DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0544
■522 APPENDIX.
If we had photographs of the sculptures of Buddha Gaya, we
might perhaps ascertain something of their age by a comparison
with them. But the drawings that haye hitherto been published of
them are such that no reasoning can be based on them. The one
that has been photographed* represents the Sun, Surya2 driving a
four-horsed chariot, from which his two wives, Prabha. and Chhaya,
shoot at the Rakshasas of darkness.8 The subject is therefore
different, and the chariot being seen in full front does not admit of
comparison, but the two pillars on either side are as nearly identical
with the two in the verandah here (Plate XCVL, figs. 2 and 3) as it
is almost possible they should be. The one is bell-shaped, the other
cushioned, and they are surmounted by sphinxes. They are unfor-
tunately considerably worn, but their main features are quite
unmistakeable. In so far, therefore, as architectural evidence can
be relied upon there seems no doubt that this cave is of about the
same age as the Buddha Gaya rail. Which is the earliest may be
allowed to remain an open question, but meanwhile it may be safe
to assume 250 B.C. as the most probable date for this cave, and con-
sequently there seems no reason for doubting that the sculptures in
this Bhaja Vihara are the oldest things of their class yet discovered
in India. If there was any reason for supposing that Buddhism
penetrated into Maharashtra before the missionaries were sent there
by Asoka, after the great convocation held by him in 246 B.C., it
might be considered an open question whether this might not pos-
sibly be even earlier than his reign; but that is a question that need
not now be broached. A more important one, which I thought had
been set at rest by the discovery of the Bharhut Tope, must now be
re-opened. The sculptures of that monument seemed to prove that a
school of native sculptural art had arisen and developed itself in
India, wholly without any foreign influence. If, however, the age o
these Bhaja sculptures is admitted, it seems difficult to refuse
believe that it is not to some Baktrian or Yavana influence that the)
may owe their most striking peculiarities. The figure of the speai
1 Dr. Rajendralala Mitra's, Buddha Gaya, Plate L. ^
2 There seems no doubt that General Cunningham is quite correct in identifying;
Charioteer with the sun god, but the plate {Reports, vol. III., Plate XXVII.) m
he is represented is so incorrect as to be open to Dr. Kajendralala's criticism. ^ _
3 The same subject is represented in the Kumbharwara, Cave at Elura (
LXXXIIL, fig. 2), but in a much more modern, and less artistic form.
If we had photographs of the sculptures of Buddha Gaya, we
might perhaps ascertain something of their age by a comparison
with them. But the drawings that haye hitherto been published of
them are such that no reasoning can be based on them. The one
that has been photographed* represents the Sun, Surya2 driving a
four-horsed chariot, from which his two wives, Prabha. and Chhaya,
shoot at the Rakshasas of darkness.8 The subject is therefore
different, and the chariot being seen in full front does not admit of
comparison, but the two pillars on either side are as nearly identical
with the two in the verandah here (Plate XCVL, figs. 2 and 3) as it
is almost possible they should be. The one is bell-shaped, the other
cushioned, and they are surmounted by sphinxes. They are unfor-
tunately considerably worn, but their main features are quite
unmistakeable. In so far, therefore, as architectural evidence can
be relied upon there seems no doubt that this cave is of about the
same age as the Buddha Gaya rail. Which is the earliest may be
allowed to remain an open question, but meanwhile it may be safe
to assume 250 B.C. as the most probable date for this cave, and con-
sequently there seems no reason for doubting that the sculptures in
this Bhaja Vihara are the oldest things of their class yet discovered
in India. If there was any reason for supposing that Buddhism
penetrated into Maharashtra before the missionaries were sent there
by Asoka, after the great convocation held by him in 246 B.C., it
might be considered an open question whether this might not pos-
sibly be even earlier than his reign; but that is a question that need
not now be broached. A more important one, which I thought had
been set at rest by the discovery of the Bharhut Tope, must now be
re-opened. The sculptures of that monument seemed to prove that a
school of native sculptural art had arisen and developed itself in
India, wholly without any foreign influence. If, however, the age o
these Bhaja sculptures is admitted, it seems difficult to refuse
believe that it is not to some Baktrian or Yavana influence that the)
may owe their most striking peculiarities. The figure of the speai
1 Dr. Rajendralala Mitra's, Buddha Gaya, Plate L. ^
2 There seems no doubt that General Cunningham is quite correct in identifying;
Charioteer with the sun god, but the plate {Reports, vol. III., Plate XXVII.) m
he is represented is so incorrect as to be open to Dr. Kajendralala's criticism. ^ _
3 The same subject is represented in the Kumbharwara, Cave at Elura (
LXXXIIL, fig. 2), but in a much more modern, and less artistic form.