The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c9.71

c9.71

It is scarcely necessary to remark that this reason, valid for the whole, is inapplicable to an isolated panel. The reading of the texts will furnish an argument of wider bearing. It does not, in fact, take us long to perceive that they use and abuse the *yamaka-prâtihârya*. The general introduction of the *Jâtaka* makes it to be wrought by Buddha as early as the eighth day after the Bodhi, and specifies that he repeated it under three other circumstances, (1) at the time of his visit to Kapilavastu and of his meeting with his father and his relatives, the Çâkyas, (2) at the time of his encounter with the heterodox monk Paṭikaputta, and last, (3) at Çrâvastî, at the foot of the mango-tree ('). The *Divyâvadâna* attributes it further to a simple monk; the *Mahâvastu* to Yaçoda or Yaças, the converted son of the banker of Benares; the *Sûtrâlaṅkâra* to the five hundred *bhikṣuṇīs*, companions of Mahâprajâpatî; the *Jâtaka*-