found wherever the Bauddha religion prevails.* It is in fact so peculiar to Buddhism that I have ventured to name it "the Buddhist railing." This peculiar railing is still standing around the principal Topes at Sánchi and Andher; and some pillars and other fragments are still lying around the great Topes at Sonári and Satdhára. The same railing was placed around the holy Bodhi Trees,† and the pillars dedicated to Buddha. The balconies of the City Gates, and of the King's Palace, were closed by it. It formed the bulwarks of the State Barge. It was used as an ornament for the capitals of columns, as on the northern pillar at Sánchi ;** and generally for every plain band of architectural moulding. At Sánchi it is found in many places as an ornament on the horizontal bars which separate the bas-reliefs from each other. 19. The Sánchi railing has one entrance at each of the four cardinal points; as represented in the plan in Plate IV. Each entrance is covered in No less than nine specimens of this kind of railing were found amongst the Bhilsa Topes, all of which are described in the following pages. In Plate IX. fig 3, I have added a specimen from the great Dipaldinna Mound at Amaravati, for the description of which see Prinsep's Journal, vol. vi. Plate X. + See coins, in Plates XXXI. and XXXII. See Plate XXXI. fig. 1, and Plate XXXII. fig. 11. § Bas-relief at Sánchi, Eastern Gateway, Plate XV. fig. 3. || Bas-relief of Eastern Gateway-Fergusson's Illustrations. Bas-relief of Western Gateway, Left Pillar, Inner Face, No. III. * See Plate X. front, and to the left (as seen from the outside), by a short railing of the same style. In after times another short railing was added to the right of each, and the entrance was changed to the front through a lofty gateway. 20. These four gateways are the most picturesque and valuable objects at Sánchi, as they are entirely covered with bas-reliefs representing various domestic scenes and religious ceremonies. Each gateway is formed of two square pillars, 2 feet 3 inches thick, and 13 feet 8 inches in height. The capitals of these pillars vary. The pillars of the western gate have each four human dwarfs; those of the southern gate have four lions; and those of the other gateways have four elephants surmounted by their riders. The height of the capital is 4 feet 6 inches. The total height of the gateway is 18 feet 2 inches, and its breadth is 7 feet 1 inch. 21. The pillars are crowned by an architrave 19 feet 9 inches in length, with an arched rise of 4 inches in the middle, and a projection of 4 feet 5 inches on each side. These projecting ends are supported by brackets, each formed of the stem and foliage of a tree, beneath which is a náchni, or dancing woman. The style of hair and the peculiar bead-girdle of these female dancers, is so much like those of some of the Tibetan women of the present day, that one is naturally led to trace them to an Indo-Scythian origin; especially when we know that the Indo-Scythian power was paramount in India at the very time that these gateways were erected.* A second architrave is placed above the other at a height of 2 feet 2 inches, and is supported by five uprights, of which two are simple continuations of the pillars. This second architrave is 2 feet and inch in height; and its ends project only 4 feet 2 inches. Five uprights of the same height as this architrave, support a third architrave only 1 foot 9 inches, in height, with diminished projections of 3 feet 11 inches. The ends of the architraves are formed into narrow threaded volutes surmounted by winged lions. The open spaces between the uprights contain small figures of elephant riders below, and of horsemen above; and on the outside of the pillars there are small figures of female dancers. 22. The summit is crowned in the middle by a wheel (half broken) upwards of three feet in diameter, supported by four elephants. On each side, immediately above the pillars, there is a peculiar emblem, which will be described hereafter. Between each of these emblems and the wheel there is a male attend See Plate XIV. for one of these dancing figures. The features are quite Tibetan; and this peculiarity is so strong that it has struck others besides myself. Thus Captain Eyre writes to me: "A very remarkable feature in the sculptures is the peculiar Tartar-like physiognomies of the principal figures. How is this to be accounted for? The sculptors must have been familiar with that peculiar form of the 'human face divine,' or they would not so successfully have chiselled it. It seems to me probable, therefore, that the conquering race must have been of Tartar origin." For the complete figure, see the Frontispiece of Fergusson's Illustrations. ant with a chaori, or Tibetan cow's tail. The wheel is the symbol of Buddha; and the peculiar monograph on each side is the emblem of Dharma.* 23. The whole of these gateways, excepting where they abut on the railings, are most elaborately carved. The faces of the pillars are divided into compartments, each containing a scene either religious or domestic. The faces of the architraves, both front and rear, represent-(1st) sieges; (2nd) triumphal processions either entering or leaving cities; (3rd) adoration of Topes, and of trees; (4th) processions escorting relic-caskets; and (5th) ascetic life in the woods. A short description of these valuable delineations of ancient Indian manners and customs will be given at the end of this account of the Great Sánchi Tope, along with the translations of all the inscriptions. 24. Within the enclosure, and immediately facing each entrance, there is a large figure. Each figure has once rested under a canopy supported in front on a couple of pillars; but these have long since been broken, and the figures themselves have been very much injured. The eastern statue is now lying on its face; but, by digging under it, Lieutenant Maisey discovered that it was a seated figure, which I believe to be that of KRAKUCHANDA, the first mortal Buddha. * See Plate VII. for a view of the Great Tope, with its peculiar gateways. The wheel, or emblem of Buddha, will be found in Plate XXXI. fig. 2; and the other emblem, which is that of Dharma, in Plate XXXII. fig. 10. The southern statue is a standing figure, with a halo round the head. To the right and left there are two attendant figures of half size, and a small elephant. This is most probably a statue of KANAKA, the second mortal Buddha. The western figure is much mutilated, and the head is entirely gone. It is seated, and probably represents KÁSYAPA, the third mortal Buddha. The northern statue is seated cross-legged, with both hands in the lap, the palms uppermost. The head is surrounded by an ornamental nimbus. A small figure, sceptre in hand, hovers above each shoulder; and a male attendant stands on each side, with his left hand resting in his girdle, and his right bearing a mace, or chaori. This is no doubt a statue of SÁKYA SINHA, the last mortal Buddha, seated in the very attitude in which he obtained Buddhahood. 25. These four statues are referred to in one of the longer railing inscriptions which has been translated by James Prinsep. Amongst other things this inscription records a gift of money, the interest of which was to be expended in daily lamps, for the four shrines of the four Buddhas. The inscription is very rudely cut, and fully merits the description which James Prinsep gave it, of a "network of scratches." But as the four Buddhas and the four Buddhist shrines are twice mentioned, there is no doubt of the correctness of Prinsep's reading. The date of the Journal, vi. 459. This inscription is generally called the Hariswamini inscription, from the names of the recorder. |