Zin 2001 Angulimala
Transcript of Zin 2001 Angulimala
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South
Asian Archaeology
200r
Edited
by
CetHnnrNs
Jannrcn
and VrNcnNr
Lnrtvns
Volume II
His
torical
Archaeology
and
Art
History
Editions Recherche sur les Civilisations
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Cover:
Bamiyan. 55 m Buddha niche.
East side wall, crowned Buddha
(Sakyamuni).
adpf association
pour
la diffusion de la
pensee
franqaise
.
Editions
Recherche
sur
les
Chtilisations
Minisrdre
des
Affaires 6tangdres
Direction
g6n6rale
de la Coop6ration
internationale
et du Developpement
Sous-direction des Sciences sociales
et de l'Archolggie
5.:"Je Ferrus
15683
Paris
cedex
14
-S-:\:-S5:lS-101-6
:
{i-:::::.-,r
R3.:er.he
sur les Civilisations,
Paris, 2005
Ftelr
Unhrerlitit
8rlln.
HtilLltibch.
PiiloloeL'
d
hsteta.nr:rn
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South
Asian Archaeology
200t
Proceedings
of
the
Sixteenth
International
Conference
of
the
European
Association
of
South Asian
Archaeologists,
held
in
Collige
de
France,
Paris,
2-6
July
2001
Edited by
CarsBnrNp
Jannrcn
and
VrucnNr
Lrrivnr
Volume
II
Hi
s
to
ric
al
Ar
ch ae o
lo
gy
and
Art History
Editions Recherche sur les Ciailisations
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Table
of
contents
Volume
II
NAMAN P. AHUJA
Changing
Gods, Enduring futuals:
Observations
on Early Indian Religion
as
seen through Terracotta
Imagery,
c.2ooBC-AD
roo ....
.....345
EvA
ALTINGER
An
Unusual Depiction
of Astamahabhaya Tara
in Nako,IlIimachal
Pradesh
as Compared with
Other Representations of dre Same
Tera in
the Western Himalaya . . . .
.
355
MUHAMMAD
ASHRAF
KHAN
Recent Discoveries
in the Ancient Gandhara Region and
Adjoining
Areas
with
Special Emphasis
onDist
crAftockin
the
Punjab-Pakistan
. .... . .. . ..
363
JOACHIM
K. BAUTZE
Painting at
Karauli
..... .,,
',365
CLAUDINE
BAUTZE-PIcRoN
Death
at the Gate of
Hindu
Temples and Shrines,
5dr
to
7th century
KURT
BEHRENDT
Narrative Sequences
in the Buddhist Reliefs
from
Gandhara . . . . . . .
GoURIswAR BHATTAcHARYA
Identification of a
Strange Stone Image
from
Nepal: Nepal
and
Tamil
Nadu Connection
.175
..383
..........393
PrA BRANCAccro
Perceptions of
"\Testerners"
in
Satavahana Times: The Archaeological
Evidence
. . . . . . .
4ot
M. BRANDTNER, B.
MISRA, P. MoHANTY & P. YULE
rWestern
Orissa
(November-
December 2000): Preliminary Report
of a Suney . . .
.
4o7
PTERFRANcESco
CALLTERT
Excavations
of d1e IsiAO
Italian
Archaeological
Mission
in Pakistan at Bir-ko -ghwandai, Swat: the Sacred Building
on the Ciradel
..
..4r7
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MARTHA
L.
CARTBR
Indo-Scythian Regalia: The Numismatic Evidence. .....427
Rosa M.aRrA Crrr,rrNo
The
rxrafl
Paintings Temple's of Mahuva
Vala A]hada,
at Nathdwara
,
. .
..
. .437
HARRY FAIK
The
Buddha's
Begging Bowl .
.......445
ANNA FILIGaNZI
Stone
and
Stucco Sculptures from
the Sacred
Building
of Bir-kot-ghwaqdai,
Swat,
Pakistan ............4s3
VASUNDHARA
FrLLrozAT
Jakka4eceri
Temples in Kamelaka
............463
GBMRD FoEXBMA
Ardftectural
Features of t]le Irter
Medieval Temples of KamEteka, 1000-1300 AD .....47s
LARS FoGBLIN
Recent Resesrch
at the Buddhist
Monastery of
Thotlakonda
....
-...483
SUCTTANDRA
GHosH
A
Mahenlvika in
an Inscription
from
Coasel
Andhra
Pradesh and
Rdarcd
Archaeological
Issues
.....
.........49r
IoHN
GUY
Southem Buddhism: Traces and
Transmission
. .,.....495
BNAMUL HAeuE, S.S. MosrAFrzuR
RrrMrN
&
S.M.
