A few remarks about the sculptures of the original foot of the outer-wall
we didn’t discover before 1886. In 1890 I proposed them to be
uncovered and photographed, afterwards they were covered again in
the ancient manner, and hidden from sight.
They have been hewed on a projecting wall-foot which goes tolerably
deep beneath the heavy ogive, now resting as a socle again on
the surrounding outer-terrace that has been afterwards built all round
the 36-angled basis of the temple, but only on 24 of the 40 panels.
The two sides of each of the double fore-buildings of the four
temple-fronts built towards the different zones of heaven, haven’t
been adorned with any sculpture, but the staircases divide the four
middle fore-buildings into two panels.
If the 160 scenes which form this combination are to represent a
series of following events or legends we then must try to find the
beginning (like on nearly all other hindu temples) to the south of
the eastern staircase following it from there through the South, West
and North till the starting-point in the East.
Fortunately, the figures in lead pencil on the back-side could assist
me, though they sometimes started from quite a wrong point.
The Dutch Government ordered 15 pair of photos to be taken from
these clichés, and presented them to special musea or societies. I,
the schemer of the plan, do not belong to the favoured. But the
afterwards wrecked Archaeological Society did, notwithstanding I, her
president, sent this plan to the Government for about 25 years ago[82].
Those who desire to examine these photos will find here the letters
and figures in the just successive number of the sculptures to begin
with C 1 south of the eastern staircase.
C, 1, 2, 3, 4, 5 and 6;
B, 1, 2, 3, 4, 5, 6, 7 and 8;
A, 1, 2, 3, 4, 5 and 6;
U, 6, 5, 4, 3, 2 and 1;
T, 8, 7, 6, 5, 4, 3, 2 and 1;
S¹, 6, 5, 4, 3, 2 and 1;
S, 1, 2, 3, 4, 5 and 6;
R, 1, 2, 3, 4, 5, 6, 7 and 8;
Q, 1, 2, 3, 4, 5 and 6;
P, 6, 5, 4, 3, 2 and 1;
O, 8, 7, 6, 5, 4, 3, 2 and 1;
N¹, 6, 5, 4, 3, 2 and 1;
N, 1, 2, 3, 4, 5 and 6;
M, 1, 2, 3, 4, 5, 6, 7 and 8;
L, 1, 2, 3, 4, 5 and 6;
K, 6, 5, 4, 3, 2 and 1;
I, 8, 7, 6, 5, 4, 3, 2 and 1;
H¹, 6, 5, 4, 3, 2 and 1;
H, 1, 2, 3, 4, 5 and 6;
G, 1, 2, 3, 4, 5, 6, 7 and 8;
F, 1, 2, 3, 4, 5 and 6;
E, 6, 5, 4, 3, 2 and 1;
D, 8, 7, 6, 5, 4, 3, 2 and 1;
C¹, 6, 5, 4, 3, 2 and 1;
Six of these 160 sculptures are badly damaged whilst one
of them is wholly lost. (R. 5). Seven have less suffered. Twenty
representations remained partially unfinished (C 3 and 4, B 7, A 2,
U 4, S 1, O 7, N 5, M 2, K 4 and 3, H¹ 2, H 1, G 4 and 8, F 2, 4
and 6, D 3 and C¹ 4). Partly finished but for the rest not yet drawn
in the rough are 3 scenes (H¹ 1, F¹, and D 4) whereas one (I 1) has
been scarcely sketched.
On the flat frame above the series we see a few short indications
engraved in ancient-javanese characters—dating, according to professor
Kern, from about the year 800 of the Syaka-era,—roughly hewed and
in a perfunctory manner, as if it were scratched in stone with a knife
or a chisel, that is, above H 1, 2, 3 and 4 (twice); 5 (bis) and 6 (bis);
F 1, 4, and 5; E 6 and 5; D 8, 6 (bis), 5 (bis), 4, 3 and 1 (bis)[83].
