Reviewed work(s): Source: Parnassus, Vol. 11, No. 6 (Oct., 1939), pp. 24-29 Published by: College Art Association Stable URL: http://www.jstor.org/stable/771790 . Accessed: 24/01/2013 19:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Parnassus. http://www.jstor.org This content downloaded on Thu, 24 Jan 2013 19:42:15 PM All use subject to JSTOR Terms and Conditions T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y T H E L A f D Y U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R U f D - E R T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E T H E T R E E by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum by E R NST COH N- WIE NE R CH U L A KOKA D E VA T A R elief f rom Barhut in theCalcutta Museum T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- T H E R E L IGIOU S T R E ND in Indian mentality is so great a creative power that it always takes f irst place in every analysis of Indian art. Nevertheless the soul of India was not only that of a priest but that of a poet as well. A ll the rivers and ponds, trees and groves to which worship is of f ered all over the country bear witness that the Indian mind was so sensitive toward nature as to at- tach religious signif icance to its objects. T he Indians who included animals as well as man in the circle of kharma ascribed some kind of humanlike existence to plants also. If f or reasons of caste rule a girl had to marry and no bridegroom was available she was, and is even nowadays, married to a tree and this marriage was considered as valid as any other. It was no mere cere- mony. In the opinion of an Indian, a tree was not nec- essarily a mere piece of wood, but could be f ull of lif e, and susceptible to emotions, and thus on the same level of existence as men or women. T his belief takes a very def inite shape in what is called "D ohada," in Sanskrit literature. (K. R ama Pisharoti: Journal of the Indian Society of Oriental A rt. Vol. III, Calcutta 1935 and I. Ph. Vogel, Catalogue of the A rchaeo- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- logical Museum at Mathura, A llahabad 1910.) T he word means that a woman may cause a tree to blossom by means of her womanly charms. T he idea is a very poetic one. T here may even be some truth in it. T he physiologists of our time have f ound out experimentally that some sub- stances existing in the cells of the f emale body are able to enhance the splendor of f lowering plants. T he Middle- A ges had gained the same knowledge by experience. In- dian power of observation, already very highly developed in Vedic times, as all A yurvedic scriptures bear witness, was certainly not inf erior to any other. But it is signif - icant that India's subtle mind has changed a realistic ex- perience into a very poetic idea. T his idea so f requently occurs in Indian poetry that it must have been common property. Kalidasa, the great poet of the f if th century A . D ., alludes to it no less than f ive times and another eight times it plays a part elsewhere in Indian poetry. T en dif f erent kinds of trees are said to be susceptible to D ohada, f oremost among them the A soka tree with its long leaves and lithe branches, which was considered almost sacred and was f requently represented in Indian art. In the act of D ohada, as literature de- T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R T WE NT Y - FOU R This content downloaded on Thu, 24 Jan 2013 19:42:15 PM All use subject to JSTOR Terms and Conditions scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A scribes it, a tree is treated almost as a human being and the lady expresses her af f ection by embracing it, talking to it tenderly, dancing or singing in f ront of it or- strangely enough- by touching it with her heel. Kalidasa gives in his Malavikagnimitra a very vivid de- scription of such a ceremony. T he queen, who originally was to touch the tree with her heel, unf ortunately sprained her ankle. In her place the poor maid- servant Malavika (who incidentally is a princess but does not yet know it) is chosen f or the rite. T he poet describes how she is at- tired f or the occasion, how her f eet are painted and her ankles adorned with f ootrings. She then proceeds to kick the tree with her lef t f oot- it is always the lef t- and some of the people present are surprised that the tree does not blossom f orthwith. But it does so f ive days later, the interim being the time usually allowed f or the f ertilization of the tree af ter D ohada is perf ormed. Small wonder that such an utterly poetic idea, so f ull of tenderness and real emotion, was a f requent subject f or Indian sculpture. T here it appears even earlier than in written poetry, an indication that it originally f ormed part of popular belief . T he most ancient of the more important monuments is the railing of Barhut, the remains of which are now preserved in the Museum of Calcutta. It f ormerly surrounded a Buddhist stupa, and an inscription ascertains that it was erected during the rule of the Sunga dynasty, in the second century B.C. to replace an older