INDIAN SCULPTURE IN THE MABLE RINGLING MUSEUM OF ART

by R oy C. Cra ven, Jr.

INDIAN SCULPTURE IN THE J OHN AND MABL E RINGLING MUSEUM OF ART

by R oy C. Craven , J r.

Un iversity o f Flo rida Mo n o graph s HUMANITIES i NO . 6, W n ter 1961

DA UNIVERS ITY OF FLORIDA PRESS GAIN SVILLE , FLORI E ’ EDITORIAL COMMITTEE

Huma nities Monog raphs

T . W TE HE B E T Chairman AL R R R , Profes sor of English

CLIN T ON ADAM S Professor of Art

H M C ARLES W . ORRIS Professor of Philosophy

C A. R BE T . O R SON Profe ssor of Engli sh

Associate Professor of German

PY GH T 1961 BY THE B D OF CO RI , , OAR COM M ISSIONERS OF ST ATE INSTI T U TI ONS OF FLORIDA

L IBRARY OF CONGRESS D 61-63517 CATALOGU E CAR NO .

PRINTED BY THE BU LKLEY -NEWM AN PRINTING COM PANY PREFACE

In 1956 a group of Indian sculptures was placed on display in the loggia of the John e e sev and M able Ringling Mus eum of Art . Th s o n n enteen works were purchas ed by Mr. J h Ri g ling in the thirties at the clos e of his collecting ’ areer and t en la en in the e c , h y hidd mus um s r r ecor basem ent for some thi ty yea s . R ds which could tell of how and where these sculptures ere o ta ne a e een o t but the fa t t at w b i d h v b l s , c h they constitute a rich gift to the people of Flori a da is apparent in the works thems elves . Tod y they become even more significant as interest in America quickens for the great cultures of the r n O ie t . The pres ent study undertakes to describe four teen of t e e t re hree nor e e h s sculp u s ( T mi pi c s, ate 15 16 and 17 are not cu e in the Pl s , , , dis ss d o of the te t but are re ro e and identi b dy x , p duc d fi d in th a on i a n o e e Pl te secti . ) n such f shio as t ro e ea t its ate t its re on of p vid ch wi h d , wi h gi or n and t an e anator e r t on of igi , wi h xpl y d sc ip i

its religious or mythological subject matter. I have presented the sculptures in chronological sequence without attempting to provide exten h sive historical data . This t e reader may find in tan a or f I s d rd hist ies o Indian art . t is hoped that the accompanying map and the chrono o ca ta b l gi l ble will e illuminating . M any p eople have earned my gratitude for their help on this project; here I must mention ro e ors llen S e er and o n S en er who P f ss A i v s J h p c , rea and o ente on the m an r r d c mm d usc ipt; M . Don nn e Dr. ar ara er o e Mr s . e en D y, B b Eb s l , H l a ne the U n er t of or a re and H i s Of iv si y Fl id P ss , Professor Walter Herbert of the U niversity of Florida Humanities M onograph Committee for correcting and working out many technical as or an ro n for ent f p eets ; Professor W . N m B w id i y ing and trans lating the inscription on the image ’ ar e O Neal for a tan e in Plate 10; Mr. Ch l s his ssis c in photographing the works at the museum; Pro an eren o e for the oto ra fessor F . V D C k ph g ph which becam e Plate 12A; and as always Lorna Craven for her untirin g help and enc ourage

ment . The enerou er on of in i ua g s p missi d vid ls , pub lishers and u e m to uote and to re ro u e , m s u s q p d c photographs from their works is hereby ac Coomaras a of knowledged : Mrs . A. K . w my i r r a r e a ac usett u e and E D . C mb dg , M ss h s , Fig s C ; f h Phaidon r on on r . ra e o t e e e I G f P ss , L d , figu s D n r i l r a d M . eor e no a rer M ; G g H l Of B u C ssi ,

L td on on re and ; Mr. . L . Man , L d , Figu s J K B kad rector of the aro a useu and cture , Di B d M m Pi f a er ure Mr. . . at ur o the G ll y , Fig L; V P M h rc aeo o a u e at ura i re A h l gic l M s um, M h , F gu B; oan Bassieur of the se of ine rt Miss J Mu um F A s , S hiar Mar a a ne oston re . . a B , Figu I; D H , g M g zi ,

r S . . Sr asta a o a re and M . B mb y, Figu s G H; P iv v , rector of rchaeo o and u eu a a Di A l gy M s ms , R j i r . . Sr astv t an a ur ure and ; M . S v , h , J ip , Fig s J K V ' urator of the C an a o en u ee u eu C g G ld J bil M s m , rme u eum i aner Mr. . . Ve B k ; A H N y, Rijksm s

oor Volkenkunde e en ure and Mr. v , L id , Fig F; rc i a son Wenle re tor the reer A h b ld Gib y, Di c Of F h at a er Art a n ton ure . T e e G ll y Of , W shi g , Fig A pl s are reproduced from photographs taken by the aut o r at the Rin lin u eu in Sara ota h g g M s m s , r Flo ida . ennet I would esp ecially like to cite Mr. K h ona ue rector of the o n and a e in D h , Di J h M bl R g in u eu of Art who rou t t e e n an l g M s m , b gh h s I di sculptures out of their darkened exile and once

a gain presented them to an appreciative public .

CRA EN R . ROY . V C , J GAIN ESVIL L E FL ORI DA , NOVEM BER 1960 ,

GAND

MOHENJO-DARO

BIHAR

MT . I nn 0 BENGAL

b c ntinen of ndi sho n men ioned ex Ma . The su p I o t I a wi g t t t. The most significant achievement in Indian art 1 or n in re ote was that of the s culptors . W ki g m ant t t e create a ro t recor of one of iqui y, h y d bus d ’ — the world s oldest continuous civilizations a record which proves to b e a revealing image of the aesthetic as well as the religious realities of

the India n mind . ce ro the n u a e at on cre Small s culptured pie s f m I d s V ll y civiliz i ,

h c n or t r enn um . c . a e a ated during t e se o d hi d mill i B , displ y d highly a t e are e ent developed skill and plastic awareness . These qu li i s vid in the three-dimensional figures of stone and metal as well as in the m any toy animals of clay recovered f rom the ruined cities . Some Middle-Eastern influence is app arent in the num erous in ta i o ea but the ear florescence of the n eno t e com gl s ls , ly i dig us s yl , in ra m an and en t e to ae t et c con erat on petent c fts ship s si iv s h i sid i s , is truly Ind ian . e The cities of the Indus were destroyed around 1500 B . C . by th conquering Aryans who brought with them from the steppes Of a t cate and central Asia their rude nomadic c ulture . Thus sophis i d r ordered civilization succumbed to a primitive and virile one . F om this period up to the time of the Buddha few physical works re a n but terar ource te how the Ar an m ort en n m i , li y s s ll y i p , bl di g

t the » indi enous cu t and tra t on e o e nto a new n an wi h g l s di i s , v lv d i I di r cultu e . Two great religions other than Vedic- Brahmanism were to origi h t and a n e ent nate with this evolving culture . T e Buddhis J i mov m s ot e e o e ro ra m an s as re orm but ere a n b h d v l p d f m B h i m f s , wh J i ism was a ro ect on and re ne ent of the arent re on u p j i fi m p ligi , B ddhism became a true schism with complete autonomy . E ach sect origi

- r r: a tam a ar a . 4 . mated with a histo ic savio G u Siddh th ( 0 563 83 B C . ) was the o n er Of u m w e contem orar a a ira f u d B ddhis , hil his p y , M h v -4 h r t r hankam 540 6 . . wa t t i t tea er f h n . ( 0 . 8 B c s e fi s ( ch ) o t e Jai s

The “word ndian or ndia in this a er re ers to the who e eo ra hical I . I I p p f l g g p subcontinent which toda includes both countries of ndia and akistan . , y I P ' - The r t reat t in o a 0 . 273 232 . c . z ea ou fi s g Buddhis k g, As k ( B ) l sly r a the new a t t rou out a t em Ire c p opag ted f i h h gh his v s p , whi h stretched southward from the northern mountains and the area now known as Afghanistan across to all but the extrem e tip of the Indian r t Bud our n state re on ro uce . the subcontinent . This fl ishi g ligi p d d fi s

dhist or of art but thi e ar act t was on the e nn n . w ks , s ly ivi y ly b gi i g h a terwor on e reat ra n By the second century B . C . t e m s ks th g ili g i ure at ar ut in centra n a had een car e re and F g A Bh h , l I di , b v d ( Figu A ) ,

early in the following century the gates at Sanchi were created . Other works at Sanchi as well as the first reliefs at Amaravati were e ec te ater ur n the act e er o rom the a t entur e ore x u d l , d i g iv p i d f l s c y b f h o ent Christ through the first century of the new era . T e m m um

t u a ne was ac e erate and the econ and t r centur e . h s g i d c l d, by s d hi d i s Buddhists were engaged in tremendous artistic production through a out Indi . The first Indian s culptures in the John and M able Ringling Mu s eum of Art actually date from this later p eriod of the third cen tury and come from the ancient and famous region known a s Gand

ara . area ocate in at toda n ort ern a tan and h This , l d wh y is h P kis _ e as A D 5 tern an tan was n ade and con uere aroun . . 6 Afgh is , i v d q d d a no a ic tr e known as the Yue - who e nto by m d ib h Chih , push d i n a and e ta i r n r i a na e and I di s bl shed the Kusana empi e . U de ts p tro g the stimulus of Buddhism the re gion produced a distinct style of s culpture which was to influence subs equent schools of art not on in n b ly I dia ut throughorit Asia . In t area an e ew ere in n a at the e nn n of the his d ls h I di , b gi i g r t an era u n er ent a tran orm at on and the o er Ch is i , B ddhism u d w sf i , ld “ and more orthodox form of Buddhism kn own as the lesser vehi ” cle or Hina ana was e n c a en a ore man t c , y , b i g h ll ged by m hu is i “ n concept . This ew concept was later to b e known as the greater ” ve c e or the Mah na a a octr ne . t the a ent of t o e hi l , y d i Wi h dv his m v ent the a in art ta e on a e fi e an or and m Buddh , , k s d i d hum f m, whereas in the past his holy presence had been symbolized as a tree ee u re a oot r nt and ot er non an or , wh l, mb ll , f p i s , h hum f ms ( Fig i r h n ure u e e ow e an to b e e neate as an actua an a or. F g A A ) , b g d li d l hum s vi The origin and appearance Of the hum an form of Buddha have been the subject of many s cholarly investigations and still s eem to e e the c ear r Ma c o ar a e t t at the lud l light of ce tainty . y s h l s h ve f l h Bu a ure was a e en n irat on enter n n an art in ddh fig H ll ic i sp i , i g I di