Some of these legends are no more or hardly to be read but
the other ones read by Dr. J. Brandes don’t teach us any
more than that which we may understand by closely examining the
representations themselves, for instance, that the sĕmbah of the persons
seated around a tomb or sanctuary refers to a reverence to a
tyaitya[84].
Some inscriptions may contain the name of the person to be hewed,
and to assist the sculptor.
The unfinished and scarcely sketched sculptures prove us that they,
such as on other tyanḍis at Parambanan, have been hardly hewed
here on the walls of the finished temples.
In these sculptures I could not have recognised any continuous
series. Among many a domestic and some rural scenes I saw two or
three fowlings with a pea-shooter or bow and arrow (M 5 and 3),
and one fishing (I 6); one war-dance (C 5) and some other dancings
on the occasion of which a wind-instrument provided with a bagpipe
(S 2 and R. 17) was played on. Further there are offerings of
food or flowers to Bodhisattvas or other venerable personalities, and
once to the Dhyâni-Buddha Amitâbha, the Redeemer of this world
(K 3), by six crowned men and to be distinguished by their glories
(Bodhisattvas perhaps?)
In a small compass I suppose to have mentioned all that may be discussed
about the three buddhistic monuments speaking in this valley,
on the two banks of the river Prågå, of a former high civilisation
and of a very developed art.
Those who require, or desire, a better insight into the ancient
Buddhism, and those who wish to know more about its sanctuaries
to be found here in Java and elsewhere in India, are kindly referred
to the works I consulted by the study of this subject, and to those
I wrote myself and which have been for the greater part mentioned
in or at the bottom of the text of this little book.
Granting Buddhism to have been lost in Java and elsewhere
in India,—yet, it still exists, more or less degenerated, still
counting more followers than any other religion ever counted, and
its lucky freedom from bigotry, especially in the hînayânistic countries,
and noble doctrine of love and self-command is raised above
all suspicion[85].
[1]See, among others,
H. Kern’s “Geschiedenis van het Boeddhisme”, II, page
308 and following ones, and Dr.
S. Lefman’s “Geschichte des alten Indiëns”,
Berlin 1880, page 768 and following ones, and the engravings on page 769
and the picture “
Der Açokafelsen van Girnaroden Junàgadh im Jahre 1869”,
in the 3
d number of this work opposite to page 257.
[2]See
my illustrated work published in 1893 by “
het Koninklijk Instituut
voor de Taal-, Land- en Volkenkunde van N. I.” entitled: “
Tyanḍi Parambanan
na de ontgraving” and therein the photo’s of many deities represented as
Bodhisatthvas, and my “
Boeddhistische tempel- en klooster-bouwvallen in de
Parambanan-vlakte”. Surabaya 1907.
[3]In the Buddha pagodae I visited in
Ceylon, at Colombo and its
environs, I saw badly hewn or coloured images of
Shiva and of
Ganesja.
The monks called these images the representations of
Buddha.
[4]See the English translation of his “
Record of the Buddhist Religion
as practised in India and the Malay Archipelago (A. D. 671-695)” by the
Japanese scholar
I Takakusu., provided with a preface of prof
Max Müller
and published by the Clarendon press at Oxford in 1896. Pages XXII,
XXV, XXXIX and XLVIII of the “
General Introduction.”
[5]In a temple at
Kandy in Ceylon is kept a tooth which, though of animal
origin, took the place of a former so-called
Buddha-tooth which has
been destroyed by fire. This tooth, named
Dalada, is taken care of, and
honoured too. And the holiest pagoda in this island, the
Thuparama, possesses
one of Buddha’s clavicles, according to the assertion of its believers
certainly with as much right as the Catholic Christians maintain the genuineness
of many a relic of Jesus and the apostles.
[6]Even the ashes of other saints, princes and noble men, of gurus or
teachers, of priests or monks, were occasionally put away in such graves
upon which arose the glorious mausolea the ruins of which we still admire
at this day.
