298 Journal of the Asiatic Society of Bengal. [Sept., 1915. 
sculptures of the Gupta period, we usually find Mara standing 
to the Buddha’s right. Like the Greek Eros he carries a bow 
and is moreover often distinguished by a satellite carrying 4 
mekara standard. For it should be remembered that Mara is 
only another name for Kama the god of love. Mara’s three 
daughters who played a prominent part in the temptation are 
usually shown to the Buddha’s left. In the present instance, 
however, we find the Buddha flanked bv two male attendants 
in whom we recognize the Bodhisattvas Avalokitegvara and 
Maitreya. Over their heads there rise two tiers of miniature 
figures partly mounted on animals which form, as it were, al 
arch of which the foliage of the Bodhi tree forms the apex. 
These figurines, as is evident from their demoniacal appearane?, 
represent the host of Mara. 
It will be seen that around the group just described seven 
smaller scenes are arranged, three to the left, three to the right 
and one above. In the scene nearest the right hand of the 
central figure we recognize the birth of the future Buddha. 
His mother MayA grasping a branch of the sal tree is supported 
by her sister Prajapati standing to her left, whilst the new-born 
Bodhisattva is apparently shown twice on her right. 
ver the Nativity scene we find Buddha’s first sermon at 
Benares represented in the usual fashion. The Buddha is sea 
cross-legged in the attitude known as that of ‘‘ the wheel-of-the 
law ’’ (Skt. dharmacakra-mudra) , the two hands being held in front 
arguing out a case. The wheel and the deer on the pedestal 
symbolize the particular subject more definitely, for it was 
the Deerpark (Sanskrit mrigadava, Pali migadaya), the modern 
village of Sarnath near Benares, that after his Enlightenment 
Buddha ‘‘ began to turn the wheel-of-the-law,’’ in other words, 
taught his doctrine for the first time. The five miniature figures 
on both sides of the preaching Buddha are his first converts, the 
Paiicavargiyas, or ‘the five of the blessed band.’ — : aa 
e next scene relates to the miraculous submission of t 
mast elephant Nalagiri which was let loose against the Buddhe 
y his malicious cousin and rival Devadatta. e 
which is very diminutive in size, is shown twice, 
figure kneeling at the Master’s feet must be the nun Utpalavart® 