“ an ara e ot er a ert t at t rea was not n new G dh , whil h s ss h his lism hi g

2 th n an cene and t at n enou u h st cu tor had to e I di s , h i dig s B dd i s lp s to previously perfected a Buddha figure inspired by Indian pro 2 We now t at the an aran area for s o e t m e r or to types . k h G dh , m i p i the r t cent r had een in rect and exten e conta t t fi s u y, b di d d c wi h n h reat in 326 . c . had enetrate to h est . e an er t e t e W Al x d G , B , p d i ndi a as far as ax a e entua one of the c e te for Gan I T il , v lly hi f si s ' dhz ra n c t re and rom t at t me or ar a ore or e re t i s ulp u , f h i f w d m l ss di c h ree n o contact with the Mediterranean world existed . T e G k ki gd ms of Ba tr a nort e t of an ara had a te a m o t nt l the c i , hw s G dh , l s d l s u i d ater c rrent t the nn n of the r t ent r . C an begi i g fi s c u y B l , u wi h m w a o ar ourt t ounc c . A. D . 100 a t e F h Buddhis C il ( , i hich ls m ks ' the a pprox imate s chism between the Hina yana and Mahayana fac er o t ca and t on an en o was ent to ra an in o e . Ot l i s ) , v y s T j R m h p i i l econom c re at on et een a t and est t b e c te but the i l i s b w E s W migh i d , most significant fact to b e remembered is that by the s econd cen tury itinerant Rom an s culptors were probably . at work in , Gan 3 h a ure of an ara . ere ore it ou ee t at t e dh Th f , w ld s m h Buddh fig is Indo- Rom an origin and probably cam e into being in the Gandharan But er area sometime around the beginning of the Christian era . p haps it is only necess ary to know that the abstracted and symbol iz ed deity became delineated into a recognizable human form after the religious climate had been altered by the m ore liberal “ 4 o d ctrine Of Mahayana . The first example from Gandhara is an excellent piece and de ’ ct the e so e ro the u a e w c occurre accordin pi s pi d f m B ddh s lif hi h d, g to e en e en ee a ter the en tenm ent at the a e of the l g d, s v w ks f ligh b s BO-tree ate eturn n ro a ourne two erc ant h Plate 1 ( Pl R i g f m j y, m h s wit

“ five hundred chariots were passing near the holy tree when the e an n h r The erc ant Wh els s k i to t e g ound and refused to move . m h s

co ere the o One a o a e and ff ere oo . dis v d H ly , p id him h m g , O d him f d ow the our loka alas or uard an of the uarter of ea en N f p , G i s " s H v , who had een watc n ro a o e n e t at the u a had b hi g f m b v , k w h B ddh no o w t c to rece e the a m and e ate ff ere b wl i h whi h iv l s , imm di ly O d him bowls of gold . These the Buddha rejected as inappropriate for a as he the one of r and f r lms, did s silve o eme alds which followed . At l a t he acce te e tone ow and t t e he rece e s p d simpl s b ls , wi h h m iv d

- 2 . S ee Coomaraswam ri in of ddh i r 2 O the Bu a F u e 7 32 . y , g g , pp . 8 9

3 . Row and Art and r hite r ndia 73 c ctu e o . . l , A f I , p

4 . For a discussion of Maha ana Buddhism see Zimmer hiloso hies o y , , P p f

- ndia . 507 584 . I , pp ’ H the er ant and t e ent the merchants offerings . e blessed m ch s h y w their way rejoicing . In the s culptural fragment the right half of the scene has been ro en awa and on the a e a e of the eate u dha b k y, ly m im d im g s d B d The fra ture r n and a procession of figures remain to the left . c u s a ro the e e a ona tt n nto the a o and ea the c ss pi c di g lly, cu i g i h l h d Of Two loka Buddha but leaving his body and low throne intact . cilas o n o ean in and e a t r t of a t on to ar p , h ldi g b wls , l giv h us c i w d the entra ure of the or i e a t r re o o n c l fig l d, wh l hi d figu , p ssibly h ldi g a o er o o in ra e r t an tan to the e tre e fl w bl ss m his is d igh h d, s ds x m n ff e two ro en re fa e left a d closes o the scene . Abov him b k figu s d

“ “ at their waists into the background and share the top region with a A he tr eft of the e e two re one t e tree . t t e e e s yliz d x m l pi c , figu s , tan n and one a o e a n nto the a roun are all t at s di g b v f di g i b ckg d, h n r et een t e and the ene of the remain Of a othe episode . B w h m sc pres entation of the bowls stands a vertical niche containing a column with an ornate Pers epolitan capital composed of. animals . ' t e of ca ta was kno n in n a ro the t e of oka This yp pi l w I di f m im As , and its pres ence here further illustrates the cosmopolitan char h mn n a i acter of th e Gandharan sculptural style . T e colu u it is typ cal devi ce used by the s culptors of Gandhara to divide the episodes f a u r arr The et o of a n the narrat e o s c lptu al n ative . m h d displ yi g iv ’ Of the Buddha s life in a continuous horizontal frieze made up of “ ” s eparate self -contained s culptural pictures was constantly used on an aran n and t a and er e as an nen n a G dh buildi gs s up s , s v d u di g visu l r n to h Th con ac f t re ef e t t at s e mo t e devotee . e vex f e o his li sugg s s h it m ay have originally formed a Segment of a s culptural narrative circling a stupa . work a om e e tern n en e but the a n oo This displ ys s W s i flu c , m i m d and underlyin g action is typically Indian and is reminiscent of r r h n n ea lie Buddhist works carved at Amaravati . T is excelle t Ga dharan piece must have been executed at some time during the r t al f h 5 fi s h f o t e third century . The next work is a small bodhisattva figure seated upon a simple throne backed by a large circular halo which rises from behind his S houlders ( Plate This Buddha-to-b e is the bodhisattva

5 . In datin the andharan works m an re erences were consu ted but g G y f l , most Useful were the excellent text and plates found in the exhibition catalogue b Pro essor Rowland andhara cul ture rom akis tan Museums and Mar y f , G S p f P ' sha Buddhist Art o Gandha ra ll, f . 4 ' “ a tre a or the u a who w ne t a ear on eart and is M i y , B ddh ill x pp h, e identified by the amria jug which he holds in his left hand . B ’ cause of this bodhis attva s benevolent quality we can b e sure that his broken right hand must have originally performed the abhdya e t re of as rance and rotect on a e ra n mudra. This g s u su p i is m d by isi g th e r t an t its a m ac n out ar . and the n er ra e l igh h d wi h p l f i g w d fi g s is d O ar of ent t are the iirna or a an o ne . t er t n t e d j i d h dis i c iv m ks id i y , tuft of hair shown as a small round dot above the bridge of the no e and the us hnisha c the rot erance on the to of s , , whi h is p ub p a orate treat the head and shows here as a crown of hair. This el b m ent of the a r a c a ca e e ent o how tron the o an h i , l ssi l l m , sh ws s g R m i e nec ace an ro the influence was in Ga ndhara . A styl z d kl h gs f m ’ fi ure s neck as oe a en ant ro un am a e e t ear and g , d s p d f m his d g d l f , . Th ro e t ne o er and a bracelet is s een on the left wrist . e b wi s v around the left shoulder and arm leaving the right shoulder and h tr n ar Math ran n uence e ence the e ce e t e u k b e . u i fl is vid d by x ssiv ly 6 h l r n large ringed halo and the two exposed feet . T e ow th o e is sup

orte at eac orner e a one a ter t o e of a on . ea p d h c by l gs f shi d f h s li H vy , co act and rec e car e t c t re at r t ee re mp , p is ly v d, his s ulp u fi s s ms o e ro the m a n trea of the an aran t e but in rea t m v d f m i s ms G dh s yl , li y “ these qualities are the mannerisms of the melancholy process of ” “ decline and are generally found in the works of the later ma 7 ri tu ty period . Therefore a date of the last half of the third century e te f r is sugg s d o this unique work . ’ The museums next piece from Gandhara pres ents another archi tectural re e ate Two co o t ona arran e nt ar con late 3 li f ( Pl mp si i l g me s e. P tained t n the ert ca tructure of the tone and t e u e t wi hi v i l s s , h y s gg s tha t the piece was originally part Of a door jamb or some similar arc tectur hi al feature . It ntere t n to contra t t s wor w t the r t e a le the is i s i g s hi k i h fi s x mp , “ ” re entat on of the e in o and to s ee the ro en ee n p s i b gg g b wls , f z f li g ere in t t I h his hird piece . t is not as finished or as competent as the

' Ma h r o r 6 . t u a m de n Muttra ocated thirt m i es north of ra on he , , l _ y l Ag t umna River has b een a re i ious center rom an cie t nt im es . It ha J , l g f s b een im ortant to the ains Buddhists and indus and is associated with e i p J , , H , th b rth and i e of Sri Krishn An ear seat of ain a . art activit a act which m e l f ly J y , f so scho ars ee oints to an ndian ori in of the Buddha im a e Mathura later l f l p I g g , roduced a distin iv t f d r i p ct e s yle o Bu dhist sculptu e . Th s style was contemporary with the art Of Gandhara and Am aravati and influenced not only current and sub se uent Buddhist and indu art but that of the ains as we l " H , J l . Ma r ha his 7 . See s l Budd t Art o an har 10 , G d a . 3 . l f , p ear er ork and e ent a ea and t ff ca t to the st e . The li w , vid is h vy s i s yl ’ two ene are e o e fro the a e but e act c sc s s pis d s m Buddh s lif , x ly whi h

t o fficu t to s a . e o the a een a n the w is di l y B l w, Buddh is s displ yi g ’ - h r at the u a a bhaya mudra to a variety of listeners . T e figu e B ddh s right shoulder with the circular headdress is the god Indra while ’ at the Buddha s left shoulder Vajrapani ( s ee below ) and the god ’ an tan n to the a r t Brahma are s een . A wom s di g Buddh s igh and a onk to e t o e face ro en a a ee to b e m his l f , wh s is b k w y, s m

o n m ar e t . T he o e t c t e carr are o ure h ldi g si il Obj c s bj c s whi h h y y bsc , but since the woman is not dressed in royal attire and s eems to ear a sari o er her ea in the t e of the o m on eo e thi w v h d s yl c m p pl , s scene might depict the episode where a casteless girl was accepted ’ r r nan a n t a he nto the o er. u a a o te e A te t t i d B ddh s f v i discipl , d , i sis d h h a t r ra r t e a r n of water. s e es te e gi l, P k i i, giv him d i k This did d pi c s

