The Buddhist Art of Gandhara: The Story of the Early School, its Birth, Growth and Decline c18: Chapter 12. Conclusion
The Buddhist Art of Gandhāra: The Story of the Early School, its Birth, Growth and Decline c18
- Language
- English
Chapter 12. Conclusion
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(FIG. 152)
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Such, in rough outline, is the story of the Early School of Buddhist art in Gandhāra, as revealed by my discoveries at Taxila. Now that we know the truth and can follow, step by step, the course of its evolution, we may wonder why earlier efforts at its reconstruction fell so wide of the mark. Still more may we wonder at the way in which even the highest authorities on the subject failed to distinguish between this Early School of Gandhāra art and the Later School which was flourishing between the latter part of the fourth century and towards the end of the fifth century of our era. For, although these two Schools had a common ancestry (although, indeed, one sprang phoenix-like from the ashes of the other), the differences between them are so glaring that they might well have been recognized long before Taxila yielded its clear and conclusive evidence. Let us consider what these differences were.
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In the Early School the sculptors worked almost exclusively in stone suitable for fine carving. Doubtless they were familiar with clay and terracotta, but, so far as I am aware, not a single figure in any of these materials which is referable to this Early School has survived throughout the length and breadth of Gandhāra; and even at Taxila, where no suitable stone was available, there is only one example of relief work in lime-stucco dating from this period. In the Later School, on the other hand, sculptors worked all but exclusively in lime-stucco or clay, sometimes burnt into terracotta, clay being commonly in positions protected from the weather, lime-stucco and terracotta in more exposed ones. No doubt the adoption of these materials in place of the earlier stone was due primarily to the demand for sculpture in districts where there was no stone suitable for fine carving, but where there was no shortage of limestone or clay. This was eminently the case at Taxila, the largest city in the North-West and the oldest and greatest stronghold of Buddhism, where the only two local stones are a flint-like limestone, of which the hills are composed, and a coarse sandstone, which could be employed for images such as those illustrated in figs. 27 and 28, but did not lend itself to finer work.
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And this brings us to the second outstanding difference between the two Schools, namely, the extent of the areas in which they flourished. Whereas the Earlier School was limited to the Peshāwar Valley and neighbouring tracts west of the Indus, where the indispensable schist and other fine-grained stones could be quarried, the Later School extended over a much wider area, from Taxila east of the Indus as far to the north-west as ancient Bactria and the banks of the Oxus. It was because of the wide extent of this School in Pakistan, India and Afghānistān, far beyond the boundaries of Gandhāra, that in my book Taxila I adopted for it the designation of ‘Indo-Afghan’. This I did after consulting with the Director of the French Mission in Afghānistān, M. J. Hackin, and I still incline to believe that in many ways that designation was preferable to ‘Later Gandhāra School’, which, in deference to some of my critics, I have substituted in the present publication. For, notwithstanding the admittedly close relationship between the two Schools, it is manifestly desirable to employ a term which will avoid any risk of confusing one School with the other and at the same time to give some idea of the different areas in which the two Schools flourished, and to indicate that the second School was in all probability developed on the soil of Afghānistān, not in Gandhāra.
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Thirdly, apart from the materials of which they were made, there were signal differences in the essential character of the sculptures of the two Schools as well as in the design of the structures on which they were displayed. At the time when the Early School first took shape, the stūpa was still the dominant object of cult worship, as it had been in the Early Indian School, and in all important saṅghārāmas there was a large central stūpa encompassed by a number of relatively small votive stūpas. It was on the adornment of these latter monuments that the stone reliefs described in this book were for the most part employed, a few only serving as ex-voto offerings which were subsequently collected and housed in buildings set apart for the purpose, and a few also for the enrichment of minor architectural members such as the risers in the great stairway at Jamāl-Garhī. At the period of which we are speaking the small votive stūpa generally took a simple form, consisting of a square or circular base with a cylindrical drum and dome above, and one or more
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umbrellas crowning the whole; but with the passing years many small modifications were introduced into this simple design, and variety was imparted to it by the diverse character of the pictorial reliefs and decorative carvings which embellished the surface of the monument.
