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 MAY 3, 1872.]

ANCIENT REMAINS IN THE KRISHNA DISTRICT.

similar mounds also known as lanja dibbalu cover ing similar Buddhist remains at Ghantasalapalam in Bandar Taluqa, and Brattirprola in Repalli Taluqa. There are also a number of copper Buddhist figures in the Library at Bejwadá. These were found buried at Budhavani in the Repalli Taluqa—a place which retains traces of its origin in its name. There are three images of Buddha, one seated under a tripple umbrella, two standing with the head surrounded by a wheel or circle. There are also two copper shrines of which the images are wanting. Besides these there are a number of copper images

of the Buddhist saints, varying in size from one to two feet in height. These are beautifully executed, and might bear comparison with Grecian or Roman figures for symmetry and design. Most of the figures have the caste thread, and the folds of the dresses are very gracefully represented. Each figure formerly stood on a pedestal of its own, but I am informed that, as these pedestals bore certain char acters, probably the names of the saints, they were sent to Madras to be deciphered. They have never, however, been returned. I presume they are in the Government Central Museum.

I would recommend

bringing the figures and these pedestals together again. Each figure has a spike below the feet to fit into the pedestal. The features are finely cut, the hair woolly, and the holes of the ears unnatural ly extended and pendant. In one of the images the

eyes are of silver. The positions are very natural, easy, and graceful. Crossing the river Krishna at Bejwadá, about a mile and-a-half above and west of Sitánagaram, is the village of Undavalli, at the foot of a high hill,

along whose base and sides there are the remains of a considerable number of rock caves and temples, evidently of Buddhist origin. There is a rock tem ple of two storeys close to the village which has been recently utilized as a granary. There are several hermit cells scattered about with more or less carved stone about the entrances, in some of

which pigs have taken up their abode.

In various

places the figures of elephants and other animals in the Buddhist style of representation are to be seen

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as far as they can be deciphered, scenes from the history of Rāma. There is the rape of Sità by Rāvana, her search and rescue by Hanuman, the fight between Rāma and Rāvana, the defeat of Rāvana, etc. At one end of the hall is a gigantic figure repesenting Vishnu as Narasimhaswämi stretched at length upon the seven-headed serpent, whose heads rise above his. There are two gigantic figures at his feet in bas relievo, and a number of others of smaller dimensions. These appear to have been originally painted, for there are remains of paint in spots, representations of flowers between the figures, which have been exquisitely done with Pre-Raphaelite minuteness. The only Buddhist sculpture of figures I could trace was the representa tion of Buddha seated with a row of disciples on either side.

This, however, the Brahmans affirmed

was a representation of Vishnu and the Rishis. Leading out of the centre hall, there are other smaller chambers with more sculpture upon the walls. Many of these have become quite obliterated owing to the disintegration of the rock on which they were cut.

Others have been obliterated in modern times

with a free use of whitewash. On the fourth storey is another hall with chambers leading out of it, with more sculpture, but all the sculptures here are much inferior to those of Amråvati, and, with few excep tions, of the Brahmanical period. The legend of Rāma and Rāvana is considered to represent the feud between Brahmanism and Buddhism, and the final triumph of the former over the latter.

Here we

have the storey represented in the living rock. The winning party, having got these temples of their old rivals, have sought to obliterate the traces of the old religion, and have substituted in their place the symbols and legends of the triumphant form of worship.

Near the large temple there is an inscription on a rock in Telugu nearly obliterated with whitewash, but, from the form of the letters, I infer that it is

not of any very ancient date. I have alluded to the term Rākshasa as being commonly used to designate the Buddhists, and various remains have been traditionally handed

depicted. A pathway along the side of the moun

down, associated with these Råkshasas.

tain, at some elevation, leads to more of these re mains. At one place there is a mantapam cut out of the rock and supported by stone pillars, more soli

traditions of the Palnad relate to the wars between

tary cells, and, lastly, a rock temple of four storeys of considerable proportions. The two lower storeys are completely buried in débris. From the first floor there runs an unexplored gallery far into the rock, which is said to be an under-ground means of com munication with Mangalagiri, seven miles off. The four storied temple, although it bears many evident traces of its original Buddhist origin, has

subsequently been transferred into a temple of Vishnu under the designation of Anantesenu. On this third storey is a large hall, supported by solid stone eolumns, and on each of these is represented,

The chief

the Devatas and Rákshasas, and the country is. spoken of as the land of the Rákshasas. The names, too, have their own significance as evidence to this fact. Karempudi is said to be derived from Karra, one of the Rákshasa leaders, Durgi after his brother Dusbava. The ancient legends are all localized. Thus it is said that when Rāma killed the two brothers

Karra and Dusbava, the news was conveyed to Rá

vana, who was in great grief. Then it was suggest ed to him by Marichudu (from whom the village of Macherla derives its name) that he should carry off Sitā, the wife of Rāma, which he accomplished, transporting her to Ceylon. Rāma first heard the news of Sitä's rape, it is said, at Winukonda, (the