wooden f ence. It is PA R T OF A R A IL ING FR OM MA T H U R A richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the richly decorated, especially its posts, each of which bears on each visible side the relief of a male or f emale f igure, mostly of the minor deities, Y akshas and Y akshi, D evas and D evatas, many of them standing under trees and rep- resented in the act of D ohada. (See illustration of the Bharhut relief .) T he name of each is inscribed on the post behind each f igure. It seems a contradiction that such deities appear on a Buddhist monument, as Buddhist religion circles entirely around the Buddha Gautama and the lore he preached, aiming at delivery f rom all passions. But there is no con- tradiction f or the Indian mind. A s isolated as the Buddha appears in his meditations, Buddhist religion was, at least in its beginnings, at no variance with popular belief which recognized all these demigods. T he grim determination, with which religious ref ormers in E urope were f ighting other convictions, was quite abhorrent to Indian mentality. T he gods of orthodox H induism appear in Buddhist leg- ends, and especially the gods of popular belief , the Y ak- shas and Y akshis, are playing a part in the so- called Jata- kas. (A nanda K. Coomarasuamy: Y aksas, Part 1, Smith- sonian miscellaneous collections No. 6.) T hese are stories of the Buddha's experiences in other existences (told f or the edif ication of the pious community), stories of his self - sacrif ices or other pious deeds, by virtue of which he accumulated enough religious merit to become a Buddha. T hus nobody could have taken of f ense to such deities ap- pearing on a Buddhist sanctuary. Considered to be tute- lary deities, they were quite in place. In comparison with the cruel attitude of the devarapalas, the guardians of the In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum In theL ucknowMuseum T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. T he photographs Forthis articlewere taken by the author during his stay in India and most of the objects are reproduced f orthe First time. 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A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas f our corners of the world in later Buddhism, they are in accord with the kindness of Buddhism in its pure f orm. A s always in the beginning of an artistic evolution these - .. . f igures are not f ully rounded but appear rather f lat on the surf ace of the pillar. It always takes time bef ore sculpture is f reed f rom the bounds of the architectural f orm which it is dcorating, and has learned to f orm three dimensional works. T he school of sculptors which worked at Barhut, was con- tinued by those working at Mathura during the rule of the Kushana and Gupta dynasties, which covered the time f rom the f irst to the sixth century A .D . T he stupas were surrounded by railings, similar to those at Barhut. T hey are wrought of the same red sandstone and the sculptor has here also employed big single f igures as pil- lar decorations. Mathura was a particularly holy place known to Greek authors as Mathura of the gods. Bef ore the Mohammedans conquered it and destroyed its sanc- tuaries beyond repair, it must have been one of the most splendid places of India f illed with stupas which were surrounded by railings and with temples and monasteries rich in sculptural decoration. It is noteworthy that Bud- dhism is not the only ancient Indian religion which built at this spot. Its alleged elder sister, Jainism, which was then a powerf ul religion, contributed a great deal to the Baroda Museum splendor of the place. Its sanctuaries, especially stupas T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX T WE NT Y - SIX SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T SH A NGH A I PE IPING C. T . L OO CO. A NT IQU E CH INE SE A R T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T PA R IS 48 R U E D E COU R CE L L E S NE W Y OR K 41 E A ST 57th ST R E E T I I I I I I I I I I I I I I I I I I I II II II II II II II II II II II II II II II II II II II This content downloaded on Thu, 24 Jan 2013 19:42:15 PM All use subject to JSTOR Terms and Conditions and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) and railings are of the same type and style as the Bud- dhist ones. A mong the f igures which f orm the decoration of the Ma- thura railings, the lady under the tree, the Y akshi, as we may saf ely call her, plays an even greater part than in Bar- hut. She has now become the most f avored element of f igural decoration. T he development of style has made it possible to model her almost as a f ree sculpture, her body completely and delicately rounded and posing in a most gracef ul and elegant attitude. T he outline is of admirable delicacy. T he majority of the f igures stand with crossed legs, the tip of one toe just touching the ground and with arms extended into the branches of the tree which they bend down in gracef ul curves. T hese postures are cer- tainly those of D ohada. But as in Kalidasa's works, with which the