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also given to Maitreya, the future Buddha, who in the
other attributes is likewise equal to the Buddhas who have
already appeared. These, the Manushi Buddhas, are of
gold or yellow complexion; both colours are identical,
the latter being but the cheaper substitute for gold.
The cars are large, the laps rest upon the shoulders;
the arms are long; there is a single hair on the forehead,
called in Sanskrit Urna; on the crown of the head is a
cylindrical elevation, in Sanskrit Ushnīsha, in Tibetan
Tsugtor, and from this rises a conical ornament called in ~<~~-

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Tibetan Progzhu, or Chodpan, "a head-ornament, a crown,
diadem," which is almost always gilt. The Buddhists view

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the Ushnisha as an excrescence of the skull, an inter-
pretation, however, which is not supported by the ety-
mology of the name, which would restrict its meaning
to "a turban," or "dressed hair." I believe this curious.
protuberance to have resulted from the way of dressing
the hair practised by the Brahmans, which is decidedly
very ancient, and is found to be the same as that on
the oldest figures we know. The Brahmans cut away
the hair, except that on a circular space on the crown,.
which they twist into a knot. It is most probable that
the Buddhist have conferred upon their sublime masters
this prerogative of the highest Indian caste.'

1 Burnouf, "Lotus," p. 558, believes this hair-dress to have been adopted as a protection against the dangerous influence of the sun.-A trace of the original view has also been retained in the Tibetan term Tsugtor for Ushnisha, which is explained in the Dictionaries to mean "a tuft of hair," as well as "a sort of excrescence on the crown of the head." A Nepalese Buddha priest, also, speaking of Vajrasattva's image at Buddha Gayah, says: "The lock on the crown of the head is twisted into a turban." Hodgson, “Illustrations," p. 206.

The Dhyani Buddhas and the mythological Buddhas have a white, red, green or blue complexion. The Dhyani Buddhas are, besides, distinguished by a third eye on the forehead-the eye of wisdom, in Tibetan Shesrab chan; in those images of Padmapani in which he is represented with a great many hands, this eye is also traced in the palm of his hands.

All Buddhas are dressed in the religious shawl, the Lagoi, which is generally folded round the body and over the left shoulder, with a small end coming up over the right shoulder also.1 The heads are encircled by a glory, typifying a leaf of the sacred fig-tree (ficus religiosa), under whose shadow Sakyamuni had obtained the supreme intelligence; in ancient figures this glory is sometimes pointed and oval, like such a leaf, but in modern representations it has universally a circular form.2

The right hand of the Buddhas is always represented empty, while in the left is often seen the alms-bowl, in Tibetan Lhungzed, in Sanskrit Patra. The predominant posture is the sitting one, the legs being crossed and the soles of the feet turned upwards; it is called Dorje kyilkrung. This is said to have been Sakyamuni's attitude in his mother's womb. Images with one foot hanging down over the throne, are not frequent; the European fashion of sitting should be given to Maitreya,

1 For a description of the Lagoi see p. 172.

2 See Ritter, "Die Stūpas," p. 232, 267. Concerning the origin of the worship of the fig-tree, compare Hardy, "Eastern Monachism," p. 212. Each Buddha has his peculiar tree, Ibid. p. 215, and "Manual of Buddhism," p. 94.

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for this mode is called after him Chamzhug, sitting-like Champa (Maitreya); but in the images in our possession he is figured cross-legged like the others.

