Page:History of Indian and Eastern Architecture Vol 1.djvu/141

 CHAP. IV. RAIL AT BHARAUT. 107 and had three discs on intermediate rails. The inner side of the upper rail was ornamented by a continuous series of bas- reliefs, divided from each other by a beautiful flowing scroll. The inside also of the discs was similarly ornamented their sculptures bearing an evident analogy to those on the Bodh- Gaya rail, whilst some of the pillars had bas-reliefs in three storeys on three of their sides. Altogether, I fancy not less than one hundred separate bas-reliefs were recovered, all representing some scene or legend of the time, and nearly all inscribed l not only with the names of the principal persons represented, but with the title of the jataka or legend, so that they are easily recognised in the books now current in Buddhist countries. It is the only monument in India that is so inscribed, 2 and it is this that consequently gives it such value for the history not only of art but of Buddhist mythology. If this work professed to be a history of Indian art, including sculpture, it would be necessary to illustrate this rail to a much greater extent than is here attempted ; but as architecturally it is hardly more important than others, the reader who is interested in it may be referred to the volume published by its discoverer. 3 Meanwhile, however, it cannot be too strongly insisted upon that the art here displayed is purely indigenous. There is absolutely no trace of Egyptian influence. It is, indeed, in every detail antagonistic to that art ; nor is there any trace of classical art. The capitals of the pillars do resemble some- what those at Persepolis, and the honeysuckle ornaments point in the same direction ; 4 but, barring that, the art, especially the figure-sculpture belonging to the rail, seems an art elaborated on the spot by Indians, and by Indians only. 5 Assuming these facts to be as stated, they give rise to one or two inferences which have an important bearing on our investigations. First, the architecture of this rail, with its toran, are more essentially wooden than even those at Sanchi, and, so 1 01 the translation of these inscrip- tions by Dr. Hultzsch, see ' Indian Antiquary,' vol. xxi. pp. 225-242. See also vol. x. pp. iiSff, 2556. ; vol. xi. pp. 258". ; and vol. xiv. pp. I3?f. 2 The sculptures on the walls of the old Papnath temple at Pattadakal are also labelled ; but it is an almost exceptional instance. 3 General Cunningham's 'Stiipa of Bharhut,' London, 1879. 4 Whatever the early Hindus borrowed from Persia or elsewhere they gradually modified by varying the details, until it became native in form. 5 The following outline (Woodcut No. 33, on the next page) of one of the bas- reliefs on a pillar at Bharaut may serve to convey an idea of the style of art and of the quaint way in which the stories are there told. On the left, a king with a five-headed snake-hood is represented kneeling before an altar strewn with flowers, behind which is a tree (Sirisa dcasia?) hung with garlands. Behind him is an inscription to this effect : "Erapato (Air^vata) the Nagaraja wor- ships the blessed one (Bhagavat)." Above him is the great five-headed Naga him- self, rising from a lake. To its right a