South Asian Archaeology

South Asian Archaeology
200r
Edited by
CetHnnrNs Jannrcn and VrNcnNr Lnrtvns
Volume
II
His torical Archaeology
and Art History
Editions Recherche sur les Civilisations
Cover: Bamiyan. 55 m Buddha niche.
East side wall, crowned Buddha (Sakyamuni).
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Chtilisations
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HtilLltibch. PiiloloeL'
d hsteta.nr:rn!
South Asian Archaeology
200t
Proceedings of the Sixteenth International Conference of the
European Association of South Asian Archaeologists,
held in Collige de France,
Paris, 2-6 July 2001
Edited by
CarsBnrNp Jannrcn and VrucnNr
Volume
Lrrivnr
II
Hi s to ric al Ar ch ae o lo gy
and Art History
Editions Recherche sur les Ciailisations
Table of contents
Volume
II
NAMAN P. AHUJA
Changing Gods, Enduring futuals: Observations on Early Indian Religion
as seen through Terracotta Imagery, c.2ooBC-AD roo ....
.....345
EvA ALTINGER
An Unusual Depiction of Astamahabhaya Tara in Nako,IlIimachal Pradesh
as Compared with Other Representations of dre Same Tera in the Western Himalaya . . . . .
355
MUHAMMAD ASHRAF KHAN
Recent Discoveries in the Ancient Gandhara Region and Adjoining Areas
with Special Emphasis onDist crAftockin the Punjab-Pakistan
JOACHIM
K.
.
.... . .. . .. 363
BAUTZE
Painting at Karauli
.,,
.....
',365
CLAUDINE BAUTZE-PIcRoN
Death at the Gate of Hindu Temples and Shrines, 5dr to 7th century
.175
KURT BEHRENDT
Narrative Sequences in the Buddhist Reliefs from Gandhara . . . . . .
..383
.
GoURIswAR BHATTAcHARYA
Identification of a Strange Stone Image
from Nepal: Nepal and Tamil Nadu Connection
..........393
PrA BRANCAccro
Perceptions of "\Testerners" in Satavahana Times: The Archaeological Evidence . . . . . .
.
4ot
M.
BRANDTNER, B. MISRA, P. MoHANTY & P. YULE
rWestern Orissa (November- December 2000): Preliminary Report of a
Suney . . . .
4o7
PTERFRANcESco CALLTERT
Excavations of d1e IsiAO Italian
Archaeological Mission in Pakistan at Bir-ko!-ghwandai, Swat: the Sacred Building
on the Ciradel
.. ..4r7
MARTHA
L.
CARTBR
Indo-Scythian Regalia: The Numismatic
Evidence.
.....427
Rosa M.aRrA Crrr,rrNo
The rxrafl Paintings Temple's of Mahuva Vala A]hada, at
Nathdwara
,..
..
. .437
HARRY FAIK
The Buddha's Begging Bowl
.
.......445
ANNA FILIGaNZI
Stone and Stucco Sculptures from the Sacred Building of Bir-kot-ghwaqdai,
Swat,
Pakistan
............4s3
VASUNDHARA FrLLrozAT
Jakka4eceri Temples in
............463
Kamelaka
GBMRD FoEXBMA
Ardftectural Features of t]le Irter Medieval Temples of KamEteka, 1000-1300
AD .....47s
LARS FoGBLIN
Recent Resesrch at the Buddhist Monastery of
SUCTTANDRA
Thotlakonda
....
-...483
GHosH
A Mahenlvika in an Inscription from Coasel Andhra Pradesh and Rdarcd
Archaeological Issues
.....
IoHN GUY
Southem Buddhism: Traces and Transmission
.
RrrMrN & S.M. KAMRUL AHSAN
A Preliminary Report on l7ari-Bateshwar Trial Excavation by ICSBA
.........49r
.,.....495
BNAMUL HAeuE, S.S. MosrAFrzuR
JULIA
A.B.