greater part of the sculptures is contemporaneous, the idea has already become conventional. T he artists take no interest in variation or individual expression. T he Y akshis are not, as those in Barhut, understood to be in- dividual deities, each of which is designated by her own name and claims to be treated by the artist with a certain def erence. T hey have become mere pieces of decoration, created f or the purpose of exhibiting the beauty of the f emale body or what in India is considered as such, f or there is no doubt that the Indian idea of beauty which demands a f leshier body and sof ter curves is quite dif f erent f rom the E uropean one. E A ST E R NGA T E WA Y OF T H E BIG ST U PA (D etail) T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T here is some possibility that this change in mind and taste was achieved under outside inf luence. T he Kushana kings who ruled Mathura in the f irst to the third centuries and during whose reign the f undamental work of Mathura art was created, governed a f ar wider territory. A ctually they were a Northern dynasty, which at the same time ruled the North Western and A f ghan provinces around Kandahar, the seat of the so- called Gandhara art. T his was an extremely prolif ic art of Buddhist religion but of purely Greek style. Judging f rom the external appearance it is correct to call this much discussed school a H ellen- istic one. But the subjects, being Buddhist, are purely In- dian. T he numerous statues are almost exclusively repre- sentations of Buddhas and Bodhisatvas, while the major- ity of the relief s show scenes f rom Buddha's lif e. Buddhist missionaries must have brought images of these subjects f rom India proper to these remote provinces, where they were translated into the local style. A connection between the Gandhara province and India proper can be proved by the f act, that Gandhara sculptures, easily recognizable by the special material used, have been actually f ound in Mathura and at other places. T he same happened to the "L ady under the tree." She was a well- known subject in Gandhara art, especially f or the decoration of small corner pieces, into whose rectangular surf ace her slim f igure f itted extremely well. But dressed in a Greek peplon, or in idealistic nudity, her appearance became as f undamentally Greek as her posture. SA NCH I T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N T WE NT Y - SE VE N This content downloaded on Thu, 24 Jan 2013 19:42:15 PM All use subject to JSTOR Terms and Conditions One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One of the f inest pieces, the Gandhara relief here illus- trated, was among a set of f ive Gandhara sculptures which . . were unearthed at Char Sadeh and which I was f ortunate enough to acquire f or the Museum at Baroda, then in my ! charge. It is obvious that the posture of the f emale in the corner piece f rom the Baroda Museum which we illus- trate, is very similar to that of some Mathura sculptures. Without doubt it is the same motive we were discussing, in Greek disguise. T he posture has a long history in Greek sculpture. Fundamentally it goes back to the sof t modelling of Praxiteles and can be f ollowed through to representations in Greek- E gyptian ivory carvings of late antique time. But in perf ect opposition to Indian art, Greek artists conf ined this posture to male f igures exclu- sively. It is one of the many cases in which the Gand- . - . hara school expressed ideas, which were f undamentally In- dian, by means of Greek f orms. (Foucher, A . L 'art greco- bouddhique de Gandhara, Vol. 2 & Vincent A . Smith: A H istory of Fine A rt in India and Ceylon.) s While there is apparent connection between the schools of Barhut and Mathura into which have entered some inf luences of Gandhara art, the origin of the school which worked at Sanchi cannot yet be traced. Its chief works are the relief s which decorate the railings and gate- ways of the three stupas in Sanchi and some unimportant I f ragments f rom a railing at Besnagar which are preserved D etailsf rom the R A JA R A NIT E MPL E at BH U VA NE SH VA R A in the Museum of Gwalior. T hese relief s are very dif f er- ent f rom anything done by any of the other Indian schools D elicate as ivory carvings they are composed of very small f igures in great numbers which sometimes let the represen- tations appear overcrowded. T he subjects are scenes f rom the lif e of Buddha, jatakas and symbolic representations in great numbers but, as was common custom, any representa- tion of Buddha himself is caref ully avoided. T he contin- uous development of Sanchi sculpture, which began in the second century B.C., can be f ollowed f or about one century. In Sanchi the "L ady under the tree" has become a purely decorative motive but one of great beauty and charm. A s the illustration shows it is used on the f amous gateways of the great Stupa as a kind of bracket, which connects the vertical pillars with the lowest crossbar. With the utmost delicacy the f igure f ulf ills this f unction. Poised on the sole of