124 



V. A. Smith — Gratco-Ttuman influence 



[No. 3, 



On the slab photographed by Major Cole (Plate 11) Maya is shown, 

 standing, facing the spectator, with her head slightly inclined, and the 

 weight of her body thrown on the right foot. Her left leg is crossed in 

 front, with the toes resting lightly on the ground. In her right hand 

 she grasps a branch of the over-shadowing tree, and her left arm is 

 thrown round the neck of her half-sister Prajapati, who supports her. 

 The figure of the sister is turned in a singularly awkward posture, so as 

 to show most of her back.* The infant Buddha, springing with out- 

 stretched arms from his mother's side, is recognizable, though much 

 mutilated ; the figure of Brahma is almost completely destroyed. The 

 other attendants, who are introduced in some examples, are here want- 

 ing. A harp in the upper corner of the composition indicates the 

 heavenly music which heralded the advent of him wbose mission it was 

 to still the discords of millions of human hearts. 



In this work the pose of Maya is tolerably graceful, her figure is free 

 from the usual Indian exaggeration, and her expression, in conformity 

 with the belief that the Buddha cost his mother none of tho pangs of 

 travail, is perfectly calm. Her hair is richly braided, and arranged in 

 the form of a crown or tiara. 



A very finely executed statuetto of Maya Devi, standing alone, which 

 was obtained at the same monastery, (Cole, Plate 15, figure 2), shows her 

 in nearly the same attitude as in the birth scene, holding above her head 

 the branch of a conventional tree, more or less resembling a palm. 



The drftpery of this figure is specially elegant. The principal gar- 

 ment is a tunic (chiton) reaching to the knees, and confined at (ho 

 waist, by a rich girdle of four strings, adorned with clasp and vine-leaf 

 pendant. A scarf is thrown lightly over the shoulders, and the legs are 

 clad in loosely fitting trousers of thin material The dress of Miiya in 

 tho nativity group is simpler, and consists of an inner tunic or vest, and 

 a robe wound gracefully l'ound the body, and looped up at the waist. 



Single figures like that above described are not uncommon. The 

 slight variations in different examples indicate that they were arranged 

 in pairs. t 



Religions artists found in the deathbed of Buddha a subject scarce- 

 ly less fascinating than the scene of his birth. J 



* See post, for a parallel from the Catacombs. 



t So, at Cave XX, Ajanta. " Cave XX is a small Vihnra with two pillars and 

 two pilasters in front of the verandah. One pillar is broken, but on each side of 

 the capitals there is a pretty statuette of a femalo nnder a canopy of foliage." 

 (BaxgWS, Notes on the BamhVia Roelt-Temples of Ajanta, being No. 9, Archoal. Surrey 

 of W. Indite, Bombay, 1879). This valuable book is ont of print. 



J The Deseriplire Lint mentions only one example of this subject in the Lahore 

 Museum, but tho collection there probably includes other specimens. The Indian 