.......
io5
HBGEWALD
From Siva to PardvanEtha: The Appropriation of a Hindu Temple for Jaina Worship. . . . . 5r7
OsxAR voN HTNtiBBR
Bronzes ftom Gilgit and Their Inscriptions
....
.........52s
KLAUS KARTTUNEN
'Vestem
Coins in South Asia: A Literary
Perspective
. . . . . 53r
DEBoRAH KLIMBURG.SALTER
Mahdk66yapa and the Art of
CECELTA
Bamiyan
. . . . . . . 535
LEvrN
Looking Southwards: Eady Paqdyan Art and its Impact on dle Evolution
of Hindu Sculptural Style . .
BARRY
......55r
LEwIs
The Mysore Kingdom at AD 1800:
Archaeological Applications of the Mysore Survey of Colin
Mackenzie
.-..
-
55?
B.R. MANr
Date of the Akhnur Buddhist Terracottas in the Light of Recent Excavations
at Ambaran
MICHAEL
(Akhnur)
W
.
..... ..
.567
MBrsrER with ABDUR RESMAN
Archaeology at Kafirkot . . . . . .
.....571
.
GERD J.R. MEvrssEN
Ladies and Planets:
Images of female deities accompanied by graha
..........579
figxes
EvA MYRDAL
Rice and Millet Land-Use and Control of Resources in Dry Zone Sri Lanka
lst Millennium
.....589
AD
ALKA PATEL
A Note on Malrmud Ghaznau, Somanatha, and the Building of a Reputadon
CAMERoN
A.
M.
.5gg
PETRIE
The Late 1st and Early 2nd Millennia AD at Aka, N.V:F P, Pakistan .
ELLEN
.. .. ..
.
.
. . . 607
RAVEN
Candragupta II, the
Lion-Slayer
CHARLoTTE ScHMID
Of Gods and Mortals:
L a C01a
......
..
615
..........623
CARoLYN ITooDFoRD ScIlMTDT
The Wreath-Bearing Bodhisatra: Ongoing Typological Studies of Bodhisattva
Images
ftom Sahri-Batrlol
..
..
.637
GAUTAM SENGU?TA
Art of South-rtr7estem Bengal: A Framework For Enqurry . . .
D.V.
649
SHARMA
Identification of Akbar's Ganga-Sagar at Fatehpur Sikri
659
JULrA SHAW
The Archaeological Setting of Buddhist Monasteries in Central India: a Summary
of a Multi-Phase Suwey in the Sanchi Area, 1998-2000
665
PETER SKILLING
"Buddhist Sealings": Reflections on Terminology, Motivation, Donors' Status,
School-Affiliation, and Print-Technology . . . . .
677
GARY MICHAEL TARTAKoV
Vpabha Nandi in the Art of the Early Calukya. .
.
687
ANNE VERGATI
The Image of the Rdjput Hero in North Indian Art (lfest Reiasdr1n)
16th-19th cenruries
697
MoNTKA ZrN
The Unknown Ajanta Painting of the Angufmdla Story . . . .
705
ir the right rear wall;
1 - Ajanta, Cave XVII, veranda, second window niche
painting on the l€ft side (computer-generated image combining two photographs)'
Fig.
