The University of Nalanda c17.49

c17.49

"The entrance to the temple was up a low flight of steps on the east. The centre of each facade is relieved by a slight projection; but, the feature of special interest here is a dado of 211 sculptured panels, over the exterior base moulding. These panels are symmetrically disposed around the facades, 20 appearing on each side of the main entrance and 19 in each of the three divisions of the remaining walls. The pilasters which separate the panels are decorated with the familiar pot-and-foliage design; and are surmounted by arches carved in trefoil shape, certain of them being of pointed form. Some of the panels have weathered away, while others seem to have been left unfinished. The dado of panels is surmounted by a double cornice, the lower moulding being relieved at intervals with replicas of the arched fronts of *chaityas* alternated by well-carved geese; and the upper, of which the greater part is missing, being decorated with larger replicas of the same *chaitya* motif; birds of various kinds posed in diverse ways appearing in the intervals, between them. In a few places, there are signs of a third cornice of greater prominence, in one case portraying a human head within an arch. This third cornice was, however, either never finished or subsequently ruined before the present brick walling here was erected. There is a pleasing variety of sculpture figured in the panels of the dado; human couples in amorous postures; representations of Makaras; scroll foliage and geometrical patterns; again, elaborately dressed* women seated in pairs; Kinnaras playing on musical instruments; a snakecharmer, etc. The sculptures of deities include Śiva and Pārvatī in separate panels; or together in one, where the goddess turns aside in fear, on beholding the terrific form of her spouse; Kārtikeya with the peacock; Gaja-Lakṣmī; the gods Agni and Kuvera; the Kachchhappa Jātaka cleverly represented; and there are scenes depicting archery. In other panels, men and women appear in contorted attitudes, and a monstrous lion is depicted, its long neck towering over a smaller beast which has a curiously porcine look. ‘Many are occupied,’ says Dr. Spooner of these panels, ‘with merely decorative devices some of which are of extreme beauty and fascination. One shows a design based upon the hexagon, which Sir John Marshall tells me, was supposed, like the pointed arch, to be exclusively of Moslem inspiration in this country; while others show a great variety of intricate and altogether charming geometrical designs. Perhaps the strangest are those panels, which represent apparently folding doors or gates, where one wing of the gate is shown to be closed, while the other half is rendered open by the simple device of not sculpturing it at all, but letting one-half of the figure within appear to view. One panel is entirely taken up with the heraldic mask so popular in Gupta art and in the art of later times, down to the coming of the Moslems. Another shows a human-headed bird with very flowery tail, the whole having a curiously Burmese look about it. A very heraldic pheasant sort of bird is strutting like any jackdaw of Rheims in another, swinging triumphantly an inverted Vajra in his beak.’