[7]It won’t do maintaining that these dagobs should have been formed
after the lotus, the holy
padma, and that its openings in the transparent
dagobs on the round terraces above the Båråbudur must represent the
empty seed-holes of the nursery of the ripe lotus. The leaves of a lotus
(
Nelumbium speciosum Willd) fall off before bending downward, and then
the pericarp only remains on its stem like a
urned cone or cupola whose
flat, uprighted and afterwards, by the sagging of the withering stem,
downrighted base has been stung by the seed-holes.
Not the bell-shaped
sides, for they remain closed. So these openings must have quite another
sense than the one derived from the natural form of the lotus-plant.
Only the red lotus, the Nelumbium speciosum referring to all this, and
recognisable by its peduncles and leaf stalks rising high above the water,
has been frequently represented on Hindu temples. But not the white lotus,
the Nymphae Lotus Linn., the leaves and flowers of which are floating on
the surface of the water.
[8]Professor
Kern wrote to me that the alphabetical writing of the
inscriptions we see on some demi-relievoes on the outer-walls should
date from the year 800, or thereabouts, of the
Shaka era, thus our
ninth
century. And this rather corresponds to the age of the Buddha temples
in the plain of
Parambanan. Does not a stone of one of these
tyanḍis
testify to this temple’s having been built in the year 701 of the
shaka era,
and dedicated to the service of
Târâ in honour of the prince’s
guru or
teacher, who may have been buried there? And in the year 415 the Chinese
Buddhist,
Fa Hien, when in Java, came across many a brahmin Hindu.
He didn’t speak about Buddhists, but this circumstance alone does not
prove his not having met co-religionists, nor does it produce any evidence
of their non-existence in the interior of Java he didn’t visit probably.
I Tsing see note says that the inhabitants of Java and of the other islands
of the Archipelago principally embraced Hînayânism. “
Buddhism was
... chiefly the Hînayâna” (page XLVII), and “
the ten or more islands
of the Southern Sea (
Sumatra,
Java etc.) generally belong to the Hînayâna.”
(page XXX). Such happened in our
seventh century.
[9]See his essay about
Aymonier’s: “Le Cambodge”, I, written in the
“
Bulletin de l’Ecole française d’Extréme-Orient”, II, page 83 note 4.
[10]Attap means palm-fronds used for thatch by the Javanese (
Chambers).
The scaffolding has been removed since, and the stone roof was rebuilt
by the major engineer Van Erp. 1911.
[11]This
prabha has been also restored. 1911.
[12]The heavy colonnades of which will be sacrificed to the swelling
waters of the river Nile. But they are doomed to destruction because this
stream must vivify the rainless country.
[13]I, number 3, p. 249 and II, number 1, p. 20 and 30.
[14]“
Oudheidkundige Aanteekeningen” IV, p. 59 and 60.
[15]This cone’s top has been removed again because of Mr.
van Erp’s
having been unable to prove his reproduction of this cone with its umbrellas
to be incontestably true.
[16]This idea of mine about the graduation of the Båråbudur’s origin
is given as a questionable hypothesis. However great the consequences were,
we can not know until we have compared the alto-relievoes of these and
other Javanese Hindu-temples with the artless wall-paintings I saw in the
Ceylon pagodae.
[17]Buddha himself thought it useless to pray, but the Buddhists of
later times prayed however, but didn’t worship the images themselves. The
Chinese—very degenerated Buddhists—light their pipes on the flames of the
consecrated waxcandles burning on the altar, and consider this no sacrilege.
[18]According to
Rhys Davids’s work,
nirvâna means the state of
holiness which ripes man for death
without regeneration, the so-called
parinirvâna. But the signification of nirvâna itself differs in proportion to
time and caste.