re at on c so ea e the a t at he a e her a nun . gul i s , whi h pl s d Buddh h m d Since a m onk is the other chief figure in the composition this identification s eems plausible . s a o in h n n r The itu ti n t e s ce e above is eve mo e intriguing . The “ ” Buddha is again shown holding his han d in the fear-not or bless in m r n f r g ud a a d is surrounded by p eople o va ious types . Notice ’ e e a the emin e out o e to the u a eft who sp ci lly s ud y h p s d B ddh s l , ea cou a e te e ro a o an ork of the r t centur sily ld h v s pp d f m R m w fi s y, and who nce he carr e a t n er o t in e t an identi , si i s hu d b l his l f h d, is ' fi ed as Va ra ani the on tant o an on of the a in C an j p , c s c mp i Buddh r dharan s culpture . Of mo e interest is the dam aged and bearded ’ r stan h r n figu e ding to t e Buddha s right . His th eate ing attitude and emon a earance e en to the u e te orn on the ea his d ic pp , v s gg s d h s h d, are items which tempt us to believe that we see here a yaksha ( tu t ar o r el y g d ) accostin g the lord . This figu e could indicate the epi o e ere the u a e e and con erte Atavika the fore t s d wh B ddh d fi d v d , s h h aks a w o fed u on u an e . The tree e n the aks ha y , p h m fl sh b hi d y r urt r h figu e f he implies t e subject . ate er the u ect of t tone m a b e the nterr te Wh v s bj s his s y , i up d architrave which permits a higher Buddha figure to dominate the ’ rou the o attern on the a ure and the o g ps , f ld p s Buddh fig s , wid w s peak in the hairline of the Buddha again indicate a date of the third n r ce tu y . A sm all fragment from the base Of a standing Buddha or bodhi ’ sattoa figure is of interest because the museum s records state that it was found in the M alakand Pass by the Chitral exp edition in lat 6 1895 ( Plate All that remains Of the large figure above is the P e front half of the right foot showing all five toes. Since the bodhi s attvas generally are shown wearing s andals and the Buddha figures are oote and nce t ere no t on ow n ere et een the b f d, si h is h g sh i g h b w “ to the e en e u e t t at the m n ure was t at of the es , vid c s gg s s h issi g fig h en a th ra r w c u orte ro Buddha . B e th e foot is a flo l f ieze hi h is s pp d f m

- below by a square pilaster surmounted by a Corinthian like capital . ' This style of western capital with its flat pilaster is quite prevalent in an aran scu ture a ter the r t centur and anot er tan G dh lp f fi s y , is h gi ble e a f To the r t the a ter are x mple o Hellenic influence . igh Of pil s two figures facin g toward the position where either a seated Bud dha or a symbol would b e located if that portion were not broken

a a . u n the w th of the ar e oot two ot er ure w y J dgi g by id l g f , h fig s and a a t r pil s e would complete that area of the miss ing pedestal . The small worshipful figures appear to b e a man and a woman and are umm ar car e and com ete torte a n the tran e s ily v d pl ly dis d , h vi g s g e t rat o f r a h igh i o four heads . This f a gment also C n b e attributed to the t r n r hi d ce tu y . The a t an aran re e co es accor in to use recor l s G dh li f m , d g m um ds , rom ot - ar an and un ortunate on a a re nant of f H i M d , is f ly ly sm ll m a larger work ( Plate Prominently displayin g p aired parallel lines Plate 4 of ra er it mu t at r h i e o t e ate t r or ear ourt centur . d p y, s d f m l h d ly f h y This beautiful fragm ent with five figures in attitudes of adoration originally form ed the left hand side of a larger work depicting ’ the u a r t rm n Th r B ddh s fi s se o . e th ee standing devotees are dressed in the ar of no t and the one to the e tre e r t ear a g b bili y, x m igh w s royal turb an -like headdress similar to the ones we have observed ’ on the ure in th m r e u eu t e am e . e o two on fig s m s s fi s x pl B l w, m ks are eate u on adis or at or ecorate w t eo etr c a t s d p g , pl f ms , d d i h g m i p A terns . t the extreme right a partial image of a tree with stylized o a e c o e th n f li g l s s Off e u it . Evident here is a sureness of execution and an elegant grace w c w t the exce t on of the re e d e ct n th r n hi h , i h p i li f pi i g e p es entatio

' ’ of the e n ow s s n in o t of the eu ot er b ggi g b l , is mis i g m s mus m s h e a es rom a x mpl f G ndhara . One wishes that fate might have spared ’ this work s fragmentation because in this small masterpiece is s een an accomplishment which demanded more from the sculptor than an ar er r did m y l g wo ks . ’ The Ringling Mus eum s next four sculptures are the products of the ot er re ou o e ent c e u sm re u te rom h ligi s m v m whi h , lik B ddhi , s l d f h re on of the inas ctors a n a re or of ra man sm . T e f m B h i ligi j ( vi ) , J i - or nate w t a a ra reat ero who was orn a out ism igi d i h M h vi ( g h ) , b b

an wa a c nte rar of the u a . 540 B . c . d s o mpo y B ddh a n a re i on of e treme au ter t ee all the un er e as a J i ism, l gi x s i y, s s iv s Not on do ant and an m a a e n or er of ivas or o . livi g d j , s uls ly pl s i ls h v f a a n onk o but roc water air e er t n . The e o s uls , ks , , , v y hi g lif J i m is o erne five ow : to a ure i n tea n n e a a c g v d by v s bj k lli g, s li g, lyi g, s xu l he w o e un er e tivit and the o e n of ro ert . t t y, p ss ssi g p p y Wi h h l iv s a e w t o and an n or ot er act o ence oo e liv i h s uls , y killi g h Of vi l l k d u on as the reate t n the a n a e carr e the conce t of p g s Of si s , J i s h v i d p

ahimsd ( nonviolence to living things ) to the greatest extremes . A e out onk ear a e o er mout not on to a o d v m will w v il v his h, ly v id reat n in t h o t m nute n e n in the air but to ee b hi g e m s i livi g b i gs , k p from overly harming the air itself as he breathes it"He also m ay carry a sm all broom with which to clear his path of ants and 8 other insects that might be crushed as he walks alon g . The Jains do not consider Mahavira as the founder Of their t e li ion b ut as the a t twent - o r reat tirthankaras aker g , l s Of y f u g ( m s

— - - of the r er cro n or teac er who ow the wa to a at on . iv ssi g ) , h s , sh y s lv i These teachers are shown in art as s aints perfectly detached from eart on a e who t ro enance and a tent on a e no t hly b d g , _ h ugh p bs i h v on c ean e t e e es of t e r e o but a e ur e t e r ly l s d h ms lv h i g s , h v p ifi d h i o o ca a n n re ecte bi l gi l physiques s well . Originally the Jai mo ks j d c ot n and ca te mark as o of n o e ent w t the or l hi g s s symb ls i v lv m i h w ld , and ent a r a S m of the tan n a e w b o d completely naked . o e s di g im g s of the tirthankaras are o n in the att tu e nown as ka otsar a sh w i d k y g , “ or n h n f a r t re ent a se dismissi g t e body . These ico s o ide l pu i y p s ries of s aint images completely devoid of costume and physical a errat on w c eca e of t anon ou er ect on m a e in b i , hi h, b us his ym s p f i , k s I r na a a tirthankara dividual identity difficult . t is fo tu te th t e ch is ' associated with a particular symbol or emblem la nchhana ) which is incorporated nto works of art and served as the only clue to the _i nt f ide ity o the image . ’ It is n ortunate t at the mu eum r t a n ma e a tirthankara u f h s s fi s J i i g , Plate 5 ( Plate 5 ) is broken to the extent that no identifying symbol re h d an t n a nd a a n . But t e re e ec te re o e e te in m i s figu , x u d Of s ds s d

8 For a discussion of ainism see Zimm er hilos hies o ndia 18 1 . o . J , P p f I , pp

279.

Two figures s eated at the corners of the throne are recessed from The one to the r the plane of the lions and triangular shape . ight appears to b e a fem ale and possibly displays the cobra hood of a h n n of nci ini e the ot er eem to b e a ar . T e ca ce g , whil h s s dw f sig ifi

both of these figures is Obscure . en in its ro en tate the e - nown st e cono ra and Ev b k s w ll k yl , i g phy, distinct red s andstone m aterial of this image allow us to identify it as a fourth or fifth century figure of a Jain tirthankara from Ma 12 thura.

late 8 The next a e ate 8 of a ater ate and t o consid P im g ( Pl ) is l d , h ugh erabl eat ere is ore icono ra ca com ete t an the re y w h d, m g phi lly pl h p ce n and is a c o e ara e to a m e ie a tirthankara ure in di g, l s p ll l d v l fig B r re on the a of the on Figure the M athura museum ( Figu e B ) . He b se li t rone worn but nta t the re of a a u the h , i c , is figu sm ll b ll which is

- s o for Rsabhanatha the r t of the twent o r reat a or . ymb l , fi s y f u g s vi s Stan n a t e t er e the a nt and a so so e at ro en di g i h sid Of s i , l m wh b k , ar o a e r fl — o er n a o e t e and e tw y ks as with th i y whisks . H v i g b v h m tou n the r n e a o are the ro en ures of two andharvas chi g i g d h l b k fig g ,

or ea en u c an o n a nstru ent or ar an . h v ly m si i s , h ldi g music l i m s g l ds Originally a half-umbrella projected from the background above ’ the a nt ea but t i was ro en a a w t the re t of the s i s h d, h s b k w y i h s in r i l i r i h to of to a ea . a nt e r n e t ca ro t e miss g p F y vis bl , isi g v lly f m p

’ “ h n t e a t ea a a t w c or na u orte the re a . s i s h d, is sh f hi h igi lly s pp d umb ll The upp er half of the slightly elliptical head is covered by numer ous sm all nubs of curled hair common to both tirthankara and i The ar ar on ate and touc h r Buddha mages . e s e el g d h t e shoulde s 1 3 i i n r h and a nt e n the ce te of t e c e t the Srivatsa e e . , f i ly v sibl h s , is j w l The lion- throne again displays the two lions in threatening atti ' tu as we as a r in ea of h re s r h tri e u e c t e ce e co ner . T e d s , ll fig h s d s an ar ra e and ta e a a n a ro the center of the t rone gul d p ss l g i f ll f m h , and are here much more elaborate in design than those of the re o e a p vi us x mple .

