1894.] G. A. Grierson— Image of the Buddlia found at Rdjagrha. 37 
the dhydni dsana , or attitude of meditation, seated on a lotus. The lotus, 
which grows in mud, is symbolical of purity born of a vile origin, and 
intimates that the Buddha was not tainted by the mire of worldly 
existence, of suffering, and of sin, though he was spiritually evolved out 
of the world. This Padmasana is placed on a Vajra, —the essence of 
the thunderbolt,—the diamond, which is symbolical of unchange¬ 
ableness. Hence the whole throne is called a Vajrasana. This Vajrd- 
sana is again placed on the back of two lions, to denote that the Buddha 
is supremely fearless. 1 Beside each lion there is an updsaka , or Buddhist 
devotee, and the whole is surmounted by the Kalpavrksa , or Wishing-tree 
of Heaven. 
“ The image belonging to the Mahayana school, the Buddha is not 
accompanied by the Arhats, Qariputra and Maudgalyayana, but by the 
Bodliisattvas Avalokit^vara, and Vajrapanl. Avalokite^vara stands 
on the right in the mahdniudrd posture of meditation. The particular 
mudrd is determined by the position of the fingers of his right hand. 
He wears a tapering crown, such as those used by kings of early India 
during the Greek period. The crown indicates that lie is in this world 
looking both to the temporal as well as to the spiritual interests of all 
living creatures. A lotus flower touches his left arm on which he is 
slightly reclining. This lotus is symbolical of his pure birth, like 
Padmayoni, i.e., Brahma. He wears ornaments to show his royal birth. 
“ On the left of the Buddha stands Vajrapani, the Bodhisattva of 
mystical theology, and therefore called Guliyapati, the Lord of Mysticism. 
In appearance he is exactly like Avalokit^vara. These two Bodlii- 
sattvas are called the TJpaputras of the Buddha : to them he delivered, 
respectively, the Maliayana Sutras, and the Tantras. 
“ A little above their heads are two Caityas, called the Stupas of 
accumulated flowers. The representation of a Caitya, or monument 
containing relics of the Buddha, was considered as equall} r effective as 
making an image of his person. Images were difficult to make without 
unintentional irreverence in the result, and hence it was ordained that 
Caityas might be used to serve their purpose. 
“ Above the Caityas are the images of two holy goddesses, Tara the 
Pair and Tara the Green. 2 
“ The White Tara ( Liberatrix ) represents pure transcendental wis¬ 
dom, which secures nirvana to its possessor. She is the mother of all 
Buddhas and Bodliisattvas, because, without Prajna Paramita no one can 
become Buddha. She (Tara) liberates all sattvas from the worldly 
1 Perhaps also with a reference to his race. He was Qakya Simha— G. A. G. 
8 See Dr. Waddell’s account of Tara in J. It. A. S. for 1894, pp. 51 & ff. G. A. G. 
