VII MAHAYANA BUDDHIST IMAGES FROM CEYLON AND JAVA By ANANDA K, COOMARASWAMY, D.Sc. MONGSY the most beautiful and most technically perfect of small Indian bronzes are those Mahayana Buddhist figures which are known in considerable numbers from Java, and more rarely from Ceylon, The schools which these figures represent are evidently closely allied ; but there has been hitherto little evidence to tix the exact date of particular examples, for Buddhist art extends in Java over the period from the seventh to the fourteenth century, and has, of course, a still wider range in Ceylon. It was, however, clear that these bronzes—not all, of course, of one date—could only have been produced in the best period of Indian art, for they show the divine ideal fully developed, and a complete emancipation from the insincerity of Gandhara types; and, on the other hand, the proportion of fine examples is high, and the tradition still full of Jife and vigour. These considerations would lead us to date all the bronzes of this type between the fourth and fourteenth centuries, as the widest limits. From the dita now presented it will be seen that a majority of the examples considered belong to the ninth century or thercabouts, while a few are carlier and some later. Avalokitesvara: early type Begiming with the bronzes from Ceylon, one of the finest, a figure of Avalokiteévara in my own collection 1 A beautiful Javanese Dharmapila is figured by Mr. Havell, Zndian Sculpture and Painting, pl. xvii. There ave many Javanese Buddhist bronzes in the British Muscum and at Leiden.284 MAHAYANA BUDDHIST IMAGES (Pl. I, tig. 1), is, to judge from the perfection and abstraction of the style, as old as the sixth or seventh century. In this figure, which may be compared with the Siva of the “Ravana under Kailasa” composition at Eluri, the divine ideal is fully realized both in expression and in physical form; and the breadth of generalization, the elimination of all that does not directly contribute to express “ the passion of the figure”, are most impressive.’ This bronze is illustrated by Mr. Havell in Indian Sculpture and Painting, pl. xi, and there described as “Maitreya preaching ”.2 The figure, however, is almost certainly that of Avalokitesvara, an identification sug- gested, though not absolutely proved, by the presence of the small Dhyini-Buddha in the head-dress. Avalokitesvara: another example The same general type of Avalokiteévara is illustrated by another example from Ceylon, in the British Museu, Nevill Collection (Pi. IL, fig. 3; sce farther on). Here the general treatment and feeling are similar, but much less fine, and there is more mannerism. Probably this specimen should be regarded as of similar age to the ninth-century figures to be described below. Two points have always to be kept in mind in estimating the date of an image from considerations of style: first, a somewhat inferior example may be merely the work of an inferior, not of an earlier or later artist than the one whose work is to be admired; and second, the idealistic or realistic treatment depends so very much on the subject treated as to be in itself an insufficient guide to age. It is rather » Sir Emerson Tennent (Crylon, 4th ed., p. 476) states that the early