The Unknown Ajanta Painting
of the Angulimdla Story
MONIKA ZIN
Of all the verandas in the Ajanta complex, the one in
front of cavc XVII is in the best condirion. Although
somc parts of the paintings are scvcrely damaged, particularIy in their lorver pafis, what remains allows us to identify thc narrative (Schlingloff 2000: Nos. 24,68,69,77,83)
and devotional representations. among them thc famous
W'heel of Existences (Zin 2002: No. 46) and rocky land-
scapes around
ts,o Bodhisan'a kings (Zin
'I'he
ght side of the narrow painting (Fig. 1) dcpicts
the Buddha standing on a lotus. Like in the other paintings, the installation of the rvindow frame cut off part of
the Buddha's body. But it is unlikely that an-v significant
iconographical elements rverc lost b-r tl-re removal of this
part. The sccne takes place in front of thc Buddha. Four
figures are visiblc: at the bottom, belo\\ the base of
tie
2003:
Buddha's lotus. a man squats or borvs dou n on onc kncc
No.42.1,1-15). The paintings featured on this vcranda
are among the most frequently published images lrom
Ajanta. From the vcranda a door on dre cave's central
axis leads into the cave, and trvo r,indou,s on either side
of tl.re door once allorved light and air to filter in. In the
nineteenth century. however, the-v were fitted rvith thick
rvindou, f'rames and wire-netting. This is the rcason, incidental1y. for the increased humidiry and lack of ventilation lvhich havc caused the deterioratiolr of paintings
insidc the cave. The u.indou, niches in t}le approximatcly
one-meter-t1-rick rvall offcrcd rvelcome extra space for
painting. What has sun ived until today arc thc paintings
in both niches to thc right of the door. Although poorlv
prcscrved, the paintings are of a high artistic qualitl and
and is rvorshipping d.re Buddha rvith his hands lblded
together in a gesture of reverence. Above this person
therc is another hgure, or pcrhaps tJ-re same person in a
different scene. The figure is depicted in a dynamic
movement and approaches thc Buddha. The depiction of
the head is peculiar (Fig. 2): the hair is standing on cnd
as
it is dre
casc
rviti demons and - unique in Ajanta
is
decorated u'ith small ringlets. Above this pcrson thcrc is
allorv us to determine their rcligious content. Thus in the
first niche there is a rcpresentation of t}re Rahula episode
(Schlingloff 2000: No. 71), on the opposite side. In the
ol tie youth Sumati
to rvhom the Buddha
same niche we can sec the stor-v
(Schlingloff 2000: No.72)
Dipankara predictcd his future Buddha hood. Similarly,
thc niche of the second u,indorv is also painted. Its right
side shorvs a devotional image of the Bodhisawa AvalokiteSvara (Zin 2003:No. 45.6). Thc mural on the oppo-
site side is in no poorer condition than the other three,
but element. that rrould allorr an inrerpreLation f,re not
easily recognisable. This is obviousll' the reason tltat the
painting has never been published.
Fig.
2
- Detail from Fig.
1.
70j
'.,
The Unknorvn Ajanta Painting I zrN
I
fied than one which shows the conversion of an evil
Yaksa. But at the bonom of the painting, a clear sign has
survived that points to a different interpreration (Fig. 3):
a sword lies on the ground which the converted person
has obviously dropped.
If
the aggressive person is the
same as the one kneeling, he would have to be equipped
with a sword, who would certainly be shown ready to
anack. On *re left edge of *re painting rve can see a preserved fragment of a venically disptayed object which is
Fig.
3
- Detail from Fig.
1.
flying dwarf. Such dwarfs are often depicted in Aianta
as bearers of garlands or umbrellas. This panicular
dwarf, however, is not flying towards but away from the
of exactly the same colour as the sword lying on the
ground (Fig. 4). The painting's reconstruction results in
the following (Fig. 5): a person with a drawn sword is
striding toward the Buddha, and, below, he kneels. The
sword he has dropped is lying next to him on the ground.
The scene is well-known and can be easily identified.
It is the story of dre conversion of Angu[mala, the mass
murderer.
a
Buddha. His hands are held in a gesture of horror, a sign
wich is not only frequently found in the paintings of
Ajanta but is also a universally recognisable expression of
fear.
