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is not an accident, but from the conduct of the people in the foreground a thing’ to be worshipped. I must ‘leave it to some one else to suggest a meaning for this representation, as I have not myself met with anything that would tend to solve the mystery. This bas-relief occurs on the top of the inner face of the left-hand pillar of the Northern Gateway, Plate XI.. we SANCHI. yay 24 PLATE XXX. . \ LET th \ = Narra = E = = Ce) Gk ne = i J ae BF — SS SS SA ————— mee a BE anh? we a i 2S a) ee ee COL. MAISEY Ger. ~ PILLAR SOUTHERN GATEWAY. DESCRIPTION OF PLATES. 125 PLATE XXX. Tuis Plate represents in two parts one face of one of the fallen pillars of the Southern Gateway (Plate XIV.). The right-hand figure is the upper half, that on the left the lower part of the same pillars. As already stated, Colonel Maisey considers this as the oldest of the four Gateways. “It appears,’ he says, “to have been the ** only gateway for a long period ; its pillars are different in style from the others, and the buildings and costumes represented in the sculptures struck me as having “ served as models for those of the other gates, Meee? though evidently the work * of superior artists, have not so original an appearance.” This conjecture is further confirmed by the architectural details, and for the reasons given above (page 89) I am inclined to agree entirely with this determination The abacus is round, and sur- mounted by a Lion capital (Plate XXXIX. Fig. 2.). Immediately in front of it lies a lat, probably as old as the time of Asoka (Plate XXXIX. Fig. 1.), with the peculiarities which occur in Tirhoot* and elsewhere of the age of the same king. Taking into consideration the certain pre-existence of this lion-capped pillar, it is extremely probable that when first attempting in stone a gateway of the sort, they should copy a stone form with which they were familiar. It may also be added that the mode by which the circle of the alacus is extended to the square of the pillar is weak and wooden, and would hardly be attempted after the square capitals of the other Gateways had been. raventce but is just such a form as inexperience - might suggest. The sculptures in the upper part represent first the sacred Tree, with two ‘umbrellas and garlands above, and on each side are objects which appear to be intended as representations of flags. The tree itself is the Pipal or Ficus religiosa. Below this is a building with pillays alternately plain and octagonal, and with pot bases very similar to those found in the Cave at Karlee.t+ On the altar in this building stands the “Trisul’”? emblem three times repeated. If I am correct in my belief that it represents Buddha in the Buddhist religion, it here is amy: the emblem of the triune divinity of the Buddhist faith.t The lower part of the pillar is Senile by two. bas-reliefs of a more domestic. character. In the upper one of these a Hindu Raja is attended by six females, two of whom support him with their arms. Let us hope he is not tipsy! but the next _ female carries a vessel which may contain wine, or some intoxicating drink, and she has a cup in her hand, The seated figure on the right holds apparently a cake. On the left one female bears the Chatta of State, the other is seated with her back turned to the - spectators. The expression of the king’s face is certainly that of a man in liquor. * History of Architecture, II, 459. t Ibid., 487. ; { General Cana inwtiaen suggests (Bhilsa Topes, p. 359,) that this afterwards became the emblem of . Juggernath, with his brother and sister. In this suggestion I entirely agree, but the transformation took place at a period long subsequent to that we are now engaged upon. ‘The more I look at it the more do I become convinced that Vishauism is only very corrupt Buddhism. 126 THE TOPE AT SANCHIL The lowest bas-relief is more complicated and difficult of explanation. In the centre, on a tray, rests something which is. certainly the principal object in the scene, but what is by no means clear. It may be a relic. Whatever it is, we know by the Chatta held over it, and the Chaori-bearer behind, that it is what is here honoured. In front a man’s head lies on tle ground, severed from its body. On the right are six Hindus, in attitudes of adoration, and on the left a female singer, by no means remarkable for her personal charms, is singing to the accompaniment of a drum. Four or five men in front seem—to be charmed with her performance. Behind cher, between the pillars, is a figure with a singularly calm and pleasing expression of countenance, and with a head-dress we have not before met with. Owing to the position in which this figure is placed, it.is difficult to determine whether it. represents a male or a female, and where all are shaven there is: no sign on the face. From the necklace