The Buddhist Art of Gandhara: The Story of the Early School, its Birth, Growth and Decline c16.20

c16.20

In fig. 123, another relief referable to the close of this Later Maturity Period, the decorative scheme is much the same, but the architectural features are more fanciful and ornate, and the artist has paid closer attention to the canonical features of the miracle, so that it can be identified at a glance. Thus the lotus whereon the Buddha is seated is a more realistic plant which at once catches the eye; and two of the re-duplicated images are shown beneath the small arches on either side of the Buddha’s head. This representation of the Grand Miracle, it should be noted, is confined to the middle band of the relief, between which and the upper and lower bands there appears to be no more than a decorative, tactile connexion. Of the two small scenes in the false window above the Buddha’s head, the lower is recognizable as the ‘Sleep of the Women’, the upper as the ‘Flight of the Bodhisattva from Kapilavastu’. In the miniature shrines to right and left are seated Bodhisattva figures with an attendant standing on either side. The group at the bottom of the panel is made up of the last Buddha (Śākyamuni) in the centre, with the six previous Buddhas and the future Buddha (Maitreya) on his right and left, and beyond them figures of devotees, including perhaps the donor or donors. The late date of this carving is confirmed by many minor details, both figural and architectural, among them the dressing of Śākyamuni’s hair in tight ringlets and the designs of the yaksha-supported pillars in the middle band.