Once this mood of fright is determined, it is no longer
difficult to accurately identify this scene. There are only
very few episodes in which the Buddha is involved in a
situation that conveys a similar mood. As generally recognised, the episode may illustate the assaults ofDevadatta
or the conversion of an aggressive person. The hair on
the head ofthe aggressive person in our picture, standing
on end in demon fashion, could give the impression that
this is a scene which cannot be more specihcally identi-
There are frequent references to and narrations of this
story in Buddhist literature,r often in the connection with
a Jatuba abo\rt Angulimdla's previous life as the maneating demon Saudasa, who was converted by the right-
eous king Sutasoma and freed from his murderous
impulse.2 It is possible that the story of Angu[mah
derived from the Saudisa narradve, known since the
Veda. Both stories deal with the fundamental problem of
true Brahmanhood. In one of the Buddhist narratives
about Saudasa we hnd a sentence central to Angr imnta's
conversion: "I am standing still, you are not standing
still. "3
The oldest surviving version of the Angulimala story
consists of 25 verses
of Theragathal. Apart from the dia-
logue, based on tl]e plzy of words thimlarriro, which takes
place between Angulimdla and the Buddha
"I
am stand-
ing still, you are not standing still",s we leam dlat the
present Thera is dre son of a Brahman. He used to be
hirysaka, the bloodthirsty robber AngulimEla, and is now
ahimsaka and the son of the Buddha.
Fig.
7C6
4
- Detail tom Fig.
1.
Still, in the canonical literature there is a story which
is actually nothing other than a commentary on this section of the "Verses of the Monks". It is the Aigulimal.<tnnta in the Majjhirnanikaya,6 in which t}le verses of 7"&eragd.thd are repeated. Both the name of Angulimdla and
the meaning of the verse thiolathito are explained here.
The story is set in Srevasd, Angulimata is a wanted murderer rvho kills the inhabinnts of entire villages and towns
xry
ri
sc pts of the Samluktagatna probably of the Mrilasarvdstir.ada school (Hartmann 1997-98)r and of rie San.estivAda and KS5yapiya schools presen'ed in Chinese trans-
(7 99 and T 100, Bareau 1985-86: 655). Unlike
the Pali version in the Majjltinanihaya, which takes place
in Sravasti, the northern renditions are set in Magadha (I
iations
,l
700) or in Anga (I 99); accordingly, King Prasenajit
does not appear in these versions.
The Pali version in the MajjhimanikAjd incorporates
one more episode: as a monk, Angulimila utters a "word
of ttuth" (satyaoacana) to help a \\'oman who has suffered labour pains for many days to deliver her child.
Angulimnla, overcome tviti compassion for the woman
giving birth, receives advice from the Buddha, rvho says
N
he should swear that he has not harmed any creature
since he was bom. The monk rejects this as a lie. The
Buddha then asks him to srvear that he has not harmed
\
any creature since he was bom as a Brahman. Angulimela
su'ears and rhis has an immediate effect. It is to be under-
stood that Angulimala became a true Brahman only at the
moment of his conversion by dre Buddha. The oath,
called Aigtrlhnalapatitta,s
is still knoivn in
Buddhist
countries as a formula to help a woman in labour (Gom-
!\-
Fig.
5
brich 1971: 224).
The episode featuring the "word of truth" does not
figure in the already mentioned northern versions - it
appears rc be associated with the town of Sravasti. The
"word oftruth" is found also in Chinese renditions, all of
-"'5::!:2r
---:::- "--'
which are set in t}le town of Sravasti: in tlle Ekottaragam,l
ofthe Dharmaguptakas (?) 7125 (Bareau 1985-86:65556), two separate Hinayana texts ofundetermined school
- Reconstructing drawing: author,
affiliation T 718 and T 119 (ibid.t 657), and one Mahayana text T 120 (ibid.:657-658). These texts rer.eal
and who wears a garland Qnala) made ofhis victims'fingers (anguli). King Prasenajit organises a military expedi-
further narrative features, namely a motif explaining nhat
made the youth Angulimala engage in such a murderous
tion to hunt dotvn the mass murderer. The Buddha goes
into the forest in which Angulimala lives and performs a
miracle - tie robber cannot catch up rvith him. "Stand
stilt!" Angulimala calls. "I am standing still, you are not
occupation. T 118 and I152 (Chavannes 1910-3.1, Vol.
