A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c9.s2.32

c9.s2.32

Anāthapinda in the foreground emptying a cartful of gold pieces to pave the surface of the garden.
But besides these scenes, which are so intimately connected with the history of Buddhism, there are several bas-reliefs, which seem to represent portions of the history of Rāma during his exile. There are also a few scenes of broad humour in which monkeys are the chief actors.
Of large figures there are upwards of thirty alto-rilievo statues of Yakshas and Yakshinīs [Yakshīs], Devatās, and Nāga Rājas, one half of which are inscribed with their names. We thus see that the guardianship of the north gate was entrusted to Kuvera, King of the Yakshas, agreeably to the teaching of the Buddhist and Brahmanical cosmogonies. And similarly we find that the other gates were confided to the Devas and the Nāgas.
The representations of animals and trees are also very numerous, and some of them are particularly spirited and characteristic. Of other objects there are boats, horse-chariots, and bullock-carts, besides several kinds of musical instruments, and a great variety of flags, standards, and other symbols of royalty.
About one half of the full medallions of the rail-bars and the whole of the half-medallions of the pillars are filled with flowered ornaments of singular beauty and delicacy of execution.’¹