DOI Page / Citation link:
https://doi.org/10.11588/diglit.9541#0112
Chap. IV.
HAIL AT BHARHUT.
89
greater extent than is attempted ; but as areliitecturally it is hardly
more important than others, that task may well be left to its
discoverer. Meanwhile, however, it cannot be too strongly in-
sisted upon that the art here displayed is purely indigenous. There
is absolutely no trace of Egyptian influence. It is, indeed, in
every detail antagonistic to that art; nor is there any trace of
classical art; nor can it be affirmed that anything here exhibited
could have been borrowed directly from Babylonia or Assyria, The
capitals of the pillars do resemble somewhat those at Persepolis,
and the honeysuckle ornaments point in the same direction ; but,
barring that, the art, especially the figure-sculpture belonging to
the rail, seems an art elaborated on the spot by Indians, and by
Indians only.1
Assuming these facts to be as stated, they give rise to one or two
inferences which have an important bearing on our investigations.
First, the architecture of this rail, with its toran, are more essentially
wooden than even those at JSanehi, and, so far as it goes, tends to con-
firm the conclusion that, at the period they were erected, the style
was passing from wood to stone. On the other hand, however, the
sculpture is so sharp and clean, and every detail so well and so
cleverly expressed in the hard sandstone in which it is cut, that
it is equally evident the carvers were i>erfeetly familiar with the
material they were using. It is far from being a first attempt
They must have had chisels and tools quite equal to carving the
hardest stone, and must have been perfectly familiar with their use.
How long it may have taken them to acquire this degree of perfection
in stone carving, it is of course impossible to guess, without further
data ; but it must have been centuries. Though, therefore, we may
despair of finding any architectural buildings older than the time of
Asoka, it is by no means improbable that we may find images or bas-
reliefs, and inscriptions of a much earlier date, and for the history of
India and her arts they would be as useful as the larger examples.
They, like this rail, are probably buried under some neglected mound
or the ruins of some forsaken city, and will only be recovered by
excavation or bv accident.
othcre tii be, mere guess-work, or daring
speculation. It is, consequently, no small
satisfaction to me to Bad that this sub-
sequent discovery of a monument 200
yean earlier docs not force me to unsay
a single word I then said. On the con-
28, on the next Jiage) of one of the bas-
reliefs on u pillar at Bharhut may serve
to convey an idea of the style of art
and of the quaint way in which the
stories are there told. On the left, a
king with a five-headed snake-hood is
trary, everything I then advanced is ; represented, kneeling before an altar
confirmed, and these inscriptions render strewn with flowers, behind which is a
certain what before their discovery was i tree (SiVtsa^cc<wia?)hungw ith garlands,
necessarily sometimes deficient in proof. Behind him is an inscription to this
1 The. following outline (Woodcut No. effect, " Era]intra the Naga Raja worships
HAIL AT BHARHUT.
89
greater extent than is attempted ; but as areliitecturally it is hardly
more important than others, that task may well be left to its
discoverer. Meanwhile, however, it cannot be too strongly in-
sisted upon that the art here displayed is purely indigenous. There
is absolutely no trace of Egyptian influence. It is, indeed, in
every detail antagonistic to that art; nor is there any trace of
classical art; nor can it be affirmed that anything here exhibited
could have been borrowed directly from Babylonia or Assyria, The
capitals of the pillars do resemble somewhat those at Persepolis,
and the honeysuckle ornaments point in the same direction ; but,
barring that, the art, especially the figure-sculpture belonging to
the rail, seems an art elaborated on the spot by Indians, and by
Indians only.1
Assuming these facts to be as stated, they give rise to one or two
inferences which have an important bearing on our investigations.
First, the architecture of this rail, with its toran, are more essentially
wooden than even those at JSanehi, and, so far as it goes, tends to con-
firm the conclusion that, at the period they were erected, the style
was passing from wood to stone. On the other hand, however, the
sculpture is so sharp and clean, and every detail so well and so
cleverly expressed in the hard sandstone in which it is cut, that
it is equally evident the carvers were i>erfeetly familiar with the
material they were using. It is far from being a first attempt
They must have had chisels and tools quite equal to carving the
hardest stone, and must have been perfectly familiar with their use.
How long it may have taken them to acquire this degree of perfection
in stone carving, it is of course impossible to guess, without further
data ; but it must have been centuries. Though, therefore, we may
despair of finding any architectural buildings older than the time of
Asoka, it is by no means improbable that we may find images or bas-
reliefs, and inscriptions of a much earlier date, and for the history of
India and her arts they would be as useful as the larger examples.
They, like this rail, are probably buried under some neglected mound
or the ruins of some forsaken city, and will only be recovered by
excavation or bv accident.
othcre tii be, mere guess-work, or daring
speculation. It is, consequently, no small
satisfaction to me to Bad that this sub-
sequent discovery of a monument 200
yean earlier docs not force me to unsay
a single word I then said. On the con-
28, on the next Jiage) of one of the bas-
reliefs on u pillar at Bharhut may serve
to convey an idea of the style of art
and of the quaint way in which the
stories are there told. On the left, a
king with a five-headed snake-hood is
trary, everything I then advanced is ; represented, kneeling before an altar
confirmed, and these inscriptions render strewn with flowers, behind which is a
certain what before their discovery was i tree (SiVtsa^cc<wia?)hungw ith garlands,
necessarily sometimes deficient in proof. Behind him is an inscription to this
1 The. following outline (Woodcut No. effect, " Era]intra the Naga Raja worships