KAMRUL AHSAN
A Preliminary Report
on
l7ari-Bateshwar
Trial Excavation by ICSBA .......
io5
JULIA
A.B.
HBGEWALD
From Siva
to PardvanEtha:
The
Appropriation
of a
Hindu
Temple for
Jaina
Worship.
.
. . .
5r7
OsxAR voN HTNtiBBR
Bronzes
ftom Gilgit
and
Their Inscriptions
.... .........52s
KLAUS KARTTUNEN
'Vestem
Coins
in
South Asia: A Literary Perspective
. .
. . .
53r
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DEBoRAH KLIMBURG.SALTER
Mahdk66yapa
and the Art of Bamiyan
.
. . . . . .
535
CECELTA LEvrN
Looking Southwards: Eady
Paqdyan
Art
and its Impact
on
dle Evolution
of
Hindu
Sculptural
Style
.
.
......55r
BARRY LEwIs
The Mysore
Kingdom
at
AD
1800:
Archaeological Applications
of the Mysore Survey
of
Colin Mackenzie
.
-
. .
-
55?
B.R. MANr
Date of the
Akhnur Buddhist
Terracottas
in
the
Light
of Recent Excavations
at Ambaran
(Akhnur)
.
.....
..
.567
MICHAEL
W
MBrsrER
with
ABDUR RESMAN
Archaeology at
Kafirkot
. . . . . .
.
.....571
GERD
J.R.
MEvrssEN
Ladies and
Planets:
Images of female deities accompanied
by
graha
figxes
..........579
EvA
MYRDAL
Rice
and
Millet
Land-Use and Control
of
Resources
in
Dry
Zone Sri Lanka
lst
Millennium
AD
.....589
ALKA PATEL
A
Note
on
Malrmud
Ghaznau, Somanatha,
and
the Building
of
a Reputadon
.. .. ..
.5gg
CAMERoN A. PETRIE
The Late 1st and Early 2nd Millennia
AD at
Aka, N.V:F
P, Pakistan
. . . . . . 607
ELLEN
M.
RAVEN
Candragupta
II,
the Lion-Slayer
......
..
615
CHARLoTTE ScHMID
Of Gods and Mortals:
L
a C01a
..........623
CARoLYN ITooDFoRD
ScIlMTDT
The
Wreath-Bearing
Bodhisatra:
Ongoing
Typological
Studies of
Bodhisattva
Images
ftom
Sahri-Batrlol ..
..
.637
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GAUTAM SENGU?TA
Art
of South-rtr7estem
Bengal: A Framework For Enqurry
. . .
D.V. SHARMA
Identification
of Akbar's
Ganga-Sagar at
Fatehpur
Sikri
JULrA
SHAW
The Archaeological
Setting of Buddhist Monasteries
in
Central
India: a Summary
of a Multi-Phase
Suwey
in
the Sanchi
Area, 1998-2000
PETER
SKILLING
"Buddhist
Sealings": Reflections
on Terminology, Motivation,
Donors'
Status,
School-Affiliation,
and
Print-Technology
.
.
. . .
GARY
MICHAEL TARTAKoV
Vpabha Nandi in the Art
of the
Early
Calukya.
.
.
ANNE
VERGATI
The Image
of
the Rdjput Hero in
North
Indian
Art
(lfest
Reiasdr1n)
16th-19th cenruries
MoNTKA
ZrN
The
Unknown
Ajanta Painting of the
Angufmdla
Story . . . .
649
659
665
677
705
687
697
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Fig. 1
-
Ajanta,
Cave
XVII,
veranda,
second
window
niche
ir
the right
rear wall;
painting
on
the
lft side
(computer-generated
image
combining
two
photographs)'
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The
Unknown
Ajanta Painting
of
the
Angulimdla
Story
MONIKA
ZIN
Of all the verandas
in
the Ajanta
complex, the one
in
front
of cavc XVII
is
in
the
best
condirion. Although
somc
parts
of
the
paintings
are scvcrely damaged,
partic-
ularIy in
their lorver
pafis,
what remains allows
us to
iden-
tify thc narrative
(Schlingloff
2000: Nos. 24,68,69,77,83)
and devotional
representations.
among them thc famous
W'heel of Existences
(Zin
2002:
No.
46) and rocky land-
scapes
around
ts,o Bodhisan'a
kings
(Zin
2003:
No.42.1,1-15).
The
paintings
featured
on this
vcranda
are among
the
most
frequently
published
images
lrom
Ajanta.
From
the vcranda
a
door on
dre
cave's central
axis leads
into
the cave,
and trvo r,indou,s on either side
of
tl.re door once allorved
light
and air
to
filter
in.
In
the
nineteenth
century.
however,
the-v
were
fitted rvith thick
rvindou, f'rames
and wire-netting.