1: 148-157) relate that tlle future murderer rvas a handsome young Brahman male with whom the lvife of his
teacher fell in love. W'hen he rejected a love affair, the
woman accused him in her husband's presence of seek-
standing still!" the Buddha replies and - by subsequently
explaining that a monk arrests his desires - he conYens
ing to engagc her in an adulterous relationship. The
tien demanded that the l outh achieve true Brah-
Angufimela and takes him to a monastery. King Prasena-
teacher
iit visits the Buddha and is delighted to learn tiat
manhood
the
vicious murderer can no longer cause any harm.
The same story is also found in the northern Buddhisr
tradition, namelS' in t}te fragmentarl' Sanskrit manu-
bl killing one hundred people. This tvas a cunning plot on behalfofthe teacher. In forcing the youth to
commit such a crime, he planned to hand the yourh over
to justice authorities in an act ofrevenge that u,ould spare
';a'1
The Unknown Ajanta Painting I zrN
I
him the necessity of killing his student himself - a move
that would naturally spoil his reputation. The plot, with
its Hippolytus motif and the teacher's demand drat the
youth kill one hundred people and cut off their fingers,
culminates in the addition of the murderer's mother, who
was to be his final victim and at the last moment is spared
certain death by Buddha's conversion of Angufmala.
Other versions ofthe story extend the number of victims
to one thousand and deepen the plot by the addition of a
mother driven into the forest out of a touching desire to
bring her son something to eat (Der lYeise und dcr Thot
300-307,324-26; Chavannes 1910-34, Vol. 4: 110-111).
The question must be raised whether the motif of the
mother, which arises from the demand of a vindictive
teacher, should in fact be viewed as a later development
of the text (as Bareau argued 1985-86) or whether the
story already incorporated this motif at an earlier date
Fig.
7c8
6
and was simply not always referred to in its enttery in the
texts available to us.
The same episodes with a wife in love, a teacher's
demand to kill one thousand people and a motler carrying food also occur in a Pali commentary literature from
the 5th century, namely in Papartcasudanie and Pararuatthqdipani,lo It appears that these narratives, which
underwent changes in both the northern and southem traditions, stem from a common and most likely canonical
text which has not survived until the present day.
Art
also provides evidence that all of the story's
episodes were known in earlier times, both in the South
and in the North. The mother was part of the narrative
from an early date.
The oldest known reliefs of the Angdimda episode
stem from temporatly close epochs but geographically distant regions, namely from Amaravati and Gandhara. In
- Relieffrom Amaravati, Madras Mus€um.
Fig. 7 - Relief from Nagarjunitonda, Nagaiunikonda
Museum-
Fig,
8
- Drawing,
one Amaravati friezerr the story is reduced to one picture.
preparation for his entry into monkhood. Though rather
Angr imala is
seen here twice: firsdy with a raised sword
attacking the Buddha (depicted in the form of a column
damaged, the lowest section is key to determining the date
of fire), and secondly kneeling before him. Opposite the
It shows nothing other tlan one episode from the early life
of the future mass murderer - a scene at school. On the
Buddha there is a female figure widr a pot, obviously the
mother. The sarne scene is presented in another Amaravati relief (Fig. 6). Here the group below represents the
early deeds of Angulimala, perhaps related ro the military
operations organised by King Prasenaiit. On dre left side
monks are seated, probably observing Angulimala's
admission to the monastery. There is no sign of a garland
of fingen on Angulimala, all he is wearing is a Brahman's
stdng. Another relief (Fig. 7-8), from Nagarjunikonda, to
my knowledge previously unidentified, is not diffrcult to
interpret even drough it is badly damaged: the middle sec-
tion at the right shows the killings, whi.le at the left Angulim6la is presented on his knees before the Buddha. The
motler can be seen standing on the other side ofthe Buddha. The upper section shows t}le visit of King Prasenajit, while on the right side Angdimala is seen shaving in
drat the Angulmala story eisted with all
is components.
right side, t}te teacher's wife stands widr her husband she
who caused the 99-fold misfomrne. As already mentioned the earliest surviving reference to this episode in
southem Indian literature derives ftom the 5th century.t2
The relief pre-dates it by c. two cenruries.
