lO SMITHSONIAN MISCELLANEOUS COLLECTIONS VOL. 8o 



of its origin; probably this was the best way to provide an edifying 

 sanction for an ancient animistic cult too strong to be subverted. 

 HaritI is also constantly represented together with Paficika, forming 

 a Tutelary Pair (Gandhara, Mathura, Java, etc., pi. 15, fig. i ; pi. 21, 

 figs. 3-5).^ 



A YakkhinI by name, or rather, epithet, Assa-mukhi (" horse- 

 faced ") plays an important part in the Padakusalamdnava Jataka. 

 There may be specific reference to this Jataka whenever a horse- 

 headed Yakkhini is represented on the medallions of Buddhist rail- 

 ings " (pi. 12, fig. i). But the Kimnaras and Kiriipurusas, and Gand- 

 harvas too, typically half-human, half-equine, are a class of beings 

 frequenting forests and mountains (cf. the valava-mukha Cetiya, of 

 Pandukabhaya, infra, p. 16) and as such are sometimes naturally 

 represented as a part of the scenery, and in such cases there need be 

 no reference to the Jataka.^ 



In the M ante ud&vad ana a Yaksini undertakes to bring about a 

 marriage, and to this end has the marriage " represented " (murtivai- 

 vCihikam karma, presumably in a painting)." 



In the Jaina Bhagavatl Sutra (Hoernle, Uvdsagadasdo, Appendix) 

 Punnabhadda and Manibhadda are called powerful Devas, and they 

 appear together to those who practise certain austerities. Another 

 work gives the following list of " Devas " who are obedient to Vaisra- 

 mana : Punnabhadda, Manibhadda, Salibhadda, Sumanabhadda, 



^ For Hariti see Foucher, The Btiddhist Madonna, and Tutelary Pair, in The 

 beginnings of Buddhist art; L'art greco-boiiddhique dii Gandhara; Vogel, The 

 Mathura school of sculpture, A. S. I., A. R., 1909-10, p. 77; Walters, On Yuan 

 Chwang, I, 216; Beal, Records . . . ., I, no; Waddell, Lammsm, p. 99; 

 Chavannes, in T'Aiing Pao, 1904, p. 496 f . 



■"■ Mitra, R., Buddha-Gaya, pi. XXXIV, 2 ; Foucher, in Mem. cone. I'Asie orien- 

 tale, III, 1919, pi. I; Waddell, Report on excavations at Paialiputra, pi. I. 

 Perhaps also Ajanta, Cave XVII (Griffiths, pi. 142, b). 



* At Bhaja, HIIA, fig. 27, lower r. corner; Mandor, HIIA, fig. 166. Kimnaras 

 in Indian literature and art are of two types (I) horse-headed, as above, and 

 (2) half bird, half human (siren type). Both kinds are musical, and may be 

 classed in this respect with Gandharvas. The masculine horse-headed type is 

 rare: examples in Cat. Ind. Collections, Boston, V. Rajput Painting, No. CLIX 

 (called Gandharvas, one Narada), and in Arts et ■ Archeologie khmers, II, 

 fig. 56, his. Most likely the horse-headed type is not a Kimnara at all. 



* In the Svayambhu Pur&na, De la Vallee Poussin, J. R. A. S., 1894, p. 315. 

 Here we have the normal connection of Yak§inis with human marriage. The 

 miirti-vaivahika motif appears also in Bha§a's SvapnavSsavadatta, and is repre- 

 sented in a Rajput Painting of the eighteenth century {Cat. Ind. Coll., V, 

 Rajput paintings, p. 189). 