This
is the
rcason,
inci-
dental1y. for
the increased
humidiry
and lack
of
ventila-
tion
lvhich
havc caused
the
deterioratiolr
of
paintings
insidc the
cave. The u.indou,
niches in t}le approximatcly
one-meter-t1-rick
rvall offcrcd
rvelcome
extra space for
painting.
What has sun ived
until
today arc thc
paintings
in
both niches
to
thc
right
of
the door. Although
poorlv
prcscrved,
the
paintings
are
of a high artistic
qualitl
and
allorv
us
to determine
their rcligious
content. Thus in the
first niche
there is a rcpresentation
of
t}re
Rahula
episode
(Schlingloff
2000:
No. 71),
on the opposite
side. In the
same niche
we
can sec
the
stor-v ol
tie
youth
Sumati
(Schlingloff
2000:
No.72)
to rvhom
the
Buddha
Dipankara
predictcd
his future
Buddha
hood. Similarly,
thc niche
of
the second u,indorv
is also
painted.
Its
right
side shorvs
a devotional
image
of
the Bodhisawa
Aval-
okiteSvara
(Zin
2003:No.
45.6). Thc mural
on the oppo-
site side is in no
poorer
condition than
the other three,
but
element. that
rrould
allorr an
inrerpreLation
f,re
not
easily recognisable.
This
is obviousll' the reason
tltat the
painting
has
never
been
published.
'I'he
ght
side of the narrow
painting (Fig.
1) dcpicts
the
Buddha
standing on
a
lotus.
Like
in the other
paint-
ings, the
installation
of the
rvindow
frame
cut off part
of
the
Buddha's
body. But
it
is unlikely
that
an-v
significant
iconographical
elements
rverc lost b-r tl-re removal
of
this
part.
The
sccne takes
place
in
front
of thc Buddha. Four
figures are visiblc: at
the bottom,
belo\\
the base
of
tie
Buddha's lotus. a man
squats or borvs dou n on onc kncc
and
is
rvorshipping d.re
Buddha
rvith
his hands lblded
together
in
a
gesture
of
reverence. Above
this
person
therc is another
hgure, or
pcrhaps
tJ-re
same
person
in a
different
scene.
The
figure
is
depicted in
a dynamic
movement
and approaches thc Buddha.
The depiction
of
the head
is
peculiar (Fig. 2):
the
hair
is standing
on
cnd
as it is dre casc
rviti
demons and
-
unique in Ajanta is
decorated
u'ith
small ringlets.
Above this
pcrson
thcrc
is
70j
Fig. 2
-
Detail from
Fig. 1.
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The
Unknorvn Ajanta Painting
I
zrN
I
a
flying
dwarf.
Such dwarfs
are
often depicted in Aianta
as
bearers of
garlands
or
umbrellas. This
panicular
dwarf, however, is
not flying towards but away from the
Buddha. His hands
are held in a
gesture
of horror, a sign
wich is not only frequently
found
in
the
paintings
of
Ajanta but is also
a
universally recognisable expression
of
fear.
Once this mood
of
fright
is determined, it is no longer
difficult to
accurately identify
this scene. There are only
very
few
episodes in
which
the Buddha is involved
in
a
situation
that conveys a
similar mood. As
generally
recog-
nised,
the episode may
illustate
the assaults ofDevadatta
or
the
conversion
of
an
aggressive
person.
The
hair
on
the head
ofthe
aggressive
person
in our
picture,
standing
on end in demon
fashion,
could
give
the
impression
that
this is a scene which
cannot be
more
specihcally identi-
fied
than one which
shows
the
conversion
of
an
evil
Yaksa.
But at the bonom
of
the
painting,
a clear
sign has
survived that
points
to
a different interpreration
(Fig.
3):
a sword lies on the
ground
which
the
converted
person
has obviously dropped. If
the
aggressive
person
is
the
same
as the one kneeling, he would have to be equipped
with
a sword,
who would
certainly
be
shown
ready
to
anack.
On *re left edge of *re
painting
rve can see a
pre-
served fragment
of a venically disptayed object which
is
of
exactly
the
same
colour
as
the sword lying on
the
ground
(Fig.
4). The
painting's
reconstruction
results in
the
following
(Fig.
5):
a
person
with
a drawn sword is
striding toward
the
Buddha,
and, below, he
kneels.
The
sword he has
dropped
is
lying next to him on the
ground.
The scene is well-known
and can be easily identified.
It
is
the story of dre conversion
of
Angu[mala, the
mass
murderer.
