

c7.s1.t2.42

b) *Rear face.* — Besides, as we have already said, this is not the only legend belonging to the cycle of Açoka that seems to us to have inspired the image-makers of Sânchî. Concerning the tumulus of Râmagrâma two other stories were still current among them; or rather two versions of the same story. According to one this *stûpa* was honoured by mythical serpents (*nâga*); in the other it was wild elephants (*nâga*) who paid their devotions to it : we are not far from believing that this simple pun gave rise to the two forms of the tradition. However that may be, the first is figured on the southern gate : the other, we believe, is here. Besides, whatever may be the name by which the *stûpa* is called, there is no doubt as to the meaning of the story written in stone. Those are, in fact, wild elephants, which are marching in procession towards the sanctuary from the two extremities of the lintel; and it is indeed as votive offerings that they lift in their trunks, or are still dragging with their tusks, flowers torn from the lotuses in the nearest lake.