The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c9.95

c9.95

(²) Dr. BURGESS, *loc. cit.*, p. 34, § XVII : we think it necessary to make a choice and say; « between Brahmâ and Indra », or « between two Bodhisattvas » : but that can be decided only on the spot. Let us remark also that a mango-tree cannot be a Bodhi-druma. The letters E-F mark the place of this panel on the plan of Cave II, given by Mr. GRIFFITHS, pl. XX. e Wmust white lotus : a worshipper is below a little to the left. Across the top are seven Buddhas in various *mudrâs*, each on a lotus, the stalks being brought up from below. On each side of the *Bodhi-druma*, or sacred tree, are two Buddhas... Below these, on each side, were two pairs more », etc. We borrow this description from the notes of Dr. Burgess : it would not be possible to find a better one for the « great miracle » of Çrâvastî, including the mango-tree of the Pâli tradition. It is again the same subject which in Cave XVII, on the right wall of the vestibule of the sanctuary, forms a pendant to the no less famous miracle of « the descent from heaven » (¹); and this replica, unfortunately very much damaged, contains also a topical and rather exceptional detail : « The right end of the antechamber », says Dr. Burgess (²), « is painted with standing and sitting Buddhas ; the lower portion, however, is destroyed, except a fragment at each end. The portion remaining at the right side is very curious, representing a number of Digambara Jaina *bhikshus* helping forward an old fat one, and carrying the *rajoharana* or *pichi*, a besom to sweep away insects, etc. Most of them are shaven-headed and stark naked. One or two, who wear their hair, are clothed. On the extreme left are an elephant and a horse with two men. The intermediate painting is completely destroyed ». By now it is not difficult for us to recognize — exactly as