There are frequent
references to and
narrations
of this
story in Buddhist literature,r
often in the connection
with
a
Jatuba
abo\rt Angulimdla's
previous
life
as
the
man-
eating
demon Saudasa, who was
converted by
the
right-
eous
king Sutasoma
and freed
from
his
murderous
impulse.2
It
is
possible
that
the
story
of
Angu[mah
derived
from the Saudisa narradve, known since
the
Veda. Both stories deal
with
the
fundamental
problem
of
true
Brahmanhood.
In
one
of
the Buddhist
narratives
about
Saudasa
we hnd
a
sentence central to
Angr
imnta's
conversion:
"I
am
standing
still,
you
are
not
standing
still. "3
The
oldest
surviving version of the Angulimala story
consists
of 25
verses
of
Theragathal. Apart from the dia-
logue, based
on tl]e
plzy
of words
thimlarriro,
which takes
place between
Angulimdla
and the
Buddha
"I
am stand-
ing still,
you
are not
standing still",s we
leam
dlat
the
present
Thera
is dre son
of
a Brahman.
He
used
to
be
hirysaka, the
bloodthirsty robber AngulimEla, and is now
ahimsaka and
the son of the Buddha.
Still,
in
the canonical literature there is a story which
is actually nothing
other than
a
commentary on
this
sec-
tion of
the "Verses
of
the
Monks".
It
is
the
Aigulimal.
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and
who
wears
a
garland
Qnala)
made
ofhis
victims'fin-
gers
(anguli).
King
Prasenajit
organises
a military
expedi-
tion
to
hunt
dotvn the
mass murderer.
The
Buddha
goes
into the forest
in
which
Angulimala
lives and
performs
a
miracle
-
tie
robber cannot
catch
up
rvith
him.
"Stand
stilt "
Angulimala
calls. "I am standing
still,
you
are not
standing
still "
the Buddha
replies
and
-
by subsequently
explaining
that a
monk arrests
his desires
-
he conYens
Angufimela
and
takes him
to
a
monastery. King Prasena-
iit
visits the Buddha
and
is
delighted
to
learn
tiat the
vicious
murderer
can no longer
cause any harm.
The
same
story
is also
found
in
the
northern
Buddhisr
tradition,
namelS'
in t}te
fragmentarl'
Sanskrit
manu-
sc
pts
of
the Samluktagatna
probably
of
the Mrilasar-
vdstir.ada
school
(Hartmann
1997-98)r
and
of
rie
San.es-
tivAda
and
KS5yapiya
schools
presen'ed
in
Chinese
trans-
iations
(7
99 and
T 100,
Bareau 1985-86:
655). Unlike
the Pali version
in the Majjltinanihaya,
which takes
place
in
Sravasti, the
northern
renditions
are set in Magadha
(I
700) or in
Anga
(I
99);
accordingly,
King Prasenajit
does not appear in
these versions.
The
Pali version
in
the
MajjhimanikAjd incorporates
one more episode:
as a monk,
Angulimila
utters a
"word
of ttuth"
(satyaoacana)
to help
a \\'oman
who
has suf-
fered
labour
pains
for many
days
to deliver
her
child.
Angulimnla,
overcome
tviti
compassion
for
the woman
giving
birth,
receives
advice
from
the
Buddha, rvho says
he
should swear
that
he has
not
harmed
any
creature
since he was
bom. The monk
rejects this as
a lie.
The
Buddha then
asks
him
to
srvear
that he has
not
harmed
any creature
since he was
bom as a Brahman. Angulimela
su'ears and rhis has
an immediate
effect. It
is
to
be under-
stood
that Angulimala
became
a true Brahman only
at the
moment
of
his
conversion
by dre Buddha.
The oath,
called Aigtrlhnalapatitta,s
is still
knoivn
in
Buddhist
countries as a formula
to help
a
woman
in labour
(Gom-
brich
1971:
224).
The
episode
featuring
the
"word of
truth"
does not
figure
in
the
already mentioned
northern
versions
-
it
appears rc be associated
with
the town
of
Sravasti.
The
"word
oftruth"
is found also
in
Chinese
renditions, all
of
which
are
set in t}le town
of Sravasti:
in
tlle Ekottaragam,l
ofthe
Dharmaguptakas (?)
7125
(Bareau
1985-86:655-
56), two separate Hinayana
texts
ofundetermined
school
affiliation
T
718 and
T
119
(ibid.t
657),
and one
Ma-
hayana text
T
120
(ibid.:657-658).
These texts
rer.eal
further
narrative
features,
namely
a
motif
explaining
nhat
made the
youth
Angulimala engage
in such a murderous
occupation.
T
118 and I152
(Chavannes
1910-3.1,
Vol.
1: 148-157)
relate
that
tlle future
murderer
rvas a hand-
some
young
Brahman
male
with whom
the
lvife
of
his
teacher
fell in
love.
