160 SPOLIA ZEYLANICA. 



Cases 2 and 3. 



These cases contain figures of Siva-Kami or Parvati, Consort oi 

 Siva. (See Plate XIII.) 



Case 4. 



Here are displayed bronze spoons, round bronze dishes, bronze 

 lions, bronze bangles, ornaments, " Hindu emblems," the Svastika — 

 a symbol of pre -Buddhist origin and worldwide distribution. A 

 richly embossed heavy bronze panel from Anuradhapura is also 

 shown in this case, and at the bottom a six -headed image of Katara- 

 gam Deviyo standing under a makara and on a peacock from a 

 Devale. 



Case 5. 



A collection of Buddhas in bronze, copper, brass, gold, and other 

 metals. There are eight thin gold images of Buddha, filled with 

 clay, from Panduwasnuwara, a gold figure from Tissamaharama, 

 and gold and crystal dagabas from Anuradhapura. There are also 

 bronze Buddhas on thrones backed by an arch called the makara 

 torana. On the top of the case there is a large bronze sedent 

 Buddha of unique design in the attitude of teaching, holding a 

 flower (?) in the left hand. This was discovered twelve miles from 

 Badulla along the new road to Batticaloa, and was presented by 

 Mr. G. F. K. Horsfall in 1876. (See Plate VIII.) 



There is a fine recumbent Buddha in the middle of the case, from 

 Nilgama, in the Matale District. It represents the attitude of 

 Buddha's Maha Pari Nirvana on his last death, after innumerable 

 previous deaths in previous births : the entire cessation of re-births 

 with the extinction of all the elements of bodily existence. 



Case 6. 



This case contains among other things bronze tripods from 

 Polonnaruwa, bronze homunculi, a figure of Siva-Kami or Parvati 

 on the top shelf, and a figure of Tiru-Navukarasu or Appar Swami 

 {circa 500 a.d.), apostle and psalmist of the religion of Siva, on the 

 second shelf. (See Plate XI.) 



On the same shelf there is a bronze of Bodhisatva Maittreya (the 

 loving one) in the attitude of a teacher. It is said to be one of the 

 best bronzes in the collection. As it comes from Anuradhapura it 

 represents a much earlier period than the Polonnaruwa bronzes. 

 The treatment of the drapery is full of grace. The expression of the 

 face is severe and exalted. This figure belongs to a type called by 

 modern Sinhalese craftsmen tri-vanka, " three bent," the head, 

 trunk, and lower limbs having a different inclination. The pose of 

 such figures reminds us of the " sway " characteristic of so many 

 mediaeval European ivory Madonnas. The weight of the body is 

 thrown on the right leg, the left hip being raised. In this case will 

 also be found a figure of Tiru-gnana Sambandha Svami [circa 

 500 A.D.), apostle and psalmist of the religion of Siva. His psalms 

 are in daily use in the temples. He is said to have been called to 

 be an apostle while still a child (at Stickali, inTanjore District) and 

 to have died a child. Hence he is represented as a child, nude, 

 save for anklets and a child's waist-string of beads, and having a 

 child's tuft of hair on the front of the head. He holds in his hands 

 the golden cymbals which he received from Siva and with which he 

 went about singing Siva's praise. (See Plate XI.) 