The Buddhas, whenever they occupy the central part of a picture,' are seated upon "the throne of lions," in Sanskrit Simhasana, in Tibetan Sengti, or Senge chad ti, "the seat of eight lions." The throne is so called from the eight lions which support it; in the drawings, however, two lions only are seen in front. Over the throne a cloth is spread called "the upper cover," Tib. Tenkab, one end of which hangs down, and is decorated with symbols or the figure of a god; on both sides of this Tenkab are not unfrequently seen the heads of two animals, which Hodgson has called "supporters." As each Buddha and Bodhisattva has his peculiar animals, they most materially facilitate the determination of the subject of the picture. In images of Sakyamuni, e. g., two peacocks are frequently drawn at the sides of the Tenkab, the form of their long neck. being an allusion to the grass Kusa, of which he had made the cushion he sat down upon under the Bodhi

1 The Tibetans like to group together into the same picture several gods, some of whom are represented in formidable attitudes, whilst the others display a smiling countenance. The principal figure is the central one; of the surrounding persons some may have a connexion with him, others have decidedly none. The central figure is very frequently sitting in the middle of a landscape representing the ocean bordered by steep shores beneath him; two snowy mountains rise to the left and right of him; and a dark blue, clouded sky, with the sun and the moon typified by two bright circles, extend above him. Compare Pallas, "Mongol. Völkerschaften," Vol. II., p. 105.

2 "Illustrations," p. 43. The mystical signs upon the Tenkab he calls "cognizances, or mudras." W. v. Humboldt, “Kawi Sprache," Vol. I., p. 137, compares them with a heraldic crest and its supporters.

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tree in order to obtain supreme wisdom. The throne has a richly ornamented frame, composed of fantastic animals, of which the lower ones are represented lying down, the upper ones standing on the heads of the animals below and raising the fore-feet. On the top of the frame figures very generally the mythological bird Garuda.' The interior of the frame is called Jabyol, "back curtain," and is most frequently of a dark colour. The cushion which is upon the throne is a lotus-flower.

The Bodhisattvas, the Dhyani Bodhisattvas as well as those of human origin, are represented like the Buddhas, with a smiling countenance and with a glory; their hair is not unfrequently pushed backwards from the forehead and done up into a cone rising above the head, and occasionally showing the curling of the hair; it is embellished with several gold galloons. They sit upon a lotus-flower, but the throne of lions is not accorded to them; in images where the figures are represented in a standing position the lotus pedicle grows out of the water. Several segments of a circle beginning at the feet and joining the glory, serve as frames for these pictures. The Bodhisattvas are never represented with the large religious shawl Lagoi; their dress is a kind of philibeg, which is wound round the legs in the fashion adopted by the modern Hindus. A large piece of cloth end of which is passed

is rolled round the waist, one
under the leg and then drawn up and fastened to the

Already in ancient statues these are met with; see Crawfurd, Lit. Soc. of Bombay, Vol. II., p. 154, reprinted in his "Archipelago." Pillars with sculptures of mythological animals are also a frequent ornament in Hindu architecture; I quote as an instance the principal temple at Tanjór.

TYPE OF BODHISATTVAS.

213

girdle. This mode of covering the privy parts is very ancient, for we find it represented in numerous ancient figures; it is altogether remarkable how little alteration Asiatic dress and fashion have undergone in thousands of years, whilst in a space of ten centuries Europe has experienced so many variations. A large shawl falls down from the shoulders, the ends floating in the air. The neck, ears, and feet are ornamented with necklacelike ornaments and rings.

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The objects which the Bodhisattvas hold in their hands have reference to their functions, so frequently mentioned in the legends. Thus, Manjusri, the god of wisdom, holds a book and a sword, in allusion to his dissipating the darkness of the mind. The lotus-flower (Padma) in Padmapani's hands has reference to his birth out of this flower. An object frequently found in the hands is a snare, in Tibetan Zhagpa, wherewith, in a typical sense, to catch men in order to impart to them supreme wisdom. There is an interesting explanation of this symbol given in the Nippon Pantheon, in connexion with an image of Padmapāni:—

"He disseminates upon the ocean of birth and decay the Lotus-flower of the excellent law as bait; with the loop of devotion, never cast out in vain, he brings living beings up like fishes, and carries them to the other side of the river, where there is true understanding."

Priests, ancient and modern. The disciples of Sakyamuni and the later Indian priests are always represented

1 See Cunningham, "The Bhilsa Topes," Plate XII.

2 Nippon Pantheon, Fig. 96.

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