The Buddhist Art of Gandhara: The Story of the Early School, its Birth, Growth and Decline c8.11

c8.11

Another notable example of the more elaborate sort of design to be found among the Sāñchī sculptures is the relief illustrating the Illumination scene on the lowest architrave of the Western Gateway (fig. 7). In the centre, the Buddha is represented by his throne beneath the bodhi tree, which by a strange anachronism is here shown growing through the roof of the hypaethral temple built around it in a later age by the Emperor Aśoka. To the right, the armies of Māra are in headlong flight after their vain assault and defeat by the Buddha. The scene is full of vigour and movement. The hurrying figures of bowmen and horsemen, the great elephant overtaking and trampling down the chariot in front of it, the demon in the foreground running his trident, somewhat humorously, into the back of his fallen comrade—all combine to make up a picture of panic-stricken rout and confusion, but without any sacrifice of rhythm and balance in the decorative scheme. To the left of the Bodhi Temple and in marked contrast with the scene on the right is a solemn and sedate procession of the gods, who with drums and banners and flower-offerings come to do honour to the victorious Buddha. The gods make a dull group, but the sculptor had no option in the matter. Whatever the occasion, the gods had to be portrayed as grave and stately beings, with stolid, unemotional countenances. That was the traditional rendering, to which the strictest regard had to be paid, and that is why the groups of heavenly devas, like the groups of earthly princes, invariably appear formal and stilted.