The Cambridge History of India, Vol. I: Ancient India v1.c33.30

v1.c33.30

The inscriptions carved here and there on the gateways record the names of pious individuals or of gilds who contributed to their erection, but say not a word, unfortunately, of the scenes and figures delineated, the interpretation of which has been rendered all the more difficult by the practice, universal in the Early School, of never portraying the Buddha in bodily form, but of indicating his presence merely by some symbol, such as his footprints or the throne on which he sat or the sacred tree associated with his enlightenment. Thanks, however, to the light afforded by the sculptures of Bhārhut, with their clear, explicit titles, and thanks, also, to the brilliant labours of Mons. A. Foucher and Prof. Grünwedel, the interpretation of the majority of these reliefs has now been placed beyond dispute, and it will probably not be long before the meaning of the rest becomes equally clear. A good illustration of the methods of narration followed by the artists and of what has been achieved towards the interpretation of the sculptures, is afforded by the front façade of the East Gateway (Pl. XXII, 60). On the right pillar are represented, in six panels, the six *devalokas* or stages of the Buddhist Paradise, their respective deities seated like mortal kings in each. On the left, starting from the base, is Bimbisāra with his royal cortege issuing from the city of Rājagṛiha on a visit to the Buddha, here symbolised by his empty throne. This visit took place after the conversion of Kāçyapa, and in the panel above is depicted one of the miracles by which Buddha converted the Brāhman ascetic. The Nairañjanā river is shown in flood, with Kāçyapa and two of his disciples hastening in a boat to the rescue of Buddha. Then, in the lower part of the picture, Buddha, represented again by his throne, appears walking on the face of the waters, and in the fore-ground the figures of Kāçyapa and his disciples are repeated, now on dry ground and doing homage to the Master. The third panel portrays the temple at Buddh Gayā, built by Açoka, with the throne of Buddha within, and, spreading through its upper windows, the branches of the sacred tree. It is the illumination of Buddha; and to right and left of the temple are four figures in an attitude of prayer—perhaps the Guardian Kings of the four quarters; while ranged above in two tiers are groups of deities looking on in adoration from their celestial paradises. The scenes on the lintels are still more elaborate. On the lowest we see, in the centre, the temple and tree of Buddh Gayā; to the left, a crowd of musicians and devotees with water vessels; to the right, a royal retinue and a king and queen descending from an elephant, and afterwards doing worship at the tree. This is the ceremonial visit which Açoka and his queen, Tishyarakshitā, paid to the Bodhi-tree, for the purpose of watering it and restoring its pristine beauty after the evil spell which the queen had cast upon it. The middle lintel is occupied with the scene of Buddha's departure from Kapilavastu (*mahābhinishkramaṇa*). To the left is the city with wall and moat, and, issuing from its gate, the horse Kaṇṭhaka, his hoofs supported by Yakshas and accompanied by the divinities in attendance on the Buddha, and by Chhandaka, his groom, who holds the umbrella symbolical of his Master's presence. In order to indicate the progress of the Prince, this group is repeated four times in succession towards the right of the relief, and then, at the parting of the ways, we see Chhandaka and the horse sent back to Kapilavastu, and the further journey of Buddha indicated by his footprints surmounted by the umbrella. Lastly, in the topmost lintel, are representations of the seven last Buddhas, the first and last symbolised by thrones beneath their appropriate Bodhi-trees, the rest by the *stūpas* which enshrined their relics.