W'hen he
rejected a love
affair,
the
woman accused
him
in
her husband's
presence
of
seek-
ing
to
engagc
her
in
an
adulterous relationship.
The
teacher
tien
demanded that
the
l
outh
achieve
true Brah-
manhood
bl killing
one hundred
people.
This tvas
a
cun-
ning
plot
on
behalfofthe
teacher. In forcing the
youth
to
commit
such
a
crime,
he
planned to hand
the
yourh over
to
justice
authorities in
an act ofrevenge
that
u,ould
spare
xry
ri
,l
N
\
-"'5:: :2r
\-
---:::-
"--'
Fig. 5
-
Reconstructing
drawing: author,
';a'1
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The Unknown Ajanta Painting
I
zrN
I
him the necessity
of
killing
his student
himself
-
a move
that would naturally
spoil his reputation.
The
plot,
with
its
Hippolytus motif
and the teacher's
demand drat the
youth
kill
one hundred
people
and cut
off
their
fingers,
culminates in the
addition
of the murderer's
mother, who
was to be
his
final victim and at the
last moment is spared
certain death
by
Buddha's conversion
of Angufmala.
Other versions
ofthe
story extend
the number of
victims
to one thousand and deepen the
plot
by the addition
of
a
mother driven into the forest out
of
a touching
desire to
bring her son something
to
eat
(Der
lYeise und
dcr Thot
300-307,324-26;
Chavannes 1910-34,
Vol.
4:
110-111).
The
question must
be raised
whether the
motif
of the
mother,
which
arises from the demand
of a vindictive
teacher, should
in
fact
be
viewed as a later development
of
the
text
(as
Bareau
argued
1985-86)
or
whether
the
story already incorporated
this motif at
an earlier
date
and was simply not always referred to in
its enttery in the
texts available to us.
The
same episodes
with
a
wife
in
love,
a teacher's
demand to
kill
one thousand
people
and a
motler
carry-
ing food also occur in a Pali commentary
literature
from
the 5th century,
namely in Papartcasudanie
and Para-
ruatthqdipani,lo
It
appears
that
these narratives,
which
underwent
changes in both the northern and southem
tra-
ditions,
stem
from
a common and most likely
canonical
text
which has not survived
until
the
present
day.
Art
also
provides
evidence
that
all of the
story's
episodes
were known
in
earlier times, both in
the South
and
in
the
North. The
mother
was
part
of
the narrative
from an early date.
The oldest known reliefs of the
Angdimda
episode
stem from temporatly close epochs
but
geographically
dis-
tant regions,
namely
from
Amaravati and
Gandhara. In
7c8
Fig.
6
-
Relieffrom Amaravati,
Madras Musum.
-
7/21/2019 Zin 2001 Angulimala
13/17
Fig. 7
-
Relief from
Nagarjunitonda, Nagaiunikonda
Museum-
one Amaravati friezerr
the story is reduced to
one
picture.
Angr
imala
is
seen
here twice: firsdy with a raised sword
attacking the Buddha
(depicted
in
the
form
of a column
of fire), and secondly kneeling
before
him.
Opposite the
Buddha there is a female
figure widr
a
pot,
obviously the
mother.
The
sarne scene is
presented
in
another Amara-
vati relief
(Fig.
6).
Here the
group
below represents the
early deeds
of Angulimala,
perhaps related ro the
military
operations
organised by King Prasenaiit.
On dre
left
side
monks are
seated,
probably
observing
Angulimala's
admission
to the monastery. There
is no sign of a
garland
of fingen
on Angulimala, all he is
wearing is a Brahman's
stdng.
Another
relief
(Fig.
7-8), from
Nagarjunikonda, to
my knowledge
previously
unidentified, is
not diffrcult to
interpret even drough it is badly damaged:
the middle sec-
tion at the right shows the killings,
whi.le at the left
Anguli-
m6la
is
presented
on
his knees before
the Buddha.
The
motler
can
be
seen
standing on the other side
ofthe
Bud-
dha.
The upper
section
shows
t}le
visit
of King
Prasena-
jit,
while on the
right
side
Angdimala
is seen shaving
in
Fig,
8
-
Drawing,
preparation
for his entry into monkhood. Though rather
damaged, the lowest section is key to determining the date
drat the
Angulmala
story
eisted
with all is components.
It shows nothing other
tlan
one episode from the early life
of
the
future
mass
murderer
-
a scene
at school. On the
right side,
t}te
teacher's
wife
stands widr her husband she
who
caused
the 99-fold misfomrne. As already men-
tioned
the earliest
surviving
reference
to
this
episode
in
southem
Indian
literature
derives
ftom
the 5th century.t2
The
relief
pre-dates
it by
c.
two cenruries.