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As in the Early Indian School, the subjects of these reliefs were the Birth (*Jātaka*) stories of the Buddha in his previous lives and the chief events in his last life, but in Gandhāran art the former are much rarer than they had been in the older art of India. By the time the Later Gandhāra School emerged, the form and decoration of stūpas, both large and small, had undergone radical changes. Their bases were now split up into two or more receding terraces, and these in turn were covered with lines of Buddha or Bodhisattva figures set in ornamental niches and divided one from another by stunted pilasters of debased Corinthian pattern. For by this time the Buddha or Bodhisattva images had become supreme and ubiquitous as objects of adoration, and were being endlessly multiplied on every imaginable scale, from the tiny figures impressed on clay sealings and buried in the heart of stūpas to the colossal cult statues enshrined in chapels, 30 ft. and more in height. And this kind of decoration, with its myriads of duplicated figures, was, of course, at once facilitated and encouraged by the use of clay and stucco in place of stone, since it was now possible to cast the images and architectural embellishments in moulds, and to repeat them indefinitely and with the least possible labour over the surface of a monument.
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But, though the new clay or stucco technique was productive of a vast amount of indifferent, careless and unimaginative work, it also lent itself, in the hands of the more gifted artists, to work of a higher order than anything of which the Earlier School had shown itself capable—work which was remarkable for its command of form and vitality of expression, coupled in some cases with a spirituality which anticipated the best efforts of the Gupta Age in India. Here I can give no more than a single example of the striking differences which in this respect distinguish the sculpture of the Earlier and Later Schools. It concerns the Bodhisattva images. Among the finest known specimens of such images belonging to the Earlier School are those illustrated in figs. 137 and 138. The outstanding characteristics of these two figures are, on the one hand, their superb execution with its clean, clear-cut chiselling and elaborate decoration; on the other, their air of foppishness and swagger, eminently suited to a royal prince, but less so to a Bodhisattva, whatever his royal parentage. Of any expression of spirituality in these statues there is not a trace. But now turn to the last illustration in this book—a Bodhisattva head of the Later School from a group at the Kālawān Monastery at Taxila, and mark the look of dignified composure, peace and compassion. In the whole realm of Buddhist art there is surely no image of a Bodhisattva in which the artist has succeeded so well in ‘incarnating spirit in matter’.
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I hope that I have now said enough to give the reader some idea of the radical differences which distinguish the Earlier and Later Schools of Gandhāran art. Such differences imply a long and active period of evolution between the eclipse of the Earlier School in the first half of the third century A.D. and the appearance of the Later School in the second half of the fourth century. What happened during this century and a half? No connecting links between the two Schools have yet been found in the Panjāb or North-West Frontier; nor, for two very good reasons, does there seem any likelihood of their being found on the soil of Pakistan. The first reason is that the whole of that terrain has already been relatively well explored and it is hardly believable that the existence of such remains, which must have been both widespread and abundant, could have escaped all observation. The second reason is that the Early Gandhāra School owed its development mainly to the patronage which the imperial Kushān rulers, from Kadphises I to Vāsudeva, gave to Buddhism, and the eclipse of the School came, suddenly and completely, when the Kushān power was broken, the Buddhist monasteries destroyed and the Kushāns themselves driven back to their former home in Bactria. It was there, in the north of the modern Afghānistān, where the Kushāns had long before become imbued with the brilliant cultural legacy of provincial Hellenism, that we must, in my view, look for the missing links between the Early School of Gandhāra and that Later and very different School of Art which the Kushāns brought back with them when they returned to the North-West in the second half of the fourth century, and which was flourishing there so richly and luxuriantly until the final overthrow of the Kushāns and the utter destruction of the Buddhist monasteries at the hands of the White Huns.
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Fig. 1. Symbol of the Three Jewels (triratna)—the Buddha, the Law and the Order—attended by a guardian yaksha. On the summit of the Northern Gateway of the Great Stûpa at Sãñchī. Marshall and Foucher, Monuments of Sãñchī, vol. II, pl. 30.
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Fig. 2. Yaksha sprites (kumbhaṇḍas) spouting forth the lotus—emblem in ancient India of Birth and Life and Good Fortune. On the Southern Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. I, p. 146; vol. II, pl. II.
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Fig. 3. Queen Māyā on lotus, symbol of the divine Birth of the Buddha. On the Eastern Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, *Monuments of Sāñchī*, vol. I, pp. 183 and 197; vol. II, pl. 41.
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Fig. 4 (a). Bodhi-tree and throne, symbolizing the Illumination. (b) Wheel of the Law, symbolizing the First Sermon. On the Gateway of Stūpa 3 at Sāñchī. *Ibid.* vol. III, pl. 103 e.
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Fig. 5. Adoration of a stūpa, symbolizing the Death of the Buddha. On the Western Gateway of the Great Stūpa at Sāñchī. *Ibid.* vol. II, pl. 63.