\i7hile the damaged relief from Nagarjunikonda does
not reveal any more details, one can make out that the
murderer is wearing an extremely broad Brahman suing
tajfropalnta. This could be the garland of hngers. Angulimala appears to be taking it off as he kneels before the
Buddha.
The reliefs from Gandhara present the Angulimala
story in two or thee successive scenes in the space ofjust
one picture. Angulimila anack the Buddha with a
srvord, while his mother is standing nearby, he is t]ren
709
The Unkno$'n Ajanta Painting I zIN
Fig.
9
I
- Relieffrom Gandhara, Chatpat, Chakdara Museum 2333.
shown on his knees before t}le Buddha (Fig. 9), or there
is an additional scene in r,vhich the murderer is attacking
the mother (Fig. 10). A painting in Hadda is arranged in
the same manner.rs In contuast, paintings from Cental
Asia only show Angulimala's anacl5ra sometimes with the
mother on the other side of the Buddha.15 While the Cen-
Fig.
10
- Reliefftom Gandhara,
Pdvate Colection, O Sherriet afler Kurita 1988-90, Vol 1,Ii9.472.
Following ttris summary of comparable Indian depictions, we retum to the Ajanta painting. Angulimala is
shown here twice, during the attack and after his conversion. It is very unlikely that the mother was also lepresented. If she was, the picture was destroyed when dre
windorv frame was installed.
tral Asian paintings depict the appearance of Angulimala
in a conr.entional rvay, in Gandhara he is equipped with
an attribute - namely a characteristic head-dress. At times
The hair of the attacking Angulimala stands on end,
demon fashion, and above the forehead there are the
appears to be a crown of fingers. But the individual
parts of the cror,vn are sometimes too large to be intended
as fingers, above all 99 or even 999 of them. Brancaccio
(1999) identifies them as dre head ornaments of savage
Unfomrnately, the top of the head is no longer visible, so
it is impossible to determine whether the ltve spherical
objects rvere also part of the composition. Even without
these objects, the murderer's appearance is far more rem-
forest inhabitants. Angulimala's crown is also reminiscent
iniscent of
it
of demons' hair standing on end.16
In what is to my knowledge the only depiction of dre
Angulimala story in the art of Pala Gig. 11), in which the
murderer is seen drawing his sword on one side of the
Buddha and the mother is found on the other, Angulimala's head is portrayed in a peculiar manner. Above the
forehead tlere are small ringlets, above which in turn we
see hair standing on end
in typical demon fashion And
of
of
a
curls
be
the
me.
They
might
which is unclear to
Brahman pupil, or spherical objects with which certain
demons or Mdral' are equipped. \7hat is certain is that
the pointed shapes on Angutmnla's head in the Pala
sculpture are not the leaf crown of ar atal)i or a finger
above this there are five round objects, the signilicance
same type of small ringlets as found in the Pala sculpture.
tie
Pala sculpture than depictions found in
the finger garland is not shown
However,
other regions.
here, neitlrer in rhe lorm of a yajDopaz,4a nor as a crown.
Perhaps the garland was depicted lying on the ground. A
fragment of a no longer identiiiable brightly coloured
object can be recognised above the sword. Directly vertically above this unidentifiable remnant there is the left
hand of the upright Angufimala, in which there seems to
be something reminiscent of a pearl necldace. Perhaps it
was the grisly garland,
aig
imaln.