\i7hile
the
damaged
relief
from Nagarjunikonda does
not
reveal
any more
details, one can make out
that
the
murderer
is wearing
an
extremely
broad
Brahman
suing
tajfropalnta.
This
could
be the
garland
of
hngers.
Anguli-
mala appears
to
be taking it
off
as he kneels before the
Buddha.
The
reliefs
from
Gandhara
present
the Angulimala
story in
two
or
thee
successive scenes in the space
ofjust
one picture. Angulimila
anack
the
Buddha
with
a
srvord,
while
his mother
is
standing
nearby, he is t]ren
709
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The Unkno$'n
Ajanta
Painting
I
zIN
I
shown on
his knees before t}le
Buddha
(Fig.
9),
or there
is an additional
scene
in
r,vhich
the murderer
is attacking
the mother
(Fig.
10).
A
painting
in Hadda
is
arranged
in
the
same
manner.rs
In contuast,
paintings from Cental
Asia only show
Angulimala's anacl5ra
sometimes
with the
mother on the other
side
of
the Buddha.15
While the
Cen-
tral
Asian
paintings
depict the appearance
of
Angulimala
in
a conr.entional
rvay,
in
Gandhara
he
is equipped
with
an attribute
-
namely
a
characteristic
head-dress.
At times
it
appears
to
be a
crown of
fingers.
But
the
individual
parts
of the cror,vn
are
sometimes
too large
to be intended
as fingers, above
all 99 or even
999 of them.
Brancaccio
(1999)
identifies
them as dre
head ornaments
of
savage
forest
inhabitants.
Angulimala's crown
is also
reminiscent
of demons'
hair standing
on end.16
In what
is
to
my knowledge
the only depiction
of
dre
Angulimala
story in the art
of Pala
Gig.
11),
in which
the
murderer
is
seen
drawing his sword
on
one side
of
the
Buddha and the
mother is
found
on
the other,
Anguli-
mala's head is
portrayed
in
a
peculiar
manner.
Above
the
forehead
tlere
are small
ringlets, above
which
in turn
we
see
hair standing on end
in
typical demon
fashion
And
above
this there are
five round objects,
the signilicance
of
which
is
unclear to
me.
They might
be the
curls
of a
Brahman
pupil,
or
spherical
objects
with
which
certain
demons
or
Mdral'
are equipped.
\7hat
is certain
is that
the
pointed
shapes
on
Angutmnla's
head
in
the
Pala
sculpture
are
not
the leaf
crown
of
ar atal)i
or
a
finger
garland.
The
finger
garland,
incidentally,
is
featured
here
in
the
fotm
of
a
yajiiolaaltd.
Fig. 10
-
Reliefftom
Gandhara,
Pdvate
Colection, O Sherriet
afler
Kurita 1988-90,
Vol 1,Ii9.472.
Following
ttris summary
of
comparable
Indian
depic-
tions,
we
retum
to
the Ajanta
painting.
Angulimala
is
shown
here twice,
during the
attack and
after his
conver-
sion. It is very
unlikely that
the mother
was also
lepre-
sented.
If
she
was, the
picture
was
destroyed
when
dre
windorv
frame was
installed.
The
hair
of the attacking
Angulimala
stands
on end,
demon
fashion,
and
above
the
forehead
there are
the
same
type of small
ringlets as found
in the
Pala sculpture.
Unfomrnately,
the top
of
the
head is no longer
visible,
so
it
is
impossible
to
determine
whether
the
ltve
spherical
objects
rvere also
part
of the composition.
Even
without
these objects,
the murderer's
appearance
is
far more
rem-
iniscent
of
tie Pala sculpture
than
depictions
found in
other regions.
However,
the finger
garland
is
not shown
here, neitlrer
in rhe
lorm
of a
yajDopaz,4a
nor
as a crown.
Perhaps
the
garland
was depicted
lying on the
ground.
A
fragment
of
a
no
longer identiiiable brightly
coloured
object
can be recognised
above the
sword. Directly
verti-
cally
above
this
unidentifiable
remnant
there
is
the left
hand of
the upright Angufimala,
in which
there
seems to
be something
reminiscent
of
a
pearl
necldace.
Perhaps
it
was
the
grisly garland,
aig imaln.
Contary to
the art of
Amaravati
and
Gandhara,
lvhere the
conversions
of
Yakgas
and
Nagas
are
fre-
quently
depicted,
the
paintings
in
Ajanta do
not feature
conquests of
the evil-minded.
Obviously
such sto
es
rvere not
popular
among
donors
in
this region.
For
this
reason
the
Angulimala painting
is
exceptional
lt
may
be,
hor,r,ever,
that the
painting
was
not created
to depict
a
dif-
Fig. 9
-
Relieffrom
Gandhara, Chatpat, Chakdara
Museum
2333.
