The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c9.100

c9.100

(¹) At the bottom of the upper compartment on the left we perceive, indeed, in addition to the two *nâgarâjas* who are holding up the stem of the central lotus, 1st, at the left of the spectator, King Prasenajit, who is recognizable by his parasol-bearer and his elephant, and 2nd, facing him, also seated upon a stool, Pûraṇa Kâçyapa, in the form of a fat, naked man, with shaven head, who is supported from behind under the arms by one of his companions. We may connect with this type that of the same person in *Art g.-b. du Gandh.* (fig. 261 and 225 *c*), and read, *ibid.*, pp. 529 and 537, remarks on the rarity of these representations of « sectarians ». (²) *Divyâvadâna*, p. 165 to the illusion of an ancient basilica. Above the pillars, where the triforium should be, ranges a series of paintings representing hieratic groups (¹). One, almost complete, which is represented by our plate, has the advantage of uniting only the essential elements of the subject, namely, the three Buddhas with their feet placed on lotuses, and — at each side of the one in the centre of the picture, who is teaching, and of whom the two others are, and can only be, illusory emanations — the two traditional divinities, voluntarily reduced to the humble role of flyflap-holders. Is it necessary to observe that this is exactly the same distribution of persons (²) that we find again on the lower row of plate XIX, 2?