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Fig. 6. The latter part of the Viśvantara Jātaka. On the Northern Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. II, pl. 29.
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Fig. 7. Assault and defeat of Māra. On the Western Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. I, pp. 114-15; vol. II, pl. 61.
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Fig. 8. Procession of King Śuddhodana to meet his son on his return to Kapilavastu. On the Eastern Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. I, pp. 122-3; vol. II, pl. 50.
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Fig. 9. Three of the six inferior heavens (kāmāvacara). On the Eastern Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. I, p. 227; vol. II, pl. 49a.
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(a)
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(b)
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Fig. 10. (a) The Śyāma Jātaka. On the Western Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, *Monuments of Sāñchī*, vol. I, p. 225; vol. II, pl. 65 *a* 1. (b) The Nāga-rāja Mucilinda. On the Western Gateway of the Great Stūpa at Sāñchī. *Ibid.* vol. I, p. 208; vol. II, pl. 65 *a* 2.
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Fig. 11. A scene of pleasure among the rocks. On the Northern Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. I, pp. 228–9; vol. II, pl. 34b 2.
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Fig. 12. Dwarf Atlants (kumbhaṇḍas). On the Western Gateway of the Great Stūpa at Sāñchī. Marshall and Foucher, Monuments of Sāñchī, vol. 1, pp. 140-1; vol. II, pl. 57.
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Fig. 13. Toilet-tray with pair of lovers. From Sirkap. National Museum of Pakistan, Karachi. Diam. 4·31 in. Grey schist. Marshall, *Taxila*, vol. II, p. 494, no. 62; vol. III, pl. 144, no. 62.
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Fig. 14. Toilet-tray with drinking-scene. From Sirkap. National Museum of Pakistan, Karachi. Diam. 5.31 in. Grey schist. Marshall, *Taxila*, vol. II, pp. 494-5, no. 63; vol. III, pl. 144, no. 63.
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Fig. 15. Toilet-tray with hippocamp and rider. From Sirkap. Taxila Museum. Diam. 4·62 in. Grey schist. Marshall, *Taxila*, vol. II, p. 496, no. 74; vol. III, pl. 144, no. 74.
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Fig. 16. Toilet-tray with crowded drinking-scene. From Sirkap. National Museum, New Delhi. Diam. 6·2 in. Greenish-grey steatite. Marshall, Taxila, vol. II, p. 495, no. 65; vol. III, pl. 144, no. 65.
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Fig. 17. Toilet-tray with sea-monster, ridden by half-draped female with baby. From Sirkap. Taxila Museum. Diam. 3·12 in. Steatite. Marshall, Taxila, vol. II, p. 496, no. 76; vol. III, pl. 145, no. 76.
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Fig. 18. Toilet-tray with Aphrodite and winged Erotes. From Narai, Peshāwar District. Formerly in L. W. Jardine Collection. Diam. 4·75 in.
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(a) (b) Fig. 19. Female statuette. From Sirkap. National Museum of Pakistan, Karachi. Ht. 7·25 in. Chloritic micaceous schist. Marshall, Taxila, vol. II, p. 701, no. 4; vol. III, pl. 211, no. 4a and b.
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Fig. 20. Female statuette. From Block D', Sirkap. National Museum of Pakistan, Karachi. Ht. 9 in. Chloritic micaceous schist. Marshall, Taxila, vol. II, p. 701, no. 3; vol. III, pl. 211, no. 3a and b.
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Fig. 22. Inscribed bracket in form of a winged deva. From Sirkap. Taxila Museum. Length 6·62 in. Pale chloritized micaceous schist. Ibid. vol. II, p. 702, no. 11; vol. III, pl. 213, no. 11.
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Fig. 21. Bracket in form of a winged deva. From Sirkap. Taxila Museum. Ht. 4·75 in. Chloritized micaceous schist. Marshall, Taxila, vol. II, p. 702, no. 8; vol. III, pl. 212, no. 8.
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Fig. 23. Bracket in form of a winged deva. From Kunāla. Taxila Museum. Length 7·5 in. Micaceous schist. Marshall, Taxila, vol. II, p. 703, no. 18; vol. III, pl. 213, no. 18.
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Fig. 24. Bracket in form of a winged deva. From Dharmarājikā (?). British Museum. Ht. 15·75 in. Talcose schist. A.G.-B.G. vol. I, p. 213, fig. 89.
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Fig. 25. Bracket in form of a winged devī. From Dharmarājikā. Taxila Museum. Length 13·5 in. Quartz schist. Marshall, Taxila, vol. II, p. 703, no. 16; vol. III, pl. 213, no. 16.