7ra
-
7/21/2019 Zin 2001 Angulimala
15/17
hcult conversion.
The
paintings
in
the
neighbouring
niche
portray
dte stories
ofRahula and
Sumati. We know
the two
pictures
belong
together
because
t}Iey
appear
alongside
one anodrer in
other
places,
namely
in other
paintings
in
Ajanta
O/asant
1991)
and in
reliefs in Gand-
hara
(Taddei
1974,
1992).
This
raises
the
question
of
whether the
Angulimala
painting
was conceived
together
with another
painting
in the
same niche. The
painting
on
the opposite
side depicts
a
certain
Bodhisatva, most
likely
Avalokite6vara,
who is being
worshipped by women. As
proven
by
Pal
(1974:33-34),
Avalokitesvara
was
wor-
shipped by women
hoping
to conceive.
In
this
light
the
Angulimala
painting
acquires new significance.
Integral
to this story
is
the
aigulimalapaitta,
a
protective
formula
used
for
births. It is derived
from the
"word
of
truth"
and
refen to
true Brahmanhood.
All illusE'ations (unless
specifled)
by
aurhor.
Fis. 11
-
Relief
from
Nalanda
(?),
Pala
Pedod,
9th
certur], 20
U2
x
13
x
6 inches.
Elvehjem
Museum
of Art, Lhivemity of
wisconsin-Madisoq
Gift ofMr. and
Mrs. Earl Morse 1972.26,
e Elvehjem Museum ofArt.
-
7/21/2019 Zin 2001 Angulimala
16/17
The
Unknown Ajanta Painting
zrN
N OTES
I
For more records of the story mentioned
in this
paper
cf.i Hartmann 1997-98. Apan
from the
references listed there, the
following
additional
references to the story or the
person
of Ang]]li
m5la
may be mentioned: Mrlaargga
I.41,
cd.
Vol.
l,
p.74;
transl.
SBE
/
13 196]. Milinda-
,fr,lrd,
ed.
p.410j
transl.:
Vol.2, p.290;
Dha
trndpadduhakefia XIII.10,
ed. Vol.3,
p.
185i transl. Vol.3: 25j XX\4.39,
ed. Vol.4:
230-31; tmnsl. Vol.
3r 338;1dld&d 55, ed.
Vol. 1,
p.275;
transl.:
p.139t
lai,Aa
537, ed. Vol. 5,
p.456;
transl.: 216;
Jdtakd
546,
ed. Vol.6,
p.329;
tansl.: 156; Fa-hien,
ct
Beal 1884:
XLIVj Hiuen Tsiang,
cl Beal 1884, Vol. 2: 3j
Sabpafrn;iatikd Slotru,Vers
127, Hocrnle 1916:
'73t
Mala.'alnta XXX.84,
ed.
p.242;
transl.:
205_
I
For records of the
ston of Saudasa, represen-
urions in an
as
\iell
as
references
to
the research
on
the narrative marerial of
Saudasa /
Kalmatapada,
cf. Schlingloff 2000:
No.56
(Sutasoma).
t
lnbha
537, ed. Vol.475:
titluhii ,tlujd
tuuo
so toatlt
sd
has;
latDtukhuol
a*ito
llfio
l
hiti
kprsi b,ohaacdi
iJr rc
,andaa
a) ttrn,rs;i
cd tne
t artrtasi karyhapauan
,/l
transl.: 259:
"Alfioush I
bid the stand, thou srill
dost for
\\ard fl,'i, an cI''ting
"Lo
I stand, mcrhinks drou
dosl bur lie: Unseeml-r
1i$ this sr\rcrd, O
priesr,
thou must assume
to
be a
harmless
shaft
equipped
wirh
heron's
plume."
a
Thcrugatha
866-891, ed.
pp.80-82;
transl.
pp.82-84.
I
l hcrasatlfi
866, ed.
pp.80-81:
eacch.ltl,
r:odesi
REFERENCES
Det lveise
and der Thor
=
Dzans bhu'2es
bra
ba'i
,/./o,
ed.
+
iibers. IJ. Schmidt. St.
Petersburg
/
Leipzig,
1843.
Dlta lrtdpadanhakathA,
cd. H.C. Norman,
Ir,
Cowneuary on rhe Dhalwtapada.
l-4, PTS,
London 1906-l2i
transt. E.W.
Burlinganre,
BndJhN Lqends.l-3,
Han'ard Oriental
Series
/
28-30, Cambridge,
Mass.,
1921.
J,trrld.
ed. Fau.hiill.
V..
