300 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.59. 



eyebrows; long ear lobs, sometimes reaching to the shoulder; long 

 arms, which in the East is a mark of noble birth (recall Longimanus, 

 epithet of Artaxerxes I). The robe is usually thrown over the left 

 shoulder, leaving the right bare, except when he is represented 

 preaching or "walking abroad in public. The throne upon which he 

 sits or stands is formed of a lotus flower (padmasana) , which is some- 

 times supported by lions, elephants, or other animals, as a sort of 

 heraldic shield. Behind his head is often displayed a nimbus or 

 halo, frequently in form of a fig leaf, in remembrance of the tree 

 (Ficus religiosa) under which he attained to Buddahood. 



A prominent part in Buddhist iconography is played by the posi- 

 tion of the hands (mudra), illustrating different incidents or favorite 

 scenes in Buddha's life. They are in the main: 



1. The attitude of meditation (dhyana-mudra) , which occurs 

 only in seated images. The legs are firmly locked and the soles 

 directed fully upwards, while the hands are placed in the lap, one 

 over the other. 



2. The witness or earth touching posture (bhumisparssa-mudra). 

 It marks the moment when Gautama sitting upon the diamond 

 throne (vajrasana, so-called on account of its stability and inde- 

 structibility) under the bodhi-tree, was assailed by Mara, the Satan 

 of Buddhist theology, challenging him to prove his qualification for 

 Buddhahood, Gautama laid his hand upon the earth, calling upon 

 the earth goddess (Prithivi) to bear testimony to his pious acts in 

 his previous existences. Instantly the Earth goddess appeared and 

 addressed the saint, saying: I am your witness. This posture is 

 therefore used to indicate the bodhi, or enlightenment which imme- 

 diately followed the "temptation," as Mara's assault is commonly 

 called. The Buddha is invariably seated with the right-hand pendant 

 over the throne, pointing to the eartli. It is the most common 

 form of all seated statues, almost the only one in vogue with Southern 

 Buddhism (Burma, Ceylon, and Siam). 



3. The attitude of preaching, or "turning the wheel of the law" 

 {dharmachakra-mudra) . The two hands are held in front of the 

 breast, the thumb and forefinger of the right hand being joined and 

 touching the middle finger of the left hand, or the right index finger 

 turning down the fingers of the left hand. This posture of the 

 hands is likewise confined to sedent statues. 



4. Granting protection (abhaya-mudra) . The right hand is raised 

 at the level of the right shoulder, with palm of hand turned out- 

 wards. The left hand usually clasps the end of the upper robe, 

 which is turned round the left arm so as to form a sleeve. This 

 mudra is found both in standing and seated images. 



5. The gift-bestowing attitude (varada-mudra) . The right arm 

 is stretched out downwards with the open palm of the hand turned 

 to the front. This posture is associated only with standing figures. 