‘ ’ ’ si enced unab e to refute him is serm on is the re ore the ion s roar simha l , l f l ( ’ nada ) ; for when the lion s voice is heard in the wilderness all other anim als h ” — 9 r his a roac bi . 16 . a si ent ea in . d . f ll l , f g pp I , p 2 For im a es of tirt hankaras and Buddhas rom Mathura see Coomara 1 . g f r swam istor o ndian and nd onesian Art fi s . 84 85 86 87 Cooma a y, H y f I I , g , , , ; “ ”

swam Ori in of the Buddha i ure fi s . 39 52 64 . y , g F g , g , , ’ om are this ima e s ace with that of the standin ure of Rsab 13 . C p g f g fig

hanatha in Zimmer Art o ndian sia ate 389. , f I A , II , Pl In ac t e a oratene and o ten n of the or e eci a f t, his l b ss s f i g f m, sp lly ’ in the car n of the ion and of the saint e o nt to a pparent vi g l s s l gs , p i a n a e of a later and more sophisticated date Of execution . This J i im g the r t tirthankara Rs abhanatha m t ate ro a out the e e fi s , , us d f m b l v enth or twelfth century and come from Rajputana or Mathura . The next two Jain s culptures in the Ringlin g Mus eum com e from western India and are carved from a pure white marble which is . A n is an ornate b u . O e associated with the temple complex at Mt . pillar or door j amb fragment ( Plate 9) and the other ( Plate 7 ) is

- i a rather worn and sm all im age of the goddess Shri Lakshm . ' The possibility that the carved pillar was at one time a part of a temple shrine or cell becomes especially e vident when it is com i ure C pared with the door frame shown in the interior photo ( Figure C ) F g ' 14 h m on h h A . r at t otto of the Rsab anat a em e at Mt . b II e e e T pl Th b , ’ e t er e of the oor een as in the e e a e a i h sid d , is s , mus um s x mpl , r r n o e standing male deity closed in by an elabo ately ca ved iche . Ab v t n c e are our a er one eac conta n n a eate e t his i h f sm ll s , h i i g s d d i y ’ S n e the mu eu ece complete with two female attendants . i c s m s pi ro en at the to on two and a a the er n c e re is b k p, ly h lf Of upp i h s _ m ma . Running vertically up the jamb at the left side of the plate is a a e or ine attern c as a o i ot on the oor a w v v p , whi h symb l c m if d w y signifies the mystical anointment that occurs where the image . and ” 1 5 the or i er cro h t re h h w sh pp ss t e h shold . T e deity at t e bottom of the ar tan in a tribhan a the t ree en o t on ear pill s ds g ( h b ds ) p si i , w ing a crown and holdin g attributes ; at his feet stands an animal c un ou te e c v hana o ar on of t whi h is d b dly his v hi le ( a ) . C mp is his standing figure unit with those which are shown on the face of the columns i n the fore ground of Figure C shows a striking similarity et een t e On the co umn the ure are conta ne t n a b w h m, l s fig s i d wi hi ’ rame or w is e act d ica n h f w k hich x ly upl ted o t e mus eum s piece . Note especially the distinctive comma-like design carved into the pointed crown of the niche and the similarity of the ringed columns an n the ain tan in re to e as t e are a rec fl ki g m s d g figu , pp d h y by tan ular a e conta nin a iam on s n Th s g sh p i g d d de ig . e tanding female atten ant are not to b e oun on the ar e co u n in the tem e d s f d l g l m s pl ,

14 . Other ex am es of ain door amb s m a b e seen in Kramrisch Ar o pl J j y , t f ndia ates 1 3 n 4 8 a d 13 . I , pl ’ 5 For a discu sion of th s m o i m i o 1 . s e y b l c ean ng f the temple s doorway see Kramrisch Th in Tem le 3 13- 322 e du . , H p , II , ’ but are in evidence on either side of the cell s door frame as they ’ In the u eu e e evolve from a group of figures on the walls . m s m s pi c ’ th atten n ure are ro en b ut to the e t e tre e r t e di g fig s b k , d i y s x m igh

can b e s een the remains of a leg pois ed outward toward the edge . This direction in which the attendin g figures face indicates that n on e the jamb was located to the right as o e faces the cell . C clusiv evidence is found in the small female figures kneeling in a worship ’ ful attitude at the top and on either side of the niche s ornate crown . T e ace re erent to the e t the re t on of the e and the h y f v ly l f , di c i c ll ar image of the tirthank a . Hindu deities were accepted and used by Jains as representing an aspect of earthly karma and as beings of a lower spiritual order i f h irthan aras SO it not tran e a spirin g to the perfect on o t e t k . is s g r in a n e to see them used quite p ofusely J i temple sculpture . Th i ent t of the tan in od on t ie e o ure e en t o d i y s d g g his p c is bsc , v h ugh T o nor a his hands hold a drum and a possible club . his w uld m lly n ate t at the a e is t at of the or S a but n e the ot er i dic h im g h l d iv , si c h attributes are missin g and the animal vehicle ( vahana ) at his feet I ro en the entit cannot b e o t e . t u ce to s a t at is b k , id y p si iv will s ffi y h he is a god and that he is performing the service of an attendant or doorkeeper ( dvarapala ) in the old yaksa tradition which has n o er on th tir han ara already bee bs ved e t k images . Judging by the above mentioned similarities between the muse ’ u s ece and the or in the Rsabhan ha Abfi m at te e at Mt . pi w k mpl , which was cons ecrated in it is suggested that the piece is a door j amb from a Jain temple in s outhwest Rajputana and dates r the e n or n r f om leve th twelfth ce tu ies . ’ The museum s last Jain s culpture also comes from western India and is a small and worn white marble figure of the lotus goddess late 7 S ri - a s i ate She Is the univer a ot er e of n P h L k hm ( Pl s l m h , wif Vish u and the e- e to n ene o ent o e of ro er t and ood lif b s wi g, b v l g dd ss p sp i y g “ r n She re e o er h r fo tu e . p sid s v t e fe tility and moisture of the soil a nd over the jewels and precious metals in the womb of the ” 1 7 eart . Seate in a otu o t on she o n ere t our h d l s p si i , is sh w h wi h f

ar . Her o er r t an re t on her r t le a out ms l w igh h d s s igh g, p lm , in the tra t ona varada- mudrii or esto n i t e her o er di i l , b wi g g f s , whil l w e t an o at a ear to b e a u anot er o of l f h d h lds wh pp s j g, h symb l a un an b d ce .

S ee Zimmer A o ndian 4 16 notes to a e s 390 3 rt sia t 91 . , , f I A , II , , pl , mm er n sia 158 17 Zi Art o dian . . , f I A , I , From her two rais ed hands hang broken lotus stems whose blos ’ On e t er e of the o e ea soms are completely mis sing . i h sid g dd ss h d her a platform supports an elephant with upraised trunk sprinkling - r te of ano nt ent with the life giving ferti lizing waters . This i i m is no n as abhiseka and e a e of the re en e of the e e ants k w , b c us p s c l ph

- 18 gajas ) we can identify this aspect of the deity as Gaja Laks hmi . Her head supports what was once an e laborately pointed crown of in the s evera a er and her ear . ornaments o ure S a o l l y s , ( bsc d by h d w photo graph ) with heavy rounded ends hang almost to her shoul ne a e oo o er her a e rea t and a en ant a ders . A ckl c l ps v mpl b s s p d p

“ h f the ar n te t fi e to the fa t pears between them . T e d epth o c vi g s i s c that the work was m ost elaborate and detailed before it became so

broken and worn away . The t rone iffi u t to ake out but the ro en eta of an h is d c l m , b k d il ’ 0 eit er e elephant s head directly in its center is perceptible . T h sid ’ of the e e ant ea een a er e of a t ree- a ere nu l ph s h d is s s i s sm ll h l y d bs , o the a e re a n of a otu throne the u a o of p ssibly v gu m i s l s , su l symb l h an a h n f a i the lotus goddes s . On t e extreme sides d t t e k ees o L kshm

can barely b e dis cerned seated figures in worshipful attitudes . One might b e tempted to identify the central figure as the river “ goddess Sarasvati whose images are sometimes hardly distinguish ”1 9 a e ro n t o e of S ri- a mi e e a n e the t is t bl f r h s h L ksh , sp ci lly si c s yl ic resemblance between this figure and that of a twelfth-century im age of Sarasvati being saluted by the two architects of the Vimala Fi we D i a Abu r r ar . a Vasah t Mt . ( Figu e D ) is so em kable The chief differ ‘ ences et een the two fi r ar a i h A fi b w gu es e th t n t e Mt . b figure the ’ o e e t an o s a a - eaf anu r t her r t a t z e g dd ss l f h d h ld p lm l m sc ip , igh s yli d ot o o and her r t le ro o n r th r n O o e t o e . t er l us bl ss m, igh g d ps d w f m h h ono ra ta n h t f r e n t e t e are the a e . ic g phic d ils , i cludi g s i f, igid s yl , s m A similar and more significant image of Lakshmi surmounts the ' oor ra e of a e a e in th min d f m sid ch p l e Ne atha temple at Mt . AbIi 2 0 re E . n the a arent a e of the oto ra ( Figu ) Judgi g by pp sc l ph g ph, ’ the museum s figure and the im age over the cell of the doorway

18 . Se e Zimmer M ths and mbols in ndian Art and iviliz ation , y Sy I C , pp. 102- 109 for a discussion of ele hants and their s mbo ic relation o e li , p y l t f rti ty . - 19. bid . . 109 110 . I , pp “

20 . In man mediaeval tem es s eciall of Orissa this moti i o ten y pl , p y , f s f described as a a- akshmi was carved in th e center of the archtrave over G j L , th e doorwa of the main stru cture whatever mi ht have b een the cu t aifilia y , g l ” on f h hr - r ti o t e s ines. Bane ea evelo ment o indu cono ra h . 375 . j , D p f H I g p y , p 13 er the o nte and are comparable in size and iconography . H e is p i d a ere ro n the o er r t an er or in the varada-mudrd l y d c w , l w igh h d p f m g , the left supporting the jug; the two stylized lotus blosso ms sup ported by the raised hands explain the broken stems held by the ’ n the ter o t ree upright hands in the museum s image . Eve mys i us h a ere n o e nto o and e o e re o n a ear as l y d ubs c m i f cus b c m c g iz bly cl , ’ n th e ant do the pendant and necklace over the breast . O ly e leph s a o e the o e and on the throne are n or erha are b v g dd ss missi g, p ps ’ hidden from view as were those in the museum s piece before the r r n lotuses we e b oke away . ’ It can b e on u e t en t at the e a e a a n c cl d d, h , h mus um s im g is J i sculpture of the goddess Gaja-Laks hmi from southwestern Rajpu n n r tana and dates from the twelfth or thirtee th ce tu y . By the seventh century Buddhism was waning i n the land of its rt but in the ona ter e of ar and en a t ere n ere bi h, m s i s Bih B g l h li g d

- dh as a ar ant or of a a ana . antr c v i f m M h y Buddhism This T i Bud ism, it was a e a e to an end in n a in 1199 w en a an a and c ll d , c m I di h N l d the other great centers of Buddhist learning were destroyed by the I iconoclastic Moslems who raged down the Ganges Valley . t is from this last era of Buddhist activity known as the Pala period