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Fig. 26. Unidentified Jātaka. From Block E, Sirkap. Taxila Museum. Ht. 13·25 in. Micaceous schist. Marshall, *Taxila*, vol. II, p. 721, no. 135; vol. III, pl. 222, no. 135.
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Fig. 27. Male statuette, possibly representing Sūrya, the sun-god. From Sirkap. Taxila Museum. Ht. 26·25 in. Taraki sandstone. Marshall, Taxila, vol. II, p. 702, no. 7; vol. III, pl. 212, no. 7.
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Fig. 28. Image of Gautama. From Dharmarājikā. Taxila Museum. Ht. 16 in. Taraki sandstone. Ibid. vol. II, p. 701, no. 6; vol. III, pl. 212, no. 6.
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Fig. 29. Head of Dionysus. From Sirkap. National Museum of Pakistan, Karachi. Ht. 3·75 in. Silver repoussé. Marshall, Taxila, vol. II, p. 614, no. 21; vol. III, pl. 209a.
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Fig. 30. Statuette of Egyptian child-god Harpocrates. From Sirkap. National Museum of Pakistan, Karachi. Ht. 5 in. Bronze. Ibid. II, p. 605, no. 417; III, pl. 186e.
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Fig. 31. Female head. From Sirkap. National Museum of Pakistan, Karachi. Ht. 2·37 in. Buff-coloured terra-cotta. Ibid. vol. II, p. 451, no. 47; vol. III, pl. 133, no. 47.
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Fig. 32. Head of Satyr. Ht. 8·12 in.
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Fig. 34. Ht. 6 in.
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Fig. 33. Ht. 4·5 in.
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Fig. 35. Ht. 3·75 in.
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Stucco heads from Apsidal Temple in Sirkap. 32: National Museum of Pakistan, Karachi; 33-5: Taxila Museum. Cf. Marshall, *Taxila*, vol. II, pp. 517-19, nos. 1, 2, 3, 10; vol. III, pl. 148, nos. 1, 2, 3, 10.
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Fig. 36. Ht. 4·5 in.
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Fig. 38. Head of Bodhisattva. Ht. 4·75 in.
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Fig. 37. Ht. 6·5 in.
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Fig. 39. Head of colossal Bodhisattva. Ht. 13·5 in.
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Stucco heads from Apsidal Temple in Sirkap. 36: National Museum, New Delhi; 37-9: Taxila Museum. Marshall, *Taxila*, vol. II, pp. 518-19, nos. 8, 11, 20, 19; vol. III, pl. 148, nos. 8. 11: pl. 149c, *h*.
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Fig. 40. Drinking-party of nine figures. Probably from Swāt. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 4·75 in. A.G-B.G. vol. 1, p. 253, fig. 131.
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Fig. 41. So-called 'Presentation of the Bride to Siddhārtha'. From Takht-i-Bahī. Ht. 5·5 in. British Museum.
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Fig. 43. Ht. 6·9 in.
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23. L
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Fig. 44. Ht. 6·75 in. Reliefs formerly in the Church Missionary Society's Collection, Peshāwar; now in Peshāwar Museum. Figs. 43, 44.
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Fig. 42. Silver Parthian goblet. From Sirkap. Taxila Museum. Ht. 5·25 in. Marshall, Taxila, vol. II, p. 612, 5a; vol. III, pl. 188, 5a.
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Fig. 45.
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Fig. 46.
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Figs. 45, 46. Reliefs formerly in the possession of the Church Missionary Society at Pesháwar. Fig. 46 is now in the Pesháwar Museum.
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Fig. 47. Sea or river deities. British Museum. Ht. 6·75 in. A.G-B.G. vol. 1, p. 247, fig. 126.
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Fig. 48. Triton in triangular panel. British Museum. Ht. 7·5 in. A.G-B.G. vol. 1, p. 243, fig. 123.
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Fig. 49. Family drinking-scene of five figures. From Haḍḍa, S. Afghānistān. Musée Guimet, Paris. Ht. 6.5 in.
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Fig. 50. Family drinking-scene. From Haḍḍa, S. Afghānistān. Kābul Museum. Ht. 6.5 in.
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1914
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Fig. 51. Drinking-scene of two couples, carved on lion-footed pedestal. Lahore Museum. Ht. 9·25 in. A.G.-B.G. vol. I, p. 251, fig. 130.
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Fig. 52. Crouching Atlant. Lahore Museum.
