212 THE BTJTNS OF BOKO BUDTJK IN JAVA. 



idea of Buddhist sacred architecture. The ornaments and images 

 point to the same conclusion. There are no images of the Hindu 

 deities throughout the building; or, if there are any of the figures 

 in the bas-reliefs which must be considered as representing per- 

 sonages of Brahman mythology, they are merely taking a part in 

 the action described by the sculpture and are never in any case 

 receiving worship. On the other hand, the images of the Buddha 

 are to be reckoned by hundreds — in the niches of the walls, at the 

 salient points of the architecture, and in the latticed cupolas on the 

 upper terraces. These images agree, to a remarkable extent, with 

 those which are to be found in Buddhist temples elsewhere, and 

 especially in those of Nepaul. The attitudes are the same, the 

 expression is the same, the insignia of sainthood are the same. 



In the difference that is found among the statues, and the 

 figures of the Buddha in the bas-reliefs, the places that they occupy 

 and the attributes that distinguish them M.M. Wilsex and 

 Brumund have both found an allegorical signification. They see 

 in them the symbols of the progressive ascent through the differ- 

 ent degrees of saintliness to the state of supreme perfection — ■ 

 Nirvana. It is impossible to enter upon the discussion of this ques- 

 tion, which occupies many pages of Dr. Leeways' book. Plate 

 ]S"o. VIII. represents the various forms and attitudes of the statues. 

 M. Bremihstd thinks he has reason to believe that the manner in 

 which the hands are held is confirmatory of the opinion, and brings 

 much learning to bear upon this part of the subject. 



There is another much vexed question. The latticed cupolas 

 or Dagobs on the upper terraces have each its image, representing,, 

 as is supposed, the Buddha withdrawn from all contact with earth- 

 ly things. But the grand cupola — -the central Dagob — which crowns 

 the whole building is empty. Is this by design ? or is it simply 

 that the work was not finished ? M. Wilsen" thinks it was by 

 design, that the empty shrine signifies the Buddha become invisible, 

 having lost his outward form — the Buddha in Nirvana. 



I have reserved till the last the argument in favour of the 

 Buddhist theory of this edifice, which is at once the most telling 

 and the most interesting. I mean the argument derived from the 

 subjects of the bas-reliefs. We have already seen in the descrip- 

 tion of the whole building which I found it convenient to quote 