( 760 that the Ringling Museum s next two works come . Both works are Buddha figures in the famous seated pose of ' “ calling the earth to witness ( bhumi-sparsa and each has D ere t at on re u a at the an of the o e s . e suff d mu il i , p s m bly h ds M sl m ace in e er eta but the ore o ete the reen- ra f d v y d il, m c mpl , is g g y ’ piece displaying seven of the eight great events in the Buddha s Plate 10 life ( Plate The central and domin ant figure is that of the Bud dha s eated upon a lotus pedestal supported by a hi gh and simple r mantra t one . On the t rone in e ana ar r t i s ar e a h h D v g i sc ip c v d , 21 which is frequently found on Buddhist images of this period . In front of this ins cription and at di e y ery base of the throne are two smaller Buddhas s eated in the bhumi-sparsa-mudra pose of the ar en l ge c tral image . Directly behind the large central Buddha is a niche carved in a very low and stylized relief of circles and concave squares sur

2 m inde t d t Pro essor orm an Brown of the U niversit Penn 1 a b e o W. . I f N y i sylvania for the following translat on of this mantra . The states of being which arise from a basis Their basis the Tathagata has told;

" -_ And their cessation this the Great Monk tells .

his an dhar c centur . ra dd t a . 2 The Bodhisattva Maitre a . Bu Pl . . y , G , III y G y

Rin in Museum of Art arasota . schist x g , S , gl — i n r m th i f B 3 . v ert r i is a in two eve ts o e e O the uddh a . T o . A ca e e d Pl l l f pl y g f l f p , “ The Buddha onve rtin the aksha b ottom The Buddha cce t C g Y , A p

d i n r n r . ra in the aste ess ir as a Bud h st a dha a c . ce tu g C l G l , G , III y G y ” schist 17 x Rin in Muse um of Art arasota . , gl g , S — i r in r i r r ir rm on is o i 4 . m u es ado at on a a m ent o a st e . Buddh t t Pl . F g , f g f F S , H

Mardan andhara III- IV centur ra schist x Rin in Museum , G , y , G y , gl g

of Art arasota . , S 23 - Red sandstone 28 x in Mathura V centur . , Pl Tirthankara . Ja , y 5 , . . IV

R seum of Art arasota . ingling Mu , S

Mathura or centra ndia he Tirthan kara Rsabhanatha . ain , 8 . Pl . T J , l I - d sandstone 42 x Rin in Museum of XI XII centur . Re 0 . y , g l g

Art arasota . , S — m ent of a tem e door 9 . ra Pl . F g pl m ain southwest Ra utana XI a b . , j J , jp 1 " White m arb e 48 4 x entur . XII c y l ,

R n Museum of Art arasota . 13 ingli g , S

1 — . 1 . A Buddha in bhumi- s arsa - mudra p . Buddhist Bihar a a e ri d Pl , P l o c . X , p , centur . B ack carboni erous sha e x R y l f l , in lin Museum of Art g g , araso S ta . — - . 12 . The ord Bhairava in du ou h r . s t e n Ra utan L H , a X XI cen Pl jp , 3 ” tur . Red sandstone 37 x Rin in Museum of rt ar so , 34 g A S a ta . y l g ,

— . 13 . A Saivite rou indu a utan a . R c . XII g H , , centur . Cre am sandston e Pl p jp y , 3 23 74 x Rin in Museum of rt ar s A a ota . g l g , S — r Hin 14 The oddess u a. Pl . . G D g

R n a " a e VIII c en du a uta c . t , jp , l X r ream sandston e with som e tu y . C re d pigm ent clin gin g to the god ’ 1 " i h rm s x 16 dess r g t a , A ,

Rin in Mu seum of Art arasota . gl g , S 1 — n archi ctura ra m en t with a niche containin a stan d 5 . A te Pl . l f g g ing figure of Buddha subduing the m adden ed elephant ( seen to the r X cen ur a k hi dhi a a e iod Bihar c . d st t . B c e t at s eet . Bu l f f ) , P l p , , y l 1 ” in M s u rt r a stone 10 x 17 Rin u e m of A a asot . , 54 gl g , S

— r h r 16. An a i ectura n i h n i r PI. c t a e t w th a nic e co tainin a stand n e of B dha l f gm g g fig u ud . H dis a the varada -mud ra to a sm a worshi in ur t his e i a a e s e a et . Buddh st pl y ll p g fig f , P l eriod Bihar c centur ra - reen stone x Rin in Museum of Art p , , . X y . G y g , gl g , raso S a ta . — III- XIV rn i a of Siv a indu Ra utan a c . 17 . A b ad wo m e . Pl . ly g H , jp , X 1 ” cen tur Marb e 20 x Rin in Museum of Art arasota . y . l , 4 gl g , S

i hri f h Whee of the L aw adoration Of the A. n o t e F g . S e l ( Bud hi h rh t n Buddh a who is s mbo iz ed b a whee . d st B a u ce y l y l ) , , Re d sandstone x reer tra n dia c . centur B . 0 . l I , II y , F

a er of Art Washin ton . G ll y , g

Fi . B . Tirthankar Neminat a ha . a n Ma g J i , - thura centra ndia me di v i e a er od . Red , l I , l p sandston e h . hoto courtes the rch , P y A aeolo ical Museum Math r g , u a. ’ in A . a Mt . bu — teri r view of im a a ha s tem e to Rsabhan atha at J , i . n o F g . C I V l S pl hoto a ter Zimm er The Art White m arb e . , Gujarat ndia conse crated 103 1 . l P f , I , a of Indian Asi . i — The odde ss arasvati s a uted b the two F g . D . G S l y A u hi tem e Mt . b architects who built the Vim ala Vasa pl . r White m arb e ain south Ra utan a XII centu . J , jp , y l , ia h a ter Kram risch The Art o n d . diameter. oto P f , f I

’ id cha e T e ah ala s tem Fi . E . e g S p l , j p in Abu. a m ina ha at Mt . ple to Ne t J , 2 hite m ar outhwe st Ra utan a 123 . W s jp , h to a ter Zimm er The Art o le . o b P f , f

Indian Asia . Buddhist mirac e s . — A Buddha Bodhis attva im a e dis a ing the ei ht , F . Fig . ( ) g pl y g l i ksmuseum voor - r ack s ate h . 17 % R eriod X XI centu . B Ben al Pala p , y l l , j g ,

n e eid en . Volkenku d , L

— in du Bun de khan d? centra n di a tura rou . i I . A scu F . g lp l g p H , l , l I

- h hoto courte s Museum of m an dstone . entur . rea s X XII c y C , P y

in e rts Boston . F A ,

At the en t of the mounted above by a halo of dots and flames . z i h halo are three styliz ed leaves representing the Bo-tree under which ro n the e e of the a ro n the enlightenment occurred . A u d dg b ckg u d a r n the u d a are e en n t in re ef onta n n sl b, ci cli g B d h , s v u i s li c i i g r S orte ot e e ta and r n e b events f om his life . upp d by l us p d s ls i g d y dot attern t e e n t are a u ate of the ar er tura p s , h s u i s sm ll d plic s l g sculp l Th on e e t on the e ent at the to o the unit . e ly xc p i is v p which sh ws h a t re at eat or arinirvdna of the a . T e ea e d h, p , Buddh sm ll s d figu the eet of the re ent a e i i e Anan a . f cumb Buddh is his chi f d sc pl , d On either sid e of this event are clouds containing a pair of celestial he an o h r t o a and the one to the hands . T h ds t t e igh h ld cymb ls s ‘ r n n er a left beat a drum . The cymbals and the drum rep ese t u iv s l rhythm ( the pulse of creation ) and sound ( the vehicle of speech and the on or f r e two o ma b e nter c vey o evelation ) . Th se symb ls y i preted to stand for the divine truth of the law ( dharma) personi fi ed by the Buddha . The work is similar to the Pala image of the same subject in th ks eu r l i ure F e oo Vo kenkunde e en re . The ef g Rij mus m v , L id ( Figu F ) chi F iconographic difference is that the Leiden image shows the u a t a ro n and e e s or as a bodhisattva e B ddh wi h c w j w l , , whil ’ the n n e r ru i Ri gli g Mus um s figu e is a t e Buddha n monastic garb . The Ringling figure is decorated only by the nubbed pattern of orn a r on ea and a ushnis ha or rot eran e at the to sh h i his h d , p ub c , p of the skull; his simple throne contrasts vividly with the lion-throne “ at the a e of the e en a b s L id im ge . The e t e ent e r e on the e en a e o k e fro igh v s d sc ib d L id im g , cl c wis m the ower e t are : l l f , 1 The nat t ( ) ivi y, 2 the r t er on ( ) fi s s m , 3 the e cent ro the Tra astrimSa ea en ( ) d s f m y h v , 4 the eat or ariniroana ( ) d h p , 5 the ta n of the a ene ele ant ( ) mi g m dd d ph , 6 the rac e of Sravasti ( ) mi l , ’ 7 the on e o er n and ( ) m k y s ff i g, 8 the centra and o nan n of h n n n On ( ) l d mi t sce e t e e lighte me t . e t er of the arinirvana at the to are eate two ar e i h side p , p, s d l g h an d y i Buddhas . Ot er t an the e a orate ea re the o t ortant ffer h h l b h dd ss , m s imp di ’ ence between the Ringling Museum s work and the Leiden image is the arrangement and number of the events surrounding the r The nat t co et n ro the n n main figu e . ivi y is mpl ely missi g f m Ri gli g ’ u eu or and in its ace is a cate cene of the mon M s m s w k, pl dupli s ’ a on n f key s offerin g . This me ns that the piece displays ly seve o h h r t e e t reat e ents . e are c oc e ro t e o e e t : igh g v Th y , l kwis f m l w l f ’ ( 1 ) the monk ey s Offering ( note the monkey sculptured in low relief just beneath the seated Buddha ) ; 2 the e ent ro the Tra astrimé a ea en ss n ere ( ) d sc f m y h v ( mi i g h , but re ent in i ur the ure of n ra o n an um re a p s F g e F, is fig I d h ldi g b ll ’ over the Buddha s head ) ; ( 3 ) the preaching of the first s ermon in the deer ark at Benares ( on the base of the lotus pedestal is the wheel sym ol "cakra"for — the law "dharma"flank ed by the seated figures of two deer) the Buddha above holds his hands in the dharma-cakra 4 the ariniroana or the reat e e ( ) p , g d mis ; ( 5 ) the miracle of Sravasti ( note the s eated figure s eated at the base of the lotus pedestal ) ; 6 the ta n of the a ene ele ant the e e ant as een ( ) mi g m dd d h ( l ph , s ’ in ate 15 the er s a re at t e u a eet Pl , is v y m ll figu B ddh s f ) ; ’ ( 7 a duplicate scene of the monkey s offering; and ( 8 ) the enli htenment ( represented by the large central Buddha - r - r figure in the bgami spa sa mud a) . ‘ The two small Buddha figures at the base of the work might a o o e the m rac e of Sravasti but t e o ore i e ls symb liz i l , h y c uld m l k ly re re ent a on it the ar e entra re the m an f e tat on of p s , l g w h l g c l figu , i s i 22 r r h r s of h Of on e en t ika a o t e t ee o e the u a . T e use y , h b di B ddh ly s v e ent ar to ex a n e ec a t the n ati t m n and v s is h d pl i , sp i lly wi h vi y issi g; h r r n One e e anat on m t b e as t e te tu . o mys y is dis bi g p ssibl xpl i igh , in ee the t e u e t t at the m ain a e of the a was d d s yl s gg s s , h im g Buddh car e one cu tor i e the a er e ent ere e e te v d by s lp , wh l sm ll v s w x cu d by an r r Th cu r f h n s ot e a e o etent c a t an . e to o t e e e t h , l ss c mp f sm s lp v m i i r t en a a e co e t em om anot er a e . s of cour e h y h v , m s p d h f h im g Thi , s , ur is p e sp eculation . ’ Plate 11 The museum s second Pala image of the Buddha ( Plate 11 ) is carved from a hard black stone typical of works comin g from