[19]This superstratum is about 2,5 yard high and 7 yards wide. The
lower terrace on the outside was about 3 yards wider, and 1 yard high.
These numbers are nearly just and sufficient enough to my purpose.
[20]At that time I could not have thought of a permanent uncovering,
because the preservation of the whole ruin would have required retain-walls
too expensive, and too much disfiguring the temple itself. The architect
van de Kamer thought it afterwards possible, but expensive, to have the
ruin restored again, and its original foot permanently uncovered. Sunlight,
heat and rain-water however, would do much to its decay unless the ruin
itself became wholly covered. Otherwise the time-worn joints becoming
more and more wide would admit much more rain-water between the stones
into the earth of the hill under the ruin, and this earth would then be
carried away more rapidly than is the case now, and have the ruin spoilt
and decayed.
[21]Above the first discovered imageries of the foot we found inscriptions
in ancient Javanese characters scratched in stone. On this ground the
Society, presided by myself, proposed the Dutch Government to have the
whole temple’s foot uncovered (in the only way possible) without endangering
the foot itself, whilst the cost was estimated at £ 768. The Government
put up with it, and granted the necessary sum for the budget of 1890.
[22]As well as so many angels painted by our artists don’t always represent
a Gabriel, a Raphael or a Michael.
[23]Bulletin de l’école française d’Extrême Orient, I, No: 1 page 21-22.
[24]Both this Nâga and Garuḍa are mythical beings who adopt different
shapes.
[25]
| On the lower | wall | 4 × 26 = | 104 |
| on the second | ” | 4 × 26 = | 104 |
| on the third | ” | 4 × 22 = | 88 |
| on the fourth | ” | 4 × 18 = | 72 |
| and on the fifth | ” | 4 × 16 = | 64 |
| together | | | 432 |
[26]The first effort to interpret this series we owe to the Austrian
draughtsman in Netherlands-Indian civil service F. C. Wilsen.
[27]We shall afterwards speak about these former lives or
jâtakas. It was
Mr.
Foucher who afterwards expounded many representations, and after
him,
van Erp also explained another few ones.
[28]If we don’t count those on the front sides of the more than 400
small dagobs, we see there:
| On the outer-wall, | above | 408 |
| ”””” | below | 160 |
| on the front-wall of the first gallery | 568 |
| on the back-wall | 240 |
| on the second gallery | in front | 192 |
| ”””” | behind | 108 |
| third gallery, | in front | 165 |
| ”” | behind | 88 |
| fourth gallery, | in front | 142 |
| ”” | behind | 70 |
| altogether | 2141 |
[29]The relation of this fact with the apparent course of the sun to
the inhabitants of the northern hemisphere in which Farther India, and
Hindostan are situated, was, thus far, shown by nobody before me (in 1887).
Still it is an important fact to those who believe the Buddha a
sun-god.
[30]Of North-India where Buddhism first arose.
[31]Pratyeka-Buddhas are believers raised by their own consummating
to the dignity of a
Buddha; they have, however, no right to teach or redeem
other people.
[32]One of these servants massages her like the Javanese still do
(
pidjĕt); another fans her or chases away annoying flies and gnats.
[33]I think it permitted to show the relation there is between this
representation, and the placing of the
five Dhyâni-Buddhas we see on the
highest (round) terraces, opposite to the
zenith, and upon the encircling
walls opposite to the four zones of heaven.
[34]Dr.
Leemans thought he saw in this crescent of the moon the tips
of a headkerchief. Had he seen the sculptures himself he would not have
been mistaken in such a way.
Siddhârta wears a crown (
makuta), and
this doesn’t match the headkerchief, neither does the Javanese
kuluq or
ceremonial cap. Such crescents of the moon are also weared by
Hâritî’s
and
Kuvera’s children on the two sculptures before the entrance of
tyanḍi
Mĕndut, but without headkerchiefs.
