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Now it is curious that the old Páli equivalents of these letters form, when combined together, a monogram of exactly the same shape as the symbol which I have attributed to Dharma. In Plate XXXII., fig. 3, I have given this monogram, with the single letters which compose it placed in a line below. In all the monograms, both of the bas-reliefs and of the coins, the symbol is crossed by a horizontal line in the middle, which I take to represent the lower stroke of the Páli letter n, the radical of "void space, or vacuity." This, therefore, must be the fifth element, the ákás of the Hindus, and the atong of the Greeks. The symbol is thus strictly composed of the five radical letters of the five elements, y, air; r, fire; v, water; 1, earth; and n, ether; which when combined contain the letters, for Mount Sumeru, as well as the letter Ŏ, m, or manas, or mind.* In Plate XXXII., I have given all the different specimens of this symbol that I can collect from various sources.

Fig. 3 is the simple monogram, composed of the five radical letters of the elements.

Fig. 4 is a quadruple specimen of this symbol, from a bas-relief medallion on one of the pillars at Andher. The same is found on No. 10 coin of Plate XXXI.

Fig. 8 shows the elemental symbol crowning the staff of a flag or military ensign.

* A strong proof of the correctness of this explanation is found in the , swastika, or mystic cross, which appears to be only a monogram or literal symbol of the old letters, su, and, ti, or suti, which is the Pali form of the Sanskrit swasti.

Fig. 9 is one of the ornaments from a necklace in the Sánchi bas-reliefs.

Fig. 10 is the same monogram, but very highly ornamented. Two of these symbols are placed on the summits of the Sánchi gateways, one on each side of the wheel-symbol of Buddha.

Fig. 13 is a copper coin from the ruins of the ancient city of Ayodhya, or Ajudhya, in Oudh. The inscription in Old Páli is Vijaya Mitasa, " (coin) of VIJAYA MITRA." In the centre is the monogrammatic symbol. Vijaya Mitra was most probably one of the ancient kings of Oudh, although his name is not to be found in the fabulous lists of any of the Puránas.

Fig. 14 is the reverse of a copper coin, procured from several old cities around Ujain. In the centre is the quadruple symbol of Dharma already de

scribed.

Fig. 15 is from one of the Sánchi bas-reliefs, on a sword scabbard.

Fig. 16 is from the coins of the Indo-Scythian Kadphises.

Fig. 17 is from the coins of Kunanda, the brother of Amogha.

Fig. 18 is from the coins of Sasa, of the family of Gondophares.

Fig. 19 is from the Sánchi colonnade inscriptions. Fig. 20 is from the Sánchi colonnade inscriptions. Fig. 21, from the Sánchi bas-reliefs, shows the symbol placed on an altar.

Fig. 22, also from the Sánchi bas-reliefs of the South Gateway, gives a triple representation of the symbol of Dharma, which is most probably intended for the Buddhist triad of Buddha, Dharma, and Sangha.

8. The third member of the triad is represented in Plate XXXII., fig. 1, from a bas-relief of No. 2 Tope at Sánchi. In this the wheel, or emblem of Buddha, is placed above the monogram or symbol of Dharma, perhaps to indicate the superiority of Spirit over Matter. On the obverse of coin No. 10, Plate XXXI., the symbol is represented in the contrary manner, with the monogram of Dharma above, and the wheel of Buddha below. This, I presume, denotes the belief of the striker of the coin in the superiority of Dharma, or elemental Nature, over Buddha, or Spirit.

9. Two different spellings have been given for the name of sangha. Schlegel writes it sangga; and Professor H. H. Wilson, sanggha. The latter appears to be the more correct reading, as the Bhilsa Tope inscriptions invariably spell it sangha, with the gh.

10. The triple emblem, represented in fig. 22, Plate XXXII., is one of the most valuable of the Sánchi sculptures, as it shows in the clearest and most unequivocal manner the absolute identity of the holy Brahmanical JAGANNATH with the ancient Buddhist Triad. The similarity between the Buddhist procession of images described by Fa Hian and that o

the modern Rathyátrá of Jagannath was first pointed out by the Rev. Dr. Stevenson.* Colonel Sykes discovered that both processions took place at the same time of the year. Mr. Laidlay, after noticing both of these facts, adds his opinion that "the modern procession of Jagannath originated in the Buddhist practice described by Fa Hian." He founds his opinion on the fact, that "in the ordinary native pictures of the avatáras of Vishnu, the ninth, or Bauddha Avatáro, is represented by a figure of Jagannath, or the Rath Játtrá." To these facts I can now add that of the absolute identity in form of the modern Jagannatha and his brother Balarama, and sister Subhadrá, with the Buddhist monogram or symbol of Dharma. This identity is rendered much more striking and convincing by the occurrence of the symbol of Dharma in a triple form amongst the Sánchi bas-reliefs. In Plate XXXII., fig. 23, I have given a sketch of Jagannátha and his brother and sister side by side, with the triple symbol of Dharma from Sánchi.§

11. But there are still two points of coincidence which, in my opinion, tend to complete the proof of

* Journal of the Royal Asiatic Society, vol. vii., p. 8.
+ Journal of the Royal Asiatic Society, vol. vi., p. 420, n.
See his translation of the Fo-kwe-ki, pp. 21-261.

§ Another drawing of Jagannath, and his brother and sister, may be found in vol. vi., p. 450, of the Journal of the Royal Asiatic Society. In this the identity of figure is even more striking.

are,

"the

the Buddhist origin of Jagannatha. These suspension of caste during the festival," and "the belief that the image contains the relics or bones of Krishna." The first is one of the fundamental principles of the Buddhist faith, that was promulgated by the great teacher Sákya Muni, and is so utterly repugnant to the deeply inwoven spirit of caste which pervades Brahmanism, that we may safely refer it to a Buddhist origin. The other is also not at all Brahmanical, while, as we have seen throughout this work, it is eminently characteristic of Buddhism.

12. When restored to its original monogrammatic form, the figure of Jagannáth, or the Lord of the Universe, becomes clear and intelligible, but its present uncouth shape has taxed even the ingenious mendacity of a Brahman to account for. According to the learned, a king named Indradyumna besought the divine artist Viswakarma to make a figure of Jagannáth to contain the relics of Krishna. The artist promised on condition that he should not be disturbed. But the king's impatience interrupted the work in the midst, and the enraged artist immediately gave up his labour, and left the figure of Jagannáth without arms. A trace of the Buddhist origin of the name may perhaps be found in the fact that one of the cave temples of Ellora is still called Jagannáth.

13. There is another modern Triad which I believe to be also of Buddhist origin, namely, Vithoba and his two wives Rukmini (or Rakhami) and Satyavama.

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