of pearls round the neck, it probably was intended for the Queen. On one of the architraves of this Gateway (Plate XXXVIII.) we have a siege of a town, apparently to rescue a relic that had been carried off. Does this scene represent the rejoicing consequent on its recovery, and its safe deposit at Sanchi? And is that head in the foreground the head of the robber? The inscription is, unfortunately, only a fragment and unintelligible ;* but even if made out, would only tell us probably who presented the sculpture to the Tope.t . . The architecture of the palace or pavilion in which the lower scene takes place is so well made out on the bas-relief, that it would not be difficult to restore it. It is of course wholly of -wood,,. but of a” very ornamental character. es Cunningham, Bhilsa Topes, p. 264. ‘fT Is it possible that the explanation of this bas-relief is to be found in the following extract from the ‘Vishnu Purana (Wilson’s translation, page 471): “Devabhiti the last. Sunga prince being addicted to immoral * practices, his minister, the Kanwa, named Vasudeva, will murder him and usurp his kingdom.” This event happened about the year 78 B.c., and is therefore not an unlikely one to be recorded in the Sanchi Gateways. As this Devabhiti was the king who at least commenced the great Cave at Karlee, the finest and among the earliest of Chaitya Caves in India (J. B B. BR. A. S., V. 153), we should be sorry to learn that he was addicted to drinking! Te eae eu —SS SSF == — ae, — eo & " 2 or AA A AAA as — a ‘= Ws —<'\ wy, dn 8 i K Wi: railasinas [ROSE : — ‘ I ye = A = S ‘ 3 SIA ea aby SS q 7, IZ > (OS PW oe a _- Vorb ZS “yy ee= — 7 ———" - XY : i == ae Neate \ Bil) B07 ) j - x OOS Qu Ce, : \ iy : WN PN \ i y . Ay Y NS Ty Fett ill) ea Ea bt) ¢ “ ise F ) a z | DESCRIPTION OF PLATES. 127 PLATE XXXTI. TE objects represented in the upper part of the pillar figured in the last Plate close for the present our series of ritualistic illustrations drawn from the Sanchi Tope. With the lower part of that pillar we enter upon a series of historical and legendary subjects, much more difficult of explanation. Whatever meaning we may attach to a Dagoba, a Tree,a Wheel, or other emblem, it is easy to see that it was an object of worship, and it is a matter of comparative indifference who the worshippers may have been. With the historical scenes the case is different. We long to know who the actors a +, when they lived, and the significance of the action the sculptor is bent on portraying. In the present state of our knowledge we can do little more than guess at this, but eventually it is probable more definite information may be obtained. Meanwhile, however, some of them are particularly interesting in an ethnographic point of view, or as illustrating the manners and customs ‘of. the age in Which they were portrayed. These remarks apply especially to the two boat scenes depicted in Plate XXXTI. ‘We have not an idea to what particular events either of them refer; but it would be difficult to bring into stronger contrast the two races whose acts are the subjects of the Sanchi sculptures. In the upper one..we. have the refined and- elegant pleasure-_ boat of the Hindus; in the lower the rude canoe of the Dasyus. - In the upper a festal water procession; in the other the matter-of-fact arrival or departure of some old chigf. Boats not unlike the upper one. in design may still be Seen opposite the Ghats at Benares on festal occasions, or on the lakes at Oudypore,* or wherever a Hindu palace has a lake attached to it; but in so far as I have seen, not with a winged lion’s head like this. On the present occasion the boat bears a relic casket, over which the royal umbrella is raised, “and beside which the Chaori bearer stands. The scene is in a fresh-water. lake, in which the lotus and other such plants abound, and around the boat are numerous figures with garlands in their hands, swimming and disporting themselves, supported on, mussucks or inflated skins. It is not easy to make out whether those in-the water are males or females; from their bangles and -armlets, most probably the latter. There can be no doubt that the whole represents the triumphal procession of the relics across a lake. or river, probably on .some annual festival, but what lake or river we do not know, or what the. relics may — have been. If it were a periodical festival, this is of little consequence. [If it represents some one great occasion, it would ‘be delightful to know, but for this we must at least wait. The lower picture, in strange contrast to the above, represents the rude canoe of the Dasyus, made up of rough planks, rudely sewn together by hemp or string. * Tod’s Rajasthan, vol. I. 373. . 128 THE TOPE AT SANCHI. In the centre sits an old bearded Dasyu. Two other men are in the boat with him, one paddling, the other either steering or poling.