22 On of h . e the concepts of Ma ayana Buddhism that finds its inevitable re lexion in the icono ra h of that art is the trika a or Three Bodi es of g y , f p y _ ddh h i i Bu a . T is triune d v sion of the Buddha nature is in a hi oso hica , p l p l en n hri ia rini In thi ri n ure w h ve the s se a a o ous to the st n t t . s t u e nat e a , l g C y ‘ ’ ‘ ’ dharmakaya or L aw Body the sambhog akay a or Body of Bliss and ‘ ’ the third bod th n mana a or oum ena od ootn te to this e i ka B . y , r y N l y A f o “ sentence further points out that the crowned and bejewelled Buddhas of ” - i od of iss Pala S ena times have b een interpreted as representat ons of the b y bl .

— - 32 33 258 n 12 . Row and Art and rchitecture o ndia . . l , A f I , pp , , 3 2 The o urate ua t of the tone account for the a t Nalanda. bd q li y s s f c that the compact body was not more extensively damaged when Al t at re a n of the the background slab was broken away . l h m i s ’ background is a sm all fragment above the ima ge s right shoulder h a e of the a e n of a n u or a o . T e which displays a portio imb s h l f c im g , or na ro en a a was re ar e an ne t ra t an at a igi lly b k w y, c v d by i p c f sm later date . The Buddha is again seen in the pose of bhd mi-sparsa-mudra and r t an t the ore n er s n tret e out and his igh h d, wi h f fi g mi si g, is s ch d car n is rom a ore co tent touching the lotus p edestal . This vi g f m mpe

an t a n was e i en e in the re ious a a a e . ere a h d . h v d c d p v P l im g H is refinement of form and a s ensitiveness for realism in the detailing - n ee it t that was less marked in the first Pala Buddha . I d d is his i very quality which marks the piece as distinct vely Pala . h fol o ent n on the a a t e Dr. B . o an a e t e C mm i g P l s yl , R wl d m k s ’ a n aracter st c of the cu t re of the a a lowing observ tio s . Ch i i s lp u P l and Sena periods are the numerous examples of images carved in ar ac tone o n at Na an a and an ot er te in " ar h d, bl k s f u d l d m y h si s Bih of t e are c ara ter e reat ne e and and"Bengal . All h m h c iz d by g fi ss an of t e e on e the re on of precision of execution . M y h s ic s giv imp ssi

“ e n tone itat on of eta - or and in a o t e er a e the b i g s im i s m l w k, lm s v y c s s ense of plastic conception is lost under the intricacy of surface ”

And Th a tua t e of ar in is a n . of e ate eta . e d il , c l s yl c v g ki d d sicc d perp etuation of the Gupta school of the fifth and sixth centuries ; in it one is much more conscious of the precis e and sharp definition of the detail of jewelled ornaments than of the plastic significance of the bodily form that s eems to exist as a framework for these at ” 2 4 tributes . Reco gnizing these facts a nd comparing the two images with the " or ment one it o ee t at the r t reen- ra ima e dis w k i d, w uld s m h fi s g g y g , ’ a n -e ent ro the u a e and n cr e t a mantra pl yi g v s f m B ddh s lif i s ib d wi h , is a - Pala Buddha from Bengal or Bihar and dates from the tenth Th e n n r century . e s co d Buddha is also a te th centu y Pala work in i r r r carved B ha by a mo e skillful s culpto . One of the terrifying aspects of Siva is the featured image of the next work ( Plate He is carved on the face of a rectangular oc of n s an tone c at one t me o or e art bl k pi k ds , whi h i p ssibly f m d p er ica r r Sa t m h of a t utt e o a e te e . T e re tan b e v l b ss , f m ivi pl figu s ds

2 oo r s m n e a r C m a a wa n iana nd on si n A t . 113 . 3 . d d y , I I , p e 144 Art and rchit cture o ndia . . A f I , p tween two ringed columns which in turn are flanked high on either o t e e re ief side by a vertical relief of mythical animals . Bel w h s l s the eet of the a e run two ori onta ou n ar e and at . f im g h z l m ldi gs c v d acro the ront e in the re a nd aroun the r t om er of ss f , b h d figu , d igh c i b a e ran t rou out the the oc . e e ou n it can e bl k Th s m ld gs , ssum d , h gh ar r building as a unifyin g chitectu al device . ’ On the side of this block ( Plate 12A) to the viewer s left and above the center mouldin g is carved a flat elaborate column fea 2 5 - a turin g the traditional Hindu pot foliage capital ( purnakalaé ) . Directly beneath this column and under the moulding kneels a o r- ar e re of a ana one of the e arte ou who con f u m d figu g , d p d s ls ’ 2 6 r t two ar h u ort the stitute Siva s c elestial a my . Wi h ms e s pp s mou n and in turn the co u n a o e i e o er r t an ldi g l m b v , wh l his l w igh h d He ear a o nc ot race o a or and eft a e . h lds sw d, his l shi ld w s l i l h , b h r a n er of th rt ca urfa e t et and a m a ne lace . T e e e e o l s , s ll ck m i d v i l s c the left is s et back from the plane of the column- gana unit and is co o e of a a o and car e ne or Wa e ot e mp s d sh ll w simply v d vi v m if, whil below the moulding is displayed a diamond -shaped flower with

four p etals . - Ou the front of the block the animal reliefs to either side of the columns flankin g the standing deity can b e read from top to b ot tom as a croco e or s ea m on ter makara a ra ant on sar dil s ( ) , mp li ( ’ and an ant h m r f dula e e ea . T e o t o tant a e o t ) , l ph s h d s imp im g his H r r h r tr o is the on . e e e ent t e ete na or of no e e and i li p s s l w ds k wl dg , els ewhere in Indian art supports by his regal and earth -penetrating roar the thrones of the world saviors ( the Buddhas and tirthan h ’ karas . ere t e sardala ance u on the e e ant ea of i ) H d s p l ph s h d , g moran e i e a o e the makara o c of the o er of c , wh l , b v , , symb li p w s

“ ater ear u and eni n e e the tr u of no e e o er w s , f f l b g , bl ss s i mph k wl dg v 2 7 noranc ano nt n th n - i i ig e by i i g e sce e with life g v ng fluid . The a or ure a ra a has o r ar and tan t m j fig , Bh i v , f u ms s ds wi h his i t l Th o we gh shifted slightly to his left eg. e g d s eems to b e standing on an o ect or an a of o e in but ecau e of its ro en up bj im l s m k d, b s b k and orn con it on its ent t o Hi w d i id i y is imp ssible to as certa in . s up “ er r t an o the a hour- a ru damaru p igh h d h lds high sm ll gl ss d m ( ) , while his lower right arm extends rigidly down with its hand turned

2 For the historica an archite tura si ni 5 . l d c l g ficance of this capital design se e er usson - ndian and Far Eas tern r hite t re 8 1 8 18 c c u 7 . F g ; I A , I , 2 hese hosts are led e e h n he e n of Si 6 . T by th lep a t ad d so va ( See Plate ' 27 For a discussion of the s mb o ic m eanin s of the sar a and the . y l g d la makara see Kram risch ind Tem le 11 8 22 - 88 1 H u , , . , p i t in and finger extended to support an obs cure object which m gh b e either a throwing disc ( cakra ) or a bowl made from a skull taf or c khatvan a a n a a ( bhiksapatra ) . A s f lub ( g ) displ yi g sm ll round skull and topped by a trident ( trisula ) is held aloft by the ’ u er e t han e the e t lower e t an o a ot pp l f d, whil d i y s l f h d h lds l us he n a or a to e t . o o o e t blossom his ch s This bl ss m symb liz s li g m, ph l r a and the ot t e f the the m a or o of the o , l lus , j symb l l d Siv l us i s is ’

ar excellence of eterna enerat on . On the or r t symbol p l g i l d s w is s , race et and acro his e t er ar and ankle are e , upp ms , s simpl b l s ss ch s H ort ro a t a r e w hang several necklaces . e supp s f m his w is gi dl hich r an of an k ls shows in high relief between his legs . A ga l d hum s ul as thibits hana ro ro the o er t ne thro hi s ar s ) d ps f m sh uld s , wi s ugh m ,

and oo acro his e t e o the nee . The ea o l ps ss l gs jus b l w k s h d, wh se eat re a e o t een orn a a r o nte a f u s h v m s ly b w w y, is su m u d by high cro n of atte a r ata-makuta and two ear orna ent an w m d h i ( j ) , m s h g ’ down and rest on the god s shoulders . Perhaps the most distinguishing feature of this im age is its large ea w o e e can b e e a ne o the cono ra c h d, h s siz xpl i d, p ssibly, by i g phi canon which requires the images of Siva in his terrific aspects to “ ”2 8 a e u n e e nflate eeks tu ks etc . ere it oul h v b lgi g y s , i d ch , s , H w d “ s eem that not just the cheeks but the whole head has been in An n t th f a flated to enhance its demonic a spect . d eve hough e e t re of the a e are a n two tron ca t e or n ent on can u s f c l cki g, s g vi i s i d i s h b e discerned at the extreme corners of t e mouth . These could pos ‘ sibly indicate the past pres ence of a grimace or the pres cribed tusks r or fan gs . T he shadowy fo ms of the eyes also suggest a bulging that

- 2 9 would further confirm the identity of Bhairava . There can b e little doubt that the figure comes from the face of a te an r f r r e te m a e d t o n is e en t e . l fra mpl , his igi v u h sugg s d by s l g ent of a ter ake in a er t c n n to the car e re m s pl s , fl d l y s , s ill li gi g v d ce e in Th ract c of a n ss s deep the stone . e p i e w shi g whole temples “ t a e o - e a ter was e rea and the a ra ance wi h g ss lik pl s wid sp d, c lm di

