The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c9.219

c9.219

In the top panel a sort of apotheosis of the Bodhisattva corresponds to the transfiguration of the Buddha: the former, accompanied by ten persons with haloes, is seated, with feet crossed and a water-flask in his hand, under a parasol, on a low rattan seat covered with a cushion. From numerous analogies, and notably that of a bas-relief in the Louvre, where this scene immediately follows that of the Nativity (*Art g.-b. du Gandh*, fig. 164), we seem to recognize the *samcodana* of the Bodhisattva Siddhârtha (*Lalita-vistara*, chap. XIII), a pendant to the *adhyeṣaṇa* of Buddha (*ibid.*, chap. XXV). The point to be noted here is the close connection between the types and attitudes of the gods in the upper and lower scenes. On each side of the Bodhisattva are the same garland-bearers on lotuses; at the two bottom corners are the attendants in the same attitude as on plate XXV, 2; the first attendant on the left at the same level is turning round to express to his neighbour his admiration, as on plate XXVI, 2, etc.