742 REPOET OF NATIONAL MUSEUM, 1893. 



a certain class of lamas use them for the latter purpose at tlie present 

 time. We find, however, in the Buddhist Vinaya or canon law, which 

 dates from the early days of Buddhism, that monks were forbidden 

 using skulls as alms-bowls as being then used by devil worshippers. 

 (Sacred Books of the East, vol. xx, p. 89.) 



Fig. 2, on pi. 42, represents a libation bowl made of a human skull(a) ; 

 it has alining of iron, with an ornamented coi^per gilt rim fitting on it. 

 The cover {h) is finely and intricately chased; on each side is a landza 

 character — or rather monogram — the mystic syllable om, with an ara- 

 besque design surrounding it. The top is surmounted with four half 

 dorje at right angles, a fifth and larger one forming a handle. The 

 stand (<^') on which the skull rests is of gilt copper and triangular in 

 shape. At the three angles are human heads painted white, red, and 

 green. The triangular design on the face of the base seems to 

 be flames, and the Chinese symbol of the ymig and the yin (the two 

 principles of nature) appear in the middle of each side. For further 

 particulars bearing on the mode of selecting and consecrating such 

 skulls, I must refer the reader to my pai)er "On the use of skulls in 

 lamaist ceremonies." (Proc. Amer. Oriental Society, Oct. 1888, p. 

 XXIV, et seq.) 



The Museum collection contains also a few images of gods of the 

 finest workmanship. They are made of copper, cast and then very 

 finely gilt, chased, and polished. The interior, which is hollow, is filled 

 with some of the same articles as are put in ch'iirtens (see Cunning- 

 ham, Ladak, p. 30!)). When the image rests on a circular base of the 

 open lotus flower style, these articles are inclosed in it. These images 

 are all distinctly Brahmanic — a peculiarity of nearly all lamaist 

 images — with the exception of the heads, which are usually made with 

 terrifying features colored red, blue, or green. 



PI. 43 represents a small gilt image of Jambyang, the "sweet singer" 

 {]\fanjushn) of the Indians, He is here represented seated, holding in 

 his right hand the sword of wisdom with a flaming point, to dissipate 

 darkness among men, and a noose in his left. Behind his left arm is an 

 open flower, in which rests a book. 



Jambyang is the god of wisdom, and his principal sanctuary is at 

 Wu-t'ai-shan, in the Chinese province of Shan-hsi. 



PI. 44 is an image of Drolma, "The Savioress," called in Sanskrit 

 Tard. 



It is [says Dr. Waddell] to tliis attribute of being ever ready to help and ever 

 approachable that she owes her popularity; for most of the other deities of 

 "northern Buddhism" can not be approached without the mediation of a lama, 

 while the poorest layman or woman may secure the immediate attention of Taraby 

 simply appealing to her direct. 



Slie has tlie attributes of a female Avalokita, and in Tibet she is expressly regarded 

 in her most poptilar forms as the Sakti or female energy of Avalokitesvara. (Dr. L. 

 A. Waddell, .lonrn Roy Asiat Soc, 1894, p. 63 <>< se^.) 



This image was made at Ch'amdo in eastern Tibet. 