one f oot, with legs crossed the lady embraces the stem of a mango tree with her right arm while with the lef t she reaches upward into the rich leaf age which spreads along under the protruding cross beam. Not all the f emale f igures of this kind which originally adorned the f our gate- ways are now in situ- two are so badly damaged that they are preserved in the Museum at Sanchi, one has been taken into the Calcutta Museum and one has f ound its way into the Museum of Fine A rts in Boston. One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were One circumstance in early Indian art, greatly f avored the development of sculpture and especially of decorative - - sculpture. T he early works to whose surf aces these f igures were applied can hardly be called buildings. T hey were T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T T WE NT Y - E IGH T This content downloaded on Thu, 24 Jan 2013 19:42:15 PM All use subject to JSTOR Terms and Conditions A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- A L A D Y WIT H A MIR R OR From Bhuvaneshvara Calcutta Museum railings with gateways, mere structures, which were nothing but wooden f ences translated into stone. T here were buildings in India during those centuries which had archi- tectural volume- stupas, viharas and chaityas- but they were not of the same importance f or the development of Indian sculpture as the almost f limsy structures which cried out f or decoration. But it was just the latter architecture which during the Middle A ges took up the idea of the lady under the tree as an important and beautif ul motive at a time when builders of temples f elt the need f or sculptural decoration. A trip in the country of Orissa, to the South of Cal- cutta, is one of the great events in the lif e of an art his- torian. T he country is f ull of medieval temples. T here is the great temple of the Jaggernauth in Puri, the black Pagoda at Konarka, covered with the most delicately carved relief s, all of which are surprisingly f ull of the joy of lif e and the more than six hundred temples at Bhuvaneshvara, a detail of one of which is illustrated. T here is not a village in this district where roof s and towers of a marvellously built stone temple may not be discovered half - hidden under the impetuously growing jungle vegeta- tion, of which their voluminously curved f orms seem to be a part. When the climax of the artistic development was reached in the eleventh and twelf th centuries these temples were monuments of an overwhelming splendor. E ach architectural f orm was multiplied. E ach tower was composed of a cluster of smaller ones, all pointing upward. E ach of them was dissected into innumerable details such as smaller pillars, corner pieces, f riezes, and niches, all of which were covered with every conceivable kind of orna- ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. ment, f loral and f ormal, and with f igures where a com- paratively bigger part of an architectural f orm allowed f or the necessary space. T he subjects of these are indeed unlimited, and their variations enhance the richness of the buildings. T here are statues of gods and godlings, of serpent gods, chimaeras, men and women and time and again f emale beauties in most elegant attitudes. T hey sometimes appear in one of the traditional D ohada- atti- tudes, touching the tree with sole or heel and reaching into its twigs. Sometimes the tree is no more than back- ground and the lady may be doing anything she likes, hugging her children or, as in the sculpture reproduced, f inishing her make up in one of the convex hand mirrors which then were the f ashion in India. Sculptural work now reaches its highest quality. A mong these statues are many, especially on the Sun- temple at Konarak, f rom which hails the example reproduced, which are not inf erior to Greek sculptures. T he limbs are rounded with the utmost ref inement and the surf ace reproduces the sof tness of the f emale skin so perf ectly that the hand of the sculptor seems to have touched the stone with caressing delicacy. T he wide range of Indian sculpture is indicated when one com- pares these sculptures with the relief s which decorated the railing of Barhut. It led f rom a conventional beginning step by step to the very height of artistic achievement. Neither in that energy which aims at the highest accomplishment, nor in richness of imaginative power nor susceptibility to beauty is Indian art inf erior to any other which arose in the course of the civilisatory development of mankind. In intensity and tenderness of f eeling it is superior to many of them. SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum SCU L PT U R E FR OMKONA R A K Calcutta Museum T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE T WE NT Y - NINE This content downloaded on Thu, 24 Jan 2013 19:42:15 PM All use subject to JSTOR Terms and Conditions
Zin, Monika 2018 Parinirvana Cycle in The Art of Gandhara and Kucha - The Iconography of The Wandering Ascetics (Parivrajaka, Nirgrantha and Ajivika) (Art of The Orient, Vol. 7)