Contary to the art of Amaravati and Gandhara,
lvhere the conversions of Yakgas and Nagas are fre-
garland. The finger garland, incidentally, is featured here
quently depicted, the paintings in Ajanta do not feature
conquests of the evil-minded. Obviously such sto es
rvere not popular among donors in this region. For this
reason the Angulimala painting is exceptional lt may be,
in the fotm of a yajiiolaaltd.
hor,r,ever, that the painting was not created to depict a
7ra
dif-
hcult conversion. The paintings in the neighbouring
Avalokite6vara, who is being worshipped by women. As
niche portray dte stories ofRahula and Sumati. We know
proven by Pal (1974:33-34), Avalokitesvara was worshipped by women hoping to conceive. In this light the
Angulimala painting acquires new significance. Integral
the two pictures belong together because t}Iey appear
alongside one anodrer in other places, namely in other
paintings in Ajanta O/asant 1991) and in reliefs in Gand-
hara (Taddei 1974, 1992). This raises the question of
whether the Angulimala painting was conceived together
with another painting in the same niche. The painting on
the opposite side depicts a certain Bodhisatva, most likely
to this story is the aigulimalapaitta, a protective formula
used for births. It is derived from the "word of truth" and
refen to true Brahmanhood.
All illusE'ations (unless specifled) by aurhor.
11 - Relief from Nalanda (?), Pala Pedod, 9th certur], 20 U2 x 13 x
Elvehjem Museum of Art, Lhivemity of wisconsin-Madisoq
Gift ofMr. and Mrs. Earl Morse 1972.26, e Elvehjem Museum ofArt.
Fis.
6
inches.
The Unknown Ajanta Painting zrN
N OTES
I
For more records of the story mentioned in this
paper cf.i Hartmann 1997-98. Apan from the
references listed there, the following additional
references to the story or the person of Ang]]li
m5la may be mentioned: Mrlaargga I.41, cd.
Vol. l, p.74; transl. SBE / 13 196]. Milinda-
,fr,lrd, ed. p.410j transl.: Vol.2, p.290;
Dha trndpadduhakefia XIII.10, ed. Vol.3,
p. 185i transl. Vol.3: 25j XX\4.39, ed. Vol.4:
230-31; tmnsl. Vol. 3r 338;1dld&d 55, ed. Vol. 1,
p.275; transl.: p.139t lai,Aa 537, ed. Vol. 5,
p.456; transl.: 216; Jdtakd 546, ed. Vol.6,
p.329; tansl.: 156; Fa-hien, ct Beal 1884:
XLIVj Hiuen Tsiang, cl Beal
1884, Vol. 2: 3j
Sabpafrn;iatikd Slotru,Vers 127, Hocrnle 1916:
'73t Mala.'alnta XXX.84, ed. p.242; transl.:
205_
I For records of the ston of Saudasa, represenurions in an as \iell as references to the research
on the narrative marerial of Saudasa /
Kalmatapada, cf. Schlingloff 2000: No.56
(Sutasoma).
t
lnbha 537,
so toatlt
sd
Vol.475: titluhii ,tlujd tuuo
latDtukhuol a*ito llfio l hiti
ed.
has;
kprsi b,ohaacdi
iJr
rc
,andaa
a) ttrn,rs;i
artrtasi karyhapauan ,/l transl.: 259:
"Alfioush I bid th€e stand, thou srill dost for
\\ard fl,'i, an cI''ting "Lo! I stand, mcrhinks drou
dosl bur lie: Unseeml-r 1i$ this sr\rcrd, O priesr,
thou must assume to be a harmless shaft
equipped wirh heron's plume."
a Thcrugatha 866-891, ed. pp.80-82; transl.
cd tne
t
pp.82-84.
I
l hcrasatlfi 866, ed. pp.80-81: eacch.ltl, r:odesi
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Dlta lrtdpadanhakathA, cd. H.C. Norman, Ir,
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am not srrnding ,till. I ask \ou tht. ,rsceLic.
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6 Majjhnnaihal'a 86, ed. Vol. 2, p.97-10s;
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I 1Drd. also references to further fragments of
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I Alread! refened ro this \\ay in Mili daoaitlw
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uddili seyythidautl Rannasuua't1 Khandkipa i a,lt Morapaiuat!t Dt,aia1sa paitattl Atd,n! i-
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