2 - 8 . bid . . 880 n . 96. I , p ,

29. For some descri tions of deities in aintin s a ied to music see Gan ol p p g ll g y , Ra as a in s 10 - 107 1 1 ro ess r an o tra l R . 6 1 118 . o G l ns at es . 111 g g i , pp , , P f g y ( p ) from the RAGA- MALA text by Mesakarna ( 1509 ) a description of Bhairava “ which is m ost a ro riate to our im a e : White in com exion clad in white pp p g pl , , carr in the crescent and the horn and wearin a ar and Bhairava is b orn y g , g g l , rom t e m outh of Siva and carries the oison on his neck and his e es are f h , p y r He a so carries the trident the sku l and the otus and wears ewe ed ed . l l l ll ( ) , , , j n h k This me o is sun e ods pendants o is two cars and matted loc s . ( l dy ) g by th g ” n mornin in tumn i the g Au . 19 ”30 The tem e was of the white temples is extolled in ins criptions . pl ” a or - ounta n and the attr te of a w te er n no w ld m i ibu hi , shimm i g s w e ua t was in ee n t the a o e of the o himala a lik q li y k pi g wi h b d g ds ( y ,

the abode of snow ) . The t e of the wor a e e a ece u te f erent ro s yl k, m di v l pi , is q i di f f m

B t Dr. the great masterwork found on the temples o f Khajuraho . u Kramrisch in discussing some of the major characteristics of those “ images describes a condition which is parallelled here : Fram ed o e er in t e r n c e eac a m a r n are and a n h w v h i i h s , h s ll sh i e, pill d h vi g re ent a er tru t re and roo of t e r own the a or n f qu ly sup s c u f h i , m j divi i t e a re e tere eac n c e e n a ara o ca a e- oor in i s sh l d, h i h b i g p d xi l m ssiv d ” 3 1 She which is beheld an aspect of the divinity of the temple . “ rt er tate in a note to t ara ra t at In a ura o how fu h s s his p g ph h Kh j h , e er the are n c e t its cano is a a con - e ro ect on v , pill d i h wi h py b l y lik p j i

rom its ttre e . at the r e a o in a tana u arat f bu ss s Th is ul ls R jpu , G j , ” 3 2 etc.

c o er ara e in t e o e er occur in the ear e e a A l s p ll l s yl , h w v , s ly m di v l r f h The sculptu e o t e state of Kotah in southeastern Rajputana . i ur G F g e images at Chandravati ( Figure C ) display the large head which is ’ een in the u eu a e and at a ar the re on the s m s m s im g , R mg h figu s “ Figure H upper tiers of the m ain temple ( Figure H ) illustrate a stage in the transition of the Khajuraho style to the more primitive but vita l ” - 3 3 c se in the nter or f a a nt cat on of e er hi l i i o R j sthan . This ide ifi i styl v y ’ e e cr e th w ll d s ib s e mus eum s image of Bhairava . on er n all the a e t a o e it is ro a e t at the u e C sid i g sp c s b v , p b bl h m s ’ um s ure a tem e cu t re of a ra a one of the terri c fig is pl s lp u Bh i v , fi or s of S a ro o t ern a utana and ate rom the tent f m iv , f m s u h R jp , d s f h or the e e ent cent r l v h u y . A s culptural fragment displayin g Saivite images is the next work lat 13 P e from central India ( Plate Carved from buff s andstone this a e e a a ter ece o o r ures t ree tan n and sm ll m di v l m s pi sh ws f u fig , h s di g “ n h o e kneelin g . T e two standin g images to the left are the mind ” orn ren of th r S n r h r b child e lo d iva a d his conso t Parvati . T e thi d ro a an atten n aksa w e the nee n ure o t is p b bly di g y , hil k li g fig is m s e t at of m a n lik ly h a fe le do or.

8 0 . am is h Kr r c indu Tem le 128 . , H p , I ,

8 1 . 8 18 bid . . I , 2 8 . 11 4 bid . . 9. I ,

88 . . S . Medieval cul ture 512 : Ram arh Mar Ma a ine X D , S p , $ g , g g z , III , Mar ( ch, 65 .

20

in a tribhan a o e and o in eft an a - ke ea on g p s h lds his l h d club li w p , rm he o a co anot er of his or a cauri . U n er his r t a d igh h lds ck, h ol o e ea has b een ro en a a and on the o symb s , wh s h d b k w y ly b dy r his o and ot er and ta eat er re a n . ar an e il f h s m i A g l d ci cl s b dy, his h orna ent n e a ne a e a r l e and ea earr n . m s i clud ckl c , gi d , h vy i gs His a are re e ra n ro n or o f ure e his he ds d ss d by high spi li g c w s c i f s , whil

“ lower body is clothed only in short pants . The t r tan n re o a aks ha and he o hi d s di g figu is p ssibly y , h lds

- at a ear as a rat er t an the a cauri or fl k . wh pp s club h h usu l , y whis He too tan in the tribhan a o e the c tor t e as , , s ds g p s which s ulp u iliz d a device to unify the three vertical figures and give a ction to the In r rn n an re he ate t o e of n t . e e t to o a e t d u i sp c m s d ss , duplic s h s the Karttikeya figure and his jaws also display a slight broadening “ " which is a chara cteristic later very common to the decadent phase ”3 f a r 7 o mediev l sculptu e . On the extreme right of the thick base ( common to all the fig all t at re a ns ures ) is a broken foot wearing an anklet . This is h m i of the large standing image whi ch was the main subject of the “ ” f n Par work . Because of the presence of the children o Siva a d ati it a r erta n t at the ar e re was t at of e t er t e r v , is f i ly c i h l g figu h i h h i r or r h a t ac t a of the mothe thei father. As t e b s e s eps b k wi h e ch tan n ure it or a ane of e t c e o e ar s di g fig s , f ms pl d p h whi h v lv d upw d n i to a niche or gateway ( torna ) to contain the large missing image . w en the ork was n roken o ne the artet t an This , h w u b , j i d qu wi h ot r rou f a n n he g p o tte di g figures on the right . A sculptural fragment similar to this one is found in the Museum f n I ro n an o Fi e Arts at Boston . t is thought to come f m Bu delkh d and dates inthe period from the tenth to the twelfth century ( Fig

ure . It too a one nee n and t ree tan n res I ) , , displ ys k li g h s di g figu , " ' ’ and it or th f - r a ar a h f med e left side o a to na containing l ge im ge . T e t e of the carv n owe er reta n a nt of the roun e and s yl i g, h v , i s hi d d ’ c a ca o e n ate t at the n n u e ece l ssi l m d , which i dic s h Ri gli g M s um s pi a w s executed later. T he U ma-Mahesvara Groi1 fro Pallfi ure now in the p m ( Fig I) , i aner u e ate fro the e e ent or t e t ent r and B k M s um, d s m l v h w lf h c u y s tylistically represents a closer parallel to the Ringling Museum

- work . This . is especially noticeable in the small three headed figure

tan n to the e tre e e t i ent e b Dr. oet as s di g x m l f , which is d ifi d y G z

‘ 7 oe r t . A a r h e i 7 8 t t nd A c it c ure o B kaner tate . 8 . G z, f S , p articu Brahma but which is more likely that of Karttikeya . Note p ’ larl the a fi ure s tribhan a o e the uare aw and the y sm ll g g p s , sq d j , S nce the n n Mu general s culptural style of the whole piece . i Ri gli g ’ seum s or t t ca c o er to t ece it u este t at w k is s ylis i lly l s his pi , is s gg d h

“ “ this Saivite fragment comes from Rajputana and dates from the twelfth century .

“ ” “ The Great ot er not on the mo t anc ent of e t e but M h is ly s i d i i s , has o er e her u t the o e t t e t n in as Dr. oet G z bs v d , c l is ld s s ill xis i g 3 8 It t ere ore a ro r ate t at the a t ork ro Rajputana . is h f pp p i h l s w f m Rajputana is a late image of the goddess Durga ( Plate This work displays scarcely a trace of the great sculptural idiom of the e e a er o e n c o er in S r t to o cu ture but its m di v l p i d, b i g l s pi i f lk s lp , primitive and abstracted style is attractive to the contemporary eye . ur a no n as K511 and a un a in out ern n a was D g , k w C m d s h I di , brought into being by the combined energies of the gods to aid 39 in he rce t em t e r att e a a n t the as uras or em on . t e h h i b l s g i s , d s As fi

' and tr ant a en er of the o e b ere a ear o e at iumph v g g ds , sh pp s s m wh en n a n on o r ar rat er t an the e enteen b e b ig , displ yi g ly f u ms h h s v st w n h o ed upo er by the gods at her mythical creation . t a e t of the o e ere e t er a i or a n a the If his sp c g dd ss w i h K l C mu d , ure wo a ear c m ore eou t an e ac ate o fig uld pp mu h hid s , wi h m i d b dy,

' o o c eek n B r h e e and o n ton ue . ut e e t e od h ll w h s , bulgi g y s , l lli g g h g dess stands at eas e with just the slightest suggestion of the tribhan

a o e . She a our ra ce ete ar and two ur r n g p s displ ys f b l d ms , s p isi gly ma disCs on h r n n s ll high e chest i dicate her breasts . A ecklace loops etween the rea t and anot er rc e her t roat a cro n b b s s , h ci l s h ; w , simi

“ lar to an oun in ate o u and a ut a nt n is een on m y f d l M g l R jp p i i gs , s

“ her ar e ea . n let ear orna ent a r e a o ce and l g h d A k s , m s , gi dl , b di , on ant com ete h r l g p s pl e costume . ’ ' On the odess ore ea t re a horiz ontal m ark and ) elo it g f h d he is b w , tw h ' e een er e e a f und on eac c ee t ere a dot . On ac b y s , is ; h h k h is e h of her biceps is indicated a flower blossom which most likely rep re ents a tatoo s nce a ar o er can b e Seen on the r t an s , i simil fl w igh h d w c o a tr ent . The ot er r t an o a wor and in hi h h lds id h igh h d h lds s d , the two left hands she carries a snake and a bowl for blood or life i n ne tar. Stan n e n her at her eet her vaha na a giv g c di g b hi d f is , ri t e ar e do - n p mi iv ly c v d g like lio .