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Fig. 53. Gift of the Jetavana Garden. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 8 in. A.G.-B.G. vol. 1, p. 474, fig. 239.
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Fig. 54. The Interpretation of Māyā's dream. From Swāt. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 6 in. A.G.-B.G. vol. 1, p. 299, fig. 151. Photograph by Mr Caddy.
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Fig. 55. The Seven Steps of the Infant Buddha. From Swāt. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 6 in. A.G.-B.G. vol. 1, p. 307, fig. 155. Photograph by Mr Caddy.
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Fig. 56. Duplicate of Fig. 54. Photograph by Archaeological Department.
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Fig. 57. Duplicate of Fig. 55. Photograph by Archaeological Department.
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Fig. 58. Bath of the Infant Buddha. From Swāt. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 10·5 in. A.G.-B.G. vol. 1, p. 309, fig. 156.
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Fig. 60. Deva. From Dharmarājikā at Taxila. Taxila Museum. Ht. 13·5 in. Chloritized micaceous schist.
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Fig. 59. The First Sermon. From Loriyān Tangai. Calcutta Museum. Ht. 12·6 in. A.G.-B.G. vol. 1, p. 431, fig. 219.
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Fig. 61. The gift of the bundle of grass. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 15·6 in.
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Fig. 62. Adoration of the Bodhisattva's head-dress in the Trayastriṃśa Heaven. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 15·1 in.
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Fig. 63. The Buddha and Vajrapāṇi. Berlin Museum. Ht. 15.75 in. A.G.-B.G. vol. II, part I, p. 49, fig. 326.
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Fig. 64. Female guard, with shield and spear. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 15 in.
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Fig. 65. Musician playing on lute. From Swāt. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 15·1 in.
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Fig. 66. The Buddha and a Brāhman ascetic. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 15 in.
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Fig. 67. The attack of Māra. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 15·25 in.
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Fig. 68. Mahāparinirvāṇa of the Buddha. Guides' Mess, Mardān; now in Peshāwar Museum. Ht. 10·5 in. A.G.-B.G. vol. 1, p. 557, fig. 276.
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Fig. 69. Submission of the Nāga Apalāla. From Sanghao. Bombay Museum. Ht. 7·12 in. A.G.-B.G. vol. I, p. 551, fig. 274.
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Fig. 70. The Worship of the Three Jewels. From Lower Monastery at Nathu. Calcutta Museum. Ht. 8.75 in. A.G.-B.G. vol. 1, p. 428, fig. 216.
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Fig. 71. Gautama and the Brāhman ascetics. From Rhode, near Sanghao. Lahore Museum. Ht. 6·3 in. A.G.-B.G. vol. I, p. 377, fig. 191.
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Fig. 72. Mahāparinirvāṇa of the Buddha. From Lower Monastery at Nathu. Lahore Museum. Ht. 9·12 in. A.G.-B.G. vol. 1, p. 565, fig. 281.
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Fig. 73. Dīpaṅkara Jātaka. From Sikri. Lahore Museum. Ht. 13 in.
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Fig. 74. The Bodhisattva in the Tushita heaven. From Sikri. Lahore Museum. Ht. 13 in.
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Fig. 75. The Buddha and the Nāga-rāja Kālika. From Sikri. Lahore Museum. Ht. 13 in.
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Fig. 76. The Buddha and the grass-cutter Svastika. From Sikri. Lahore Museum. Ht. 13 in. A.G.-B.G. vol. I, p. 391, fig. 197.
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Fig. 77. Presentation of the four begging-bowls. From Sikri. Lahore Museum. Ht. 13 in.
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Fig. 78. Yaksha with grape-vine scroll. Provenance not known. Peshāwar Museum.
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Fig. 79. Door-jamb with empanelled figures. From Dharmarājikā Stūpa. Taxila Museum. Ht. 26·5 in. Chloritized micaceous schist.
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Fig. 80. Fragment of a frieze with busts of celestials beneath arches. From Dharmarājikā Stūpa. Taxila Museum. Length 6·5 in. Chloritized micaceous schist. Marshall, Taxila, vol. II, p. 710, no. 78; vol. III, pl. 217, no. 78.
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Fig. 81. Fragment of a frieze, decorated with intertwined vine stems. From Dharmarājikā. Taxila Museum. Length 7·25 in. Chloritic micaceous schist. Ibid. vol. II, p. 710, no. 81.
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Fig. 82. Nāga-rāja with musicians and attendants. From Kāfir-kot. British Museum. Length 22·75 in. A.G.-B.G. vol. 1, p. 253, fig. 133b, and p. 256.