Kern says that Buddha means both the awaking of the sun and of the
moon and that the two celestial bodies also refer to Buddha on the other
sculptures of the Båråbudur. Had the Dutch Government sent Leemans to
Java, before he wrote his work, he should not have taken a sénté-leaf (Alocasia
macrorrhiza Schott, an Aroïdee consequently) for a banana-leaf (Musa L.,)
but he should then have seen how even this leaf is still used by the
Javanese as a provisional umbrella, and he should have understood why
in former times it was carried as ampilan after the saints and princes, just
as the cow’s hair fly-fan. (tjemara).
[35]Occasionally called
Gopa. Some people say these are the names of two
women, and as the 45th sculpture (107 W. L.) represents him enjoying his
domestic happiness the schemer should then have thought of two women.
Ceylon writers know to tell us that 1000 men could not bend this bow, and
that the blow of its string was heard at a distance of 7000 miles. This bowshot
which enabled him to gain his bride’s hand has been also mentioned
in other legends—it
was once awarded to
Râma in the
Ramâyâna, and
to
Arjuna in the
Mahâbhârata. In
Homeros’ Odyssea Penelope’s lovers vainly
try to do the same with
Odysseus’ bow upon which all were convinced by
his mastershot, and killed.
[36]The evil spirit had no authority over the fifth part of the world,
the
zenith.
[37]According to other people
muni means an anchoret or ascetic.
[38]Leemans calls him
Arala Kalama.
[39]In
Leeman’s work
Rudra.
[40]The Javanese would now say
griyå råjå, that is,
royal house.
[41]Who these 5 apostles were in former lives another series of sculptures
on the front wall of this gallery will teach us.
[42]On one of the sculptures at Parambanan we see the death of king
Dasyaratha, Rama’s father, represented in almost the same manner.
[43]In “de Indische Gids” of 1887.
[44]The writings of the Mahâyânists have been written in
sanscrit, those
of the Hînayânists generally in the
pâli language.
[45]Speyer and other sanscrit scholars write:
Jâtaka according to an
acknowledged manner of writing which replaces the Dutch
dj by the
j, the
j, by the
y, the
tj by
c. Because I also write for laymen who don’t know
this writing I try to do my best to replace these consonants by our own,
and therefore write
tyakra and
tyaitya instead of
cakra and
caitya what
would seduce many a one to say
kakra and
kaitya. In English of course,
we write
j instead of the Dutch
dj.
[46]Engraving CXXXVIII and following ones.
[47]By the Dutch called: “the little man in the moon.” About such
another jâtaka, explained by
Van Erp, look at the bottom of this page.
[48]See above, the sculptures 73, 77, 78 and 117.
[49]This happens more amongst the
jâtakas.
[50]Like anywhere we also see here the red
Nelumbium speciosum hewn
as a lotus plant with its leaves and flower rising above the water; but not
the white
Nymphaea Lotus the leaves and flowers of which are driving on
the surface of the water.
[51]The
eternal hell of the Christians as a punishment for
temporary sin
the Buddhists don’t know.
[52]See W. L., 121, 123 and 125 of the upper series of the back-wall.
[53]In Mr.
A. Tissandier’s work “
Cambodge et Java” published by
Mason
at Paris in 1896, we find opposite page 124 a good engraving of this last
sculpture (picture XXVIII); but the author, who even dares maintain that
this whole series has nothing to do with Buddhism, says that it represents a
young, richly diademed Hindu worshipping the bull (the
nandi) of
Shiva!
By so much ignorance
Tissandier blames his work, and ... himself.
Striving we may err, but let us at any case
strive after science within reach.
[54]I thought we should not think here of the mythical subterranean
serpents, but of a likewise called and fabulous tribe.
But Mr. Foucher didn’t agree with me. The nâgas, he said, are generally
hewn as serpents, but often as men with snaky hair.
[55]In the “Bijdragen van ’t Koninklijk Instituut” of 1907.