bid . . 0 8 . I , p “ — 89. ur a she who is difii cult dur to o ain g , ( ) ag st a . Zimmer Art D g ( g ) , o dian sia n 90 . f I A , I , This less sophisticated piece is closely related to the productions of o art and it o are t o e wor rom a tana f lk , if is c mp d wi h s m ks f R jpu

and arat o e ntere t n s ar tie w b e een . Guj , s m i s i g imil i s ill s ig ure K ure K o a e a i or e or a tone for one of the F Fig sh ws D v l , m m i l s , i an r r ece ate ro the ear s teent centur B k e aids . This pi d s f m ly ix h y and o the ra d on or e ac e e ore tan t ree of sh ws i h s b k, whil b f him s d h h een or rants who omm tte sati at eat . t o t his qu s , , c i d his d h Al h ugh is ece te orn t ere a tron re e ance et een t e e pi is qui w , h is s g s mbl b w h s a an h o er ea the ar e t f e d the r a re . T e e s i f im g s Du g figu v siz h ds , l g ear ornaments and the lon g straight legs with high anklets suggest ’ ar me the forms whl ch later evolve in the museum s work . Simil morial slabs are still being ex ecuted today in Rajputana and follow 4 0 th old and r e epetitive formulae . A little later in date and more western in provenance are two brass figures of Dipa Lakshmi lampbearers from Gujarat ( Figures ig ure L h h eu F L and M ) . T e older one ( Figure L ) is in t e B aroda Mus m r It a a i and dates f om the late s eventeenth century . shows f m ly likeness both to the sati figures on the stele and to the image of r h a f a a l th n and o t u a. ot ce t e e o the e e e e o e D g N i sh p h d, sp ci l y s m u h a ea the a rea t and the e cee n on tra t r s , sm ll high b s s , x di gly l g s igh e rt and lam b arer ure re r e . In the e on e l gs , ski , gi dl s c d p fig ( Figu i F gure M occur the a e enera c ara ter t c c o e o e er M ) s m g l h c is i s , whi h p ss ss , h w v , a or o r a the ear m e ve t decorativeness . Notice especi lly s which dupli cat t o f e h se o the Durga figure . It must b e remembered that these bronzes are much smaller than the stone im age and were cast by the cire- perdue method which permits and encourages more ornamentation than does the more ra on m n w t th re o te t e . But t e e ex a e a o e te e bdu s h s pl s, l g i h s l figu s , show the persistence of an im a ge type in the folk mode of west centra n a w o er a t ou an e ar old and it ro l I di hich is v h s d y s , is f m t m a a his i ge th t our Durga figure emanates . Becaus e of the strong resemblance between the Ringling Muse ’ um s work and the sati figures on the stele and the bronzes from western u arat it m a b e s r e t at the ma e of ur a G j , y u mis d h i g D g is not too m o ern and an a ro ate ate of the ate e teent d , pp xim d l igh h r an centu y d a provenance of Rajputana are suggested .

40 oe r r h i ne a e . . t At and c itecture o B ka r t t 96. G z , A f S , p CHR ONOL OGICAL TABLE

IN DIA OTHER i at n Meso ota ia B C . n u a e c o m m c t e I d s v ll y iv liz i , p i i s ,

C 0 . C c . B . . B. .

So o on l 0th cent r l m , u y

B C .

c ae en er ian Aryan invasion of India . A h m id P s

- e truct on of the n u re 550 330 B C . D s i I d s Empi ,

valley civilization . r - 800 e c e o c . V di p i d,

B . C .

- 563 4 3 BC . u a 0 . 8 B ddh ,

- 42 ? 347 B. C . 4 B C . ato 7 a a ira . c . 68 M h v , d Pl , Alexander the Great cro e the n u r er ss d I d s iv , C 326 B .

an ra u ta a r a Ch d g p M u y ,

- 3 C . 0 . 21 297 B

- 3 C . S r an so a 0 . 273 2 2 B e e e A k , l ucid P si - C 305 64 B . ar t Sanc i 3rd ent . re Bh hu , h , c Empi , — C . 1s n . f r t . B . t ce t o Ch is era

Early M athura.

Early Ajanta caves .

Hinayana Buddhism .

Beginnings of Gandharan Christ .

Art .

Amaravati .

’ Em r a a ana u . ra an o an eno M h y B ddhism T j , R m p , Kanishka Kusana n - 7 98 11 . , Ki g, 12 9- . 0 162 . c a ra 105 . P lmy ,

an ra u ta Ch d g p I , 320- 33 0 . 5 .

t Ar 4th- a t 7th cent . Gup , s ite un n a e n a Wh H s i v d I di ,

- 46 . 0 . 0 o e fa 476. R m lls , Gandahra a l id waste .

- e e a n a Art . o a P n 0 e 570 632 . M di v l I di , M h mm d, 550-15 0 5 . 25 a a a ram ear 7th M m ll pu , ly

cent . ra con e t of S n A b qu s i d,

c . 712 . Pala Dynasty of Bengal - o n e o a a ar e a ne 742 814 . f u d d by G p l , Ch l m g , 0 c . 75

Konarak . Moslem conquest of north ern n a 1192-96 I di ,

a an a e tro e 1199. N l d d s y d ,

- End of in n a . u na 1225 1274 . Buddhism I di Aq i s ,

1 2 - r r e e and o er o 5 6 1857 . t o t M ghul P i d , Fi s P ugu s

- in n a . ar 1556 1605 . n Akb , E glish I di 1 00 Rajput dynasties, 5

1850 .

- - 4 2 . an 1869 19 8 . arw n 1809 188 G dhi, D i ,

Indian independence .

26 BIBL IOGR APHY

C W . Th i a an on on eor M . d : e en 81 n n . e ert c l U wi L td . 1947 . AR HER , G V L G g All , , ' S N ir h Ar o ndi t T S L . ed . T e t a and akis tan: The ommemora ive A H O , ( ) f I P C Catalo ue o the Exhibition eld at the Ro al cadem o Art ondon g H , f y A y f , L - e rk o r - 194 8 N w o : wa d M c nn In . n 7 . c a c . d , Y C , , . AN ER e o me o o o r 2n a a B EA . The vel nt indu c n a h d cutt I , J D p f H I g p y ( C l f a U niversit o cutta 1956. y C l ,

Th n h i ondo a mi an o . 1954 AS AM . M B . e Wo der T at as nd a n : c 8: C . W . H , A L I L ll , m on e ri 9 0 Me l re a s : L a Palrne 1 5 . BU N I Ra d . n al u i du di v c tu . R ER, y H S p P , '“ A nan A ddhist cu ture M eum o ine rts COOM AR ASW M Y da K . Bu us , A S lp , f F A B lle oston X 0 u tin B X 8 . ( ) , II ' ‘ o 2 dst n 19 7 . t or o n ian an ndon esi an Art ondon : dw. o is d d . E H y f I I L G l , “ ” cul tures rom Mathura Museum o ine rt s Bulletin Boston S p f , f F A ( ) ol o 150 1927 50 V . XXV, N . ( . “ The Ori in of the Buddha i ure The Art Bulletin IX g F g , ,

- 287 829.

The Trans ormation o Nature in Art amb rid e Mass : arvard f f , C g ( ) H

U niversit ress 1985 . y P ,

h n hiv re New ork : The oonda ress 1957 . T e a ce o a v . D f S ( Y N y P ,

i r r d . ism n h New ork : hi oso hica b a m. indu a d Budd ism. H Y P l p l L y, Medieva cu ture 12 : Ram arh Mar Ma a ine Bomb a XII D . S . l S lp , $5 g , g g z ( y ) , , 4 - March 6 66. ( , 2 am he istor o ndian and Far Eas tern rchitecture . GU S S N es . T FER O , J H y f I A

d C o . 1899 vo s New ork : odd Mead an . l . Y D , , ’ - Eco e r o Bo hi d andhara 2 vols . aris : OU C . L Art G ec udd ue u G . F HER, A " P l ’ - ran aise d Ex tréme Orient 1905 18 . F c , ‘ A Y O Ra an Ra inis 2nd Bomb a : a anda ub ications G N GOL . G . as d g ( , , g y N l P l 8 194 .

' Ox ord : Bruno nn A and rchitecture o Bikané r tate . GOE rz erm a . The rt S , H A f f

sirer 1950 . Cas , r New ork : McGraw i ndia ive Thousand ears o ndian A t . H I , F Y f I Y ll

Book Co . , 1958 .

i New or : 198 1. ol 2 : nd a . li a ions o the East . v . GR OU S S ET René . ivi t k , C z f I Y

rmondsworth : en uin Books 1952 . r s s hism . a HU M PH E Y S Ch i tma . Budd H g , R , P New ork : antheon Books r d h ran Ar in akistan . IN GH OL T H a a . Gand a t , , l P Y P

1957 . i of C al n Tem le 2 vo s . a cutta : U nive rs t KR AM R I SC H Ste a . The Hi du . C y , ll p l l 1 46 outta , 9 .

dia New ork : Phaidon ress 1954 . Th Ar o n . e t f I Y P , Munich : taat iches Museum fur Wi ker LOM M L ndreas . ndische Kunst . S E , A I l l

958 . kunde , 1 h r ambrid e : amb rid e Ar o and a a . MA AL L Sir ohn . The Buddhist t G C g C g RSH , J f

U niversit ress 1960 . y P , '

l mbrid e : ambrid e U niversit ress 1960 . id e to Taxi a . a . A Gu C g C g y P , m ondsworth 1000 B 2 nd e . ar or ndia to C . d PIGGOTT Stuart . rehist ic ( ) H , P I

en uin Books 1950 . P g , 27 “ D n min d R WL AN Be a . Revise hrono o of andhar l a cu ture. The O , j A C l gy G S p ll in X - 0 Art Bu et 887 4 0 . , VIII The Art and rchite tur Ba im r in dia . t o e : en Bo k 9 c e o n u o s 1 58 . A f I l P g ,

’ andha ra cul ture rom akistan Mus eums New ork : The sia G S p f P . Y A 19 0 ociet 6 . S y , A D e rk n h E . a . udr New o : a t eo B k U N S M a. n oo s 1960 . S ER , D l Y P ,

M IT incent . The Ox ord istor o ndia 8 rd ondon : Ox ord S H, V f H y f I ( L f

U niversit ress 1958 . y P , E ics M th a e en o 2m om a ara ore T M AS . s nd ds ndia d B b : T HO , P p , y L g f I ( y p

va a ons Co . n . d . . l S , L ir Mortim er Rom Be ond h m er l n ier Harmonds W S . e t e ia ro t s . HEE ER, y I p F h e in ook 1 55 ort : P n u B s 9 . w g , m e n 5 arl n ia an ak an ondon : Tha s uds 19 9. E d d ist . o y I P L H , inr h mb an n i il a on New M ths and o s in ndi Art a d v i ti . ZI M e ic . l M ER, H y Sy I C z

ork : antheon Books 1946. Y P , h o k hi s h n ew ork : ant e n Boo s 195 1. lo o ies o dia . N P p f I Y P , 55 Ne anth on ooks 19 . Ar o ndian si 2 vo s . w e B The t a . f I A l P ,

28