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Fig. 83. Drinking-scene of Nāga-rāja and queen. From Kāfir-kot. British Museum. Length 24·25 in. Ibid. vol. 1, p. 253, fig. 133a, and p. 256.
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Fig. 84. The starving Bodhisattva. Probably from Jamāl-Garhī. British Museum. Ht. 7 in. A.G.-B.G. vol. 1, p. 381, fig. 193.
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Fig. 85. Cult statue of the Buddha. Lahore Museum.
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Fig. 86. Cult statue of the Buddha. Lahore Museum. Ht. 4 ft. 5 in.
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Fig. 87. Mahāparinirvāṇa of the Buddha. From Upper Monastery at Nathu. Calcutta Museum. Ht. 8.75 in.
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Fig. 88. Presentation to the Buddha of a mango grove by the courtesan Āmrapālī. From Upper Monastery at Nathu. Calcutta Museum.
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Fig. 89. Yakshī standing beneath a śāla tree. From Upper Monastery at Nathu. Calcutta Museum. Ht. 13·5 in.
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Fig. 90. Fragment showing portions of five figures. From Loriyān Tangai. Calcutta Museum. Ht. 11 in.
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Fig. 91. Base ornamented with garland and Erotes. From Lower Monastery at Nathu. Calcutta Museum. Ht. 7.5 in.
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Fig. 92. Sleep of the women. From Takht-i-Bahī. British Museum. Ht. 6 in. A.G.-B.G. vol. I, p. 351, fig. 179.
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SLEEPING MUSICIANS
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Fig. 93. Fragment from a scene of the Sleeping Women. From Dharmarājikā. Taxila Museum. Ht. 19·5 in. Phyllite. Marshall, *Taxila*, vol. II, pp. 713-14, no. 99; vol. III, pl. 218, no. 99.
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Fig. 94. Māyā's dream. From Kālawān Monastery. National Museum, New Delhi. Length 15.6 in. Phyllite. Marshall, Taxila, vol. II, p. 712, no. 92; vol. III, pl. 218, no. 92.
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Fig. 95. The child Bodhisattva going to school in a ram-cart. From Chārsada Tehsil, Peshāwar District. Victoria and Albert Museum, London. Ht. 14 in.
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Fig. 96. The Buddha in unidentified scene. From Palātu-Dheri, Chārsada. Peshāwar Museum. Ht. 14 in. A.S.R. 1902-3, p. 169, no. 28 and pl. XXVII, 5.
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Fig. 97. Adoration of a stūpa. From Swāt. British Museum. Ht. 6 in.
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Fig. 98. The Buddha enthroned with Vajrapāṇi and seven female devotees. From Dharmarājikā. Taxila Museum. Ht. 19 in. Phyllite. Marshall, *Taxila*, vol. II, p. 718, no. 121; vol. III, pl. 221, no. 121.
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Fig. 99. Birth of the Buddha. Provenance unknown. Peshawar Museum.
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Fig. 100. Miracle at Śrāvastī. From Dharmarājikā. Taxila Museum. Ht. 11 in. Phyllite. Marshall, Taxila, vol. II, p. 720, no. 132; vol. III, pl. 222, no. 132.
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RELIEF WITH BRAHMANICAL ASCETIC ON BUDDHA'S RIGHT.
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Fig. 101. The Buddha under pipal canopy. From Dharmarājikā. Taxila Museum. Ht. 9·5 in. Phyllite. Marshall, *Taxila*, vol. II, pp. 721-2, no. 141; vol. III, pl. 224, no. 141.
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Fig. 102. Entreaty of the gods in the Tushita heaven. From Dharmarājikā. Taxila Museum. Ht. 8·75 in. Phyllite. Marshall, *Taxila*, vol. II, p. 712, no. 93; vol. III, pl. 217, no. 93.
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(b)
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(a)
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Fig. 103. Part of a stele. (a) Submission of Nāga Apalāla. (b) Unidentified. From Jamāl-Garhi. Calcutta Museum. Ht. 22·8 in. A.G.-B.G. vol. I, p. 549, fig. 272.
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Fig. 104. Birth of Chandaka and Kaṇṭhaka. From Jamāl-Garhi. Calcutta Museum. Ht. 9 in. A.G.-B.G. vol. I, p. 318, fig. 163.
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Fig. 105. Wrestling match. From Jamāl-Garhi. Calcutta Museum. Ht. 11 in. Ibid. vol. II, p. 11, fig. 303.
