The art and architecture of India - Buddhist, Hindu, Jain (Art Ebook)

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43i- 3- H. G. Quaritch Wales, Towards Angkor
(London, 1937), 100.
433. 4. The Lamp'un temple might be described as a
return to the Dravidian form of prasada, like the
Dharmaraja rath at Mamallapuram, in which the
terraced pyramid itself is the shrine and not merely its
base.
5. In accordance with the same principle, the
Buddhist cave temples at Lung Men in China were
oriented to overlook the capital of Loyang, just as the
Vulture Peak, sacred to Buddha's preaching the Lotus
sutra, overlooked ancient Rajagriha.
434. 6. It should be noted that even late Siamese architecture
is, like all the religious architecture of the East,
based on the principle of pratibimba - the reflexion of
the image of the great world in man-made buildings.
Even in the nineteenth century, the German architectscholar
Dohring tells us, King Chulalongkorn was so
unwilling to depart from the traditions governing the
laying out of buildings that the whole orientation of
the palace being built for him had to be altered, although
the foundations were already laid.
Palaces, as well as temples and stupas, were geomantically
laid out according to the concept of the
four directions around the world mountain Meru.
These ideas spring as much from Brahmanic as
Buddhist influences. The Meru idea of course is
original to Brahmanism; Siamese Buddhism - like
Cambodian Buddhism - has at various times in its
history been tinged with Brahmanic ideas.
435- 7- Coomaraswamy, History, 178.
436. 8. Bowie, No. 138, figure 114.
9. Bowie, No. 149, figure 133.
10. Bowie, No. 186, figure 70.
CHAPTER 23
439. 1. The earliest examples of Buddhist art found in
Burma are a number of metal objects, including a
silver relic casket discovered in a stupa at Prome.
They are almost certainly importations from India
proper and are dated in the sixth century a.d. (Annual
Bibliography of Indian Archaeology, 1928 (Leyden,
1930), plate x.) A number of unpublished stupas from
this period also exist at Prome.
2. Coomaraswamy, History, figure 305. There are
other early Hindu temples at Pagan, such as the
Nanpaya, dedicated to Brahma.
3. Coomaraswamy, History, figure 306.
440. 4. The Burmese copy of the Mahabodhi temple
is
valuable in showing the appearance of the original
in the thirteenth century. This replica agrees with the
various small models of the shrine at Gaya in showing
the main tower surrounded by smaller duplications of
its
shape at the four corners. The vaults and arches
used in the interior of the Mahabodhi temple at Pagan
and other Burmese sanctuaries of the Classic Period
correspond so closely to the fragments of this type of
construction existing at Bodh Gaya before the
nineteenth-century restoration that it seems possible
to believe that the vaulted construction of the original
Mahabodhi temple was introduced into the fabric by
the Burmese craftsmen who went to repair the shrine
in the fourteenth century. In this method of vaulting
the voussoirs of the arch are composed of courses of
bricks mortared one on top of the other. These bricks,
it should be emphasized, are not laid face to face, but
edge to edge. The method is particularly well illustrated
by photographs of ruined structures at Pagan,
published by Henri Marchal, plate xv.
441. 5. It has been suggested that the name of the
temple - Ananda - is a corruption of the name,
Nandamula, or that the name derives from the Ananta
cave at Udayagiri in Orissa. (See Charles Duroiselle,
'The Stone Sculpture in the Ananda Temple at
Pagan,' A.S.I.A.R. (1913-14), 66.)
442. 6. For illustrations, see A.S.I.A.R. (1912-13),
plate lvi.
7. Coomaraswamy, History, 172, figures 311 and
312.
443. 8. A useful account of these and other native
crafts appears in Coomaraswamy, History, 174.
chapter 24
451. 1. Paul Mus, Barabudur (Hanoi, 1935).
453. 2. This extension of the processional path to more
than one level as well as the indented ground plan of
Barabudur is perhaps ultimately derived from the
temple at Paharpur in Bengal. See above, p. 257.
455- 3- The panel in illustration 387 is also of interest
in showing a detailed view of a Javanese ship under
full sail.
458. 4. Devaprasad Ghose, 'Relation between the
Buddha images of Orissa and Java', Modern Review,
Liv, 500. For the recent excavations of another Orissan
Buddhist foundation with statuary related to the
Barabudur style, see William Willetts, 'An Eighth
Century Buddhist monastic foundation (Ratnagiri)',
Oriental Art, ix, 1 (1963), 15.
460. 5. See above, p. 410.
6. See B. R. Chatterjee, 'India and Java', Greater
India Society Bulletin, 3 (Calcutta, 1933), 78.
464. 7. Generally speaking, it is this last phase of East
Javanese art that is perpetuated in the architecture,
painting, and sculpture of the mixed Hindu and
Buddhist culture of the island of Bali.
465. 8. F. A. Wagner, Indonesia, The Art ofan Island
Group (New York, 1959), 119-62.