ThpJ tosett@
w
hi,
Conrnentary,
beiq'lales
oI the
A teior Binh:
oJ Gota n Bulldha, 1-6, PTS, London.
1877-
96r
transl. E.B.
Co$ell
(ed.),
The
l"
ot c Sto-
ies ol the Buddha's
Fonnet
Bi
ts, Trun'lated
Iron
E Pdli
bt
ltarious
hdrA, 1-6, PTS.
Cam-
bridge, 1895-1907.
tUahatassa, ed.
H.
Oldenberg, The l/iuya
Pilahan:
One oI
*c
Pnncipal Buddhtu
Hob'
Scrbnies in
the PAli lrngldAe, Vol.
l, London
1879t transl.
T.W.
Rhys Davids
&
H.
Olden-
betg, Vilata Texts,
Sscted
Books of
the
Ea$
/
13, 17. Oxfo.d, 1881-82.
sa,tatla
ltito
'nhi
nar&fi ca
briisi
lllitary
atthito
'ti,
puc.lta|lita
sd
to'Mcta,l atllu h,Ls td tltito
rxary ahau
allhiro
lthiil;
ldansl. p.82:
"r|lile
going
along,
ascedc,
you
say
"I
am standing
srill",
and
you
say
ihat I llho am
sranding still
am
not srrnding
,till.
I
ask
\ou
tht. ,rsceLic.
"VIhy
are
you
standing still,
and
I not
standing
still?"
6
Majjhnnaihal'a 86,
ed.
Vol.
2,
p.97-10s;
transl.
p.
284-92.
I
1Drd.
also
references to further
fragments
of
manuscripts including the
story.
I
Alread refened
ro
this
\\ay in
Mili
daoaitlw
Il.4
(ed. p.
150-51):
pxnd
Blwgaxatd
paittd
@
uddili
seyythidautl Rannasuua't1 Khandki-
pa
i a,lt Morapaiuat t Dt,aia1sa
paitattl
Atd,n i-
yapaittdry
AnslintAtapanira,,
tr.rnsl.
(Vol.
1,
p.2ll):
Safety
runes
\yere however appointed
bt
the
Lord,
that is to
sa"v
the
Jervel
Sufta,
rhe
safetr'-rune in $e Khandha(ka), fie Peacock
safcry-rune, the
Crest
of the
Banner safe{-rune,
the Alanaliya
safery-rune and Angulimah's
'
Majjhnndnibdrat*akatl,a of Buddhaghosa, ed.
Vol.3: 328-32; analls.
in:
Gombrich
1996:
r38ft
lu
Thcragalar*aha&d of
Dhanapeh,
ed. Vol. 3,
p.
54-56; transl.
ini
Mrs.
Rhys Davids
1913:
318-
25j
snalys.
in: Gombrich 1996i 138ft
'r
^,ladras
Museum, ill.: Burgess 1887:
pl.
48,
fig. 4i Coomarasilam ' 1935:
pl.
2,
fig. 9.
':
One
rclief from
Amaravari
i 'ith the
represen
tation
of
scenes
from a
Brahman
school
was
identified by Sivaramamurri
(1942:
192)
as the
Angulmala story.
The interpretadon is not cer-
tain,
honeler,
as the relief ends
\ ith
these
Mahduatrsa,
ed. Geiser, W. PTS, Oxford 1908;
transl. Geiger, W.,
'l'he
M' or th? Grcat Cl|rcn-
blc ol Cellnn,
P-fS,
London,
t9t2.
Majjhi a ihayd, ed.
V. Trenckner
&
R.
Chalmers,
1-3, PTS. London 1888-99;
bansl
The
Colbction
oJ thc Mi.tdle Iznsrh Satines,LB.
Homer, 1-3. London, 1954-67.
.Uihkiapanho.
ed.
V. Treckner. The .V"
bens
Dialosues betueen
Ki,tg
Mihnda
and
the
tsud-
dhit Sase
Ndgasena,
PTS, London
1880;
transl. LB. Horner, Milinda\
Questio
s, 1-2,
SBB. London, 1963-64.
Papaiasnda
,
ed.
Vol.1-2,
l.H.
woods,
& D.
Kosambi,
Vol.3-5, LB. Homer,
e,
dl,
P,
M
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Debjani
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Jusr
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anA
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d Bengal
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D. Mita
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Foucher, A.
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Gandhdn, Etude
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chssique dans I'an
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Hou Buddhisn
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J.U.
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Sanskit Fragments
tuom
\e
Agamas
(I)r
The
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Indnlosia
Taurinensia
23-24
=
hoJ.
Grusor)
M. Bongard-Izdn Fehcitatian
Volune, T oi,no,
pp.351-362.
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(t9t6)
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Hunliogton,
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0990)
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aL).
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H.
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