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(a) →
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(b) ←
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(c)
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Fig. 106. Śyāma Jātaka. From Dharmarājikā. Taxila Museum. Length 2 ft. 11 in. Phyllite. Marshall, Taxila, vol. II, pp. 711-12, nos. 90a and b; vol. III, pl. 217, nos. 90a and b.
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Fig. 107. Visit of Indra to the Buddha. From Giri, Taxila. Taxila Museum. Ht. 21·25 in. Phyllite. Marshall, Taxila, vol. II, p. 716, no. 113; vol. III, pl. 219, no. 113.
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Fig. 108. A yaksha Atlant. From Jamāl-Garhi. Calcutta Museum. Ht. 7·5 in. A.G.-B.G. vol. I, p. 209, fig. 87.
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Fig. 109. Head of the Buddha. From Mohṛā Morādu. Taxila Museum. Ht. 5 in. Talcose chloritic schist. Marshall, Taxila, vol. II, p. 724, no. 159.
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Fig. 110. The Buddha. Lahore Museum. Ht. 3 ft. 5 in.
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Fig. 111. The Buddha. From Dharmarājikā. Taxila Museum. Ht. 3 ft. 1 in. Phyllite. Marshall, Taxila, vol. II, p. 724, no. 158; vol. III, pl. 225, no. 158.
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Fig. 112. Hāritī. From Takht-i-Bahī. Peshāwar Museum. A.G.-B.G. vol. II, p. 129, fig. 376.
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Fig. 113. Miracle of the black snake at Rājagṛiha. From Rāṇigat(?). Lahore Museum. Ht. 13·5 in. A.G.-B.G. vol. I, p. 453, fig. 227.
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Fig. 114. The Buddha's Flight from the City and connected scenes. Lahore Museum. Ht. 24·5 in.
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Fig. 115. Miracles at Śrāvastī and Uruvilvā. From Jamāl-Garhi. Calcutta Museum. Ht. 7·5 in.
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Fig. 116. Three scenes from the story of Nanda. From Jamāl-Garhī. Calcutta Museum. Ht. 23·75 in. A.G.-B.G. vol. 1, p. 471, fig. 238.
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Fig. 117. The First Sermon. From Loriyān Tangai. Calcutta Museum. Ht. 15·5 in. A.G.-B.G. vol. 1, p. 433, fig. 220.
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Fig. 118. Visit of Indra to the Buddha. From Loriyān Tangai. Calcutta Museum. Ht. 3 ft. 9 in. A.G.-B.G. vol. 1, p. 493, fig. 246.
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Fig. 119. Flight of the Bodhisattva from Kapilavastu. From Loriyān Tangai. Calcutta Museum. Ht. 1 ft. 7 in. A.G.-B.G. vol. 1, p. 357, fig. 182.
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Fig. 120. Visit of Indra to the Buddha. From Mamāne-Dheṛī, near Chārsada. Peshāwar Museum. Ht. 30 in. C.I.I. vol. II, p. 171 and pl. xxxiv.
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Fig. 121. Conversion of Nanda. The enticement scene. From Haḍḍa, S. Afghānistān. British Museum. Ht. 11·75 in. Limestone. A.G.-B.G. vol. I, p. 465, fig. 234.
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Fig. 122. Miracle of Śrāvastī. From Loriyān Tangai. Calcutta Museum. Ht. 39·5 in. A.G.-B.G. vol. 1, p. 192, fig. 76.
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Fig. 123. Miracle of Śrāvastī. From Muhammad Nāri. Lahore Museum. Ht. 3 ft. 5 in. A.G.-B.G. vol. 1, p. 193, fig. 77.
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Fig. 124. Miracle of Śrāvastī. From Sahrī-Bahlol. Peshāwar Museum. Ht. 21·5 in. Hargreaves, Handbook to the Sculptures in the Peshāwar Museum, p. 42, pl. 2.
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Fig. 125. Miracle of Śrāvastī. From Sahri-Bahlol. Peshāwar Museum.
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Fig. 126. Ornamental canopy. From Sahri-Bahlol. Peshāwar Museum.
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Fig. 127. The death of the Buddha (mahāparinirvāṇa). From Swāt. Calcutta Museum. Ht. 10 in. A.G.-B.G. vol. 1, p. 561, fig. 279.
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Fig. 128. The death of the Buddha (mahāparinirvāṇa). From Swāt. Calcutta Museum. Ht. 16·25 in. A.G.-B.G. vol. I, p. 558, fig. 277.
