The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c9.122

c9.122

(¹) On this *upâsaka* and *upâsikâ* information taken from the *Vinaya* of the Mûla-Sarvâstivâdins will be found in the already quoted article of M. Ed. HUBER (*B. É. F. E.-O.*, VI, 1906, pp. 9 sqq.). (²) For this title given to Utpalavarṇâ, cf. for example, the commentary on the *Dhammapada*, ed. FAUSBØLL, p. 213. (³) For this impartiality cf. *Divyâvadâna*, p. 146, l. 23. (⁴) Cf. above, p. 164, note 1. (⁵) According to the *Divyâvadâna* (pp. 163-164) the *yaksha-senâpati* who, understanding the impossibility of otherwise overcoming the obstinacy of the Tîrthyas, raises a violent storm to disperse them, is called Pâñcika; but the *Bodhisattvâvadâna-kalpalatâ* calls him Vajrapâṇi (XIII, 57). Only we must would perplex us greatly, did not her crown of towers signalize her at once as the incarnate *nagara-devatâ* of Çrâvastî, an edified witness of the miracle which will henceforth assure her fame; it is in no other form that, for example, the native town of Buddha is seen on other Greco-Buddhist bas-reliefs (¹). But the most interesting feature to be observed is that, if we are to credit the *Divyâvadâna*, the two chief divine acolytes can be no other than Brahmâ on the right of Buddha and Çakra on his left. As a matter of fact, on several replicas the sculptors obviously emphasize this identification by the aid of the usual procedures of the school : to the much bejewelled turban of Indra they oppose, as is the custom, the chignon of Brahmâ, or they even endeavour to designate the latter expressly by the indication of a water-vessel or of a book (²).