[56]Those who desire to know more about the deeper, mythical sense
of these
jâtakas are kindly referred to professor
Speyer’s essay or my
“
Een karma-legende” provided with 6 photo’s of the photographer
A. Winter,
published by the firm
H. van Ingen at Surabaya.
[57]See at the bottom of this page.
[58]The
Jâtakamâlâ V, 15, tells us that the clouds “weeped like
water-jars
turned about.”
[59]See my above mentioned “
Karma legende”.
[60]The difficulties we meet by placing the camera in the narrow space
there is between the front and back-walls of the galleries have not yet
been wholly obviated. Yet, it would be advisable to do what has turned
out to be possible before that the sculptures should be lost for ever.
[61]In the
Ceylon pagoda at
Kelany I saw the Buddhists perform the
sĕmbah in the very same manner as done by the Javanese, and
Siam’s king
and queen when on the
Båråbudur and in
tyanḍi Mĕndut, and in the
same manner I saw this mark of veneration hewn on all the buddhistic
imageries known to me. Perhaps, it was the Buddhists who once introduced
this
sĕmbah in Java.
[62]See my illustrated work “
In den Kĕdaton te Jogjåkartå” published
in 1888 by
E. J. Brill at
Leyden, picture II, and the IXth. photo of my
illustrated work “
De garĕbĕgs te Jogjåkartå” (published by the “
Royal Institute”
in 1895).
[63]At
Parambanan and
Pĕlahosan we already knew these deities to be
Bodhisattvas. (See my above mentioned works: “
Tyanḍi Parambanan na
de ontgraving” and “
Boeddhistische tempel-en kloosterbouwvallen in de Parambanan
vlakte”.)
Some time before the digging up of Parambanan Mr. Groeneveldt
wrote to me: “The theory as if these sculptures should represent known
princes we must give up.”
Çiva was one of the lokiçvaras of the Buddha-pantheon, and we know
even other brahmin deities to have been admitted into this. Such is also
the case with the holy queens of Leemans’ work who are Târâs or Çaktis
(wives or powers of deities).
[64]Till 1896 I also thought that these small Buddha images, we see in the
crown, characterised the wearers as
Bodhisattvas, that is, the Bodhisattvas
of the
Dhyâni-Buddhas whose small images were hewn in the crowns.
The king of
Siam denied this. Because of his being a buddhistic prince
himself he also wore such small images in his crown. Moreover, I never
saw another image in these crowns, except the one with the
two hands in
his lap, which is to signify the
mudrâ dhyâna or meditation, a posture the
Mahâyânists gave to the
fourth Dhyâni-Buddha,
Amitâbha, the Redeemer
of
this world. If now these small images were to characterise
Dhyâni-Bodhisattvas,
why, another Bodhisattva but
Padmapâni the fourth, would
have been never hewn.
Should they refer to buddhistic princes it then may be easily imagined
that they never referred to another Buddha but the one of this their world.
On undeniable images these small ones therefore only point to the buddhistic
character the northern church adjudicated to these deities.
[65]The crescent of the moon
Leemans ascribes to this sculpture we
don’t see anywhere, but is to be perceived on the preceding one, 105.
[66]On the
fourteenth sculpture on the front-wall of this gallery the
sun and moon have been sculptured with
seven stars (planets?).
[67]“Oudheidkundige aanteekeningen” IV, p. 55-58.
[68]“Oudheidkundige Aanteekeningen” I and II.
[69]Dr.
Vogel doesn’t come.
But I also do expect very much from the younger sanskritic scholar,
Dr. N. J. Krom, the appointed president of the “Oudheidkundige Kommissie”
whose acquaintance I’ve made to my great satisfaction.
Later note, October 3th 1910.
[70]I don’t know how it must have been possible for
von Saher to see
linggas and
yonis in these buddhistic produce of art. Buddhism doesn’t
know any
lingga- or
yoni-worship. See his “
Versierende kunsten in Ned:
Oost-Indië”, p. 15, 18, 21 and 64.
[71]When the sky is not overclouded we see from this point 9 volcanoes
with the exception of the
Sindårå and
Diyèng which hid themselves
behind the
Sumbing-giant. This old volcano still rises 3336 Metres above
sea-level, the
Mĕrbabu and
Sindårå (or
Sĕndårå) reach a height of 3145
Metres, the
Mĕrapi 2875 Metres, the far, not always visible
Slamĕt 3472
Metres; the adjacent neptunian
Mĕnoreh (or
Minoreh) doesn’t reach more
than 1000 Metres.
Never shall I forget the first night I partly spent on this full moon lit
spot, a death past under, and over me the immortal light. This happened
more than 37 years ago.
[72]The last mentioned
estimation of name I got from a former
Magĕlang
regent, now called
haji or
kaji Danu ning Rat. The Javanese generally wrote
and write
buddå, in Javanese characters:
[73]According to
Kern the word
ûrnâ means a symbol of both the
sun
and
lightning.
[74]A young Dutchman, whom I met in 1898 in the Båråbudur’s pasanggrahan,
thought he saw a mutual difference in the posture of the hands of
these 72 dagob-Buddhas. This difference really exists, but only in the
manner in which the different sculptors interpreted the
positively meant
posture of the two hands.
This very same difference in the execution of one and the same task is
also to be seen on other Buddha images. Should it have another meaning
the thesis that these sculptures are to represent the different five Dhyâni-Buddhas
would then be frustrated, because there would be much more than
five, indeed.
The man appealed to the official draughtsman accompanying him, an
absolutely unscientific fellow.
[75]The other objects were a little metal vase with cover—formerly
containing some ashes, perhaps—; some ancient javanese coins and another
small metal image. In the pits of other
tyanḍis in Java we also found stone
urns with ashes, and coins or other objects of precious metal, and some
coloured precious stones which were given to the dead in their graves, and
symbolically representing the
sapta ratna or
seven treasures. See my “
Boeddhistische
tempel- en klooster-bouwvallen in de Parambanan-vlakte” and my “
Tjanḍi
Idjo” in the “
Tijdschrift v. Ind. T., L. en V. K.” published in 1888.
[76]Out of the six Buddhas of the Båråbudur we don’t see any trace
of a sixth Buddha such as we found in a different form at
Nipâl: four-armed,
in a mythical dress, crowned and provided with peculiar attributes.
[77]See
my “
Een Boeddhisten-koning op den Båråbudur” appeared in “
het
Tijdschrift van Indische Taal-, Land- en Volkenkunde” of 1896, and the manuscript
of the interpreting second part, not published by the editors, but of
which I afterwards sent a copy to professor
Kern and other learned men.
[78]On the twenty-seventh sculpture (W. L. 53).
[79]I for me don’t know any analogue of these three groups though
they may exist elsewhere in the mainland, so that this explanation of mine
will be a questionable thesis only.
[80]See
Oldfield’s “
Sketches from Nipal” p. 90 and 157 and the pictures
opposite p. 219 and 260 of the second volume.
[81]See my apologetics mentioned in VI note 14 and my “
Oudheidkundige
Aanteekeningen”, I.
[82]Notes
of the “
Kon. Instituut” (Royal Institute) from 1887, p. XCIV
and following ones.
[83]G 5 has been wrongly marked with 6, just as the following one
has been numbered G 6.
[84]Each
dagob is a
tyaitya, but not each
tyaitya is a
dagob. This word
is only given to the depositary of one or more than one relic. See
Kern’s
“
Geschiedenis van het Boeddhisme in Indië”, II p. 139 and following ones.
In the same manner I saw Ceylon Buddhists render due homage to the
dagob at Kelany.
[85]I’m not a Buddhist myself though I highly esteem the undegenerate
Buddhism of the southern church.