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Fig. 129. The death of the Buddha (mahāparinirvāṇa). From Takht-i-Bahī. British Museum. Ht. 10·5 in. A.G.-B.G. vol. 1, p. 559, fig. 278.
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Fig. 130. Viśvantara Jātaka. British Museum. Ht. 9·25 in.
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Fig. 131. The Buddha, standing in abhaya-mudrā. Lahore Museum (no. 740).
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Fig. 132. Standing image of the Buddha. Formerly in Guides' Mess, Mardān. Ht. of head, 10.8 in. A.G.-B.G. vol. II, p. 291, fig. 445. Foucher, Beginnings of Buddhist Art, p. 119 and pl. XI, 2.
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Fig. 133. The Buddha and the Kāśyapas. From Sahri-Bahlol. Peshāwar Museum. Ht. 20·5 in. A.G.-B.G. vol. II, p. 343, fig. 461.
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Fig. 134. Standing image of the Buddha. From Mamāne-Dheṛī. Peshāwar Museum. Ht. 3 ft. 1 in.
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Fig. 136. Seated image of the Buddha in dhyāna-mudrā. From Sahri-Bahlol. Peshāwar Museum. Ht. 2 ft. 5·5 in.
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Fig. 135. Seated image of the Buddha in dhyāna-mudrā. From Takht-i-Bahi. Peshāwar Museum.
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Fig. 137. Bodhisattva Maitreya. From Mohṛā Morādu monastery, Taxila. Taxila Museum. Ht. 3 ft. 4 in. Phyllite. Marshall, Taxila, vol. II, p. 722, no. 142; vol. III, pl. 223.
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Fig. 138. Bust of Bodhisattva. Guides' Mess, Mardān; now in Peshāwar Museum.
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Fig. 139. Standing image of Bodhisattva Maitreya. From Sahri-Bahlol. Peshawar Museum. Ht. 3 ft. 2 in. A.G.-B.G. vol. II, p. 221, fig. 416.
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Fig. 140. Bodhisattva Maitreya. Lahore Museum. Ht. 2 ft. 9 in.
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Fig. 141. Bodhisattva Siddhārtha meditating at the Ploughing Festival. From Sahri-Bahlol. Peshāwar Museum. Ht. 28 in. A.G.-B.G. vol. II, p. 217, fig. 413.
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Fig. 142. Bodhisattva Maitreya. From Upper Monastery at Nathu. Calcutta Museum. Ht. 14 in. A.M.I. pl. 93.
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Fig. 143. Seated image of Pāñcika. From Tahkal, near Peshāwar. Lahore Museum. Ht. 5 ft. 11 in. A.G.-B.G. vol. II, pp. 108-9, figs. 367-8.
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Fig. 144. Pāñcika and Hāritī. From Sahri-Bahlol. Peshāwar Museum. Ht. 3 ft. 4 in. Hargreaves, Handbook to Sculptures in Peshāwar Museum, pp. 44 and 50, pl. 7.
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Fig. 145. Atlant. From Kāli Ghund, Mardān District. Peshāwar Museum. Ht. 21·75 in.
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Fig. 146. Atlant. From Jamāl-Garhī. Calcutta Museum. Ht. 7·5 in.
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Fig. 147. Corinthian capital. From Jamāl-Garhī. Calcutta Museum. Length 2 ft. 10 in. A.G.-B.G. vol. I, p. 235, fig. 112, and A.M.I. pl. 77.
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Fig. 148. Frieze of garland and amorini. From Kālawān, Taxila. National Museum of Pakistan, Karachi. Length 15 in. Phyllite. Marshall, Taxila, vol. II, p. 709, no. 72; vol. III, pl. 216, no. 72.
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Fig. 149. Door-jamb. From Dharmarājikā. Taxila Museum. Ht. 22·75 in. Phyllite. Marshall, Taxila, vol. II, p. 704, no. 22; vol. III, pl. 214, no. 22.
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Fig. 150. Panel with two scenes, (a) presentation of the four bowls, (b) death of the Buddha. From Afrido-Dheri(?). Peshāwar Museum.
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Fig. 151. The Grand Miracle of Śrāvastī. Peshāwar Museum.
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Fig. 152. Terracotta head of Bodhisattva of the Later (Indo-Afghān) Gandhāra School. From the Kālawān Monastery at Taxila. National Museum of Pakistan, Karachi. Ht. 14 in. Marshall, Taxila, vol. I, pp. 338–9; vol. II, p. 470, no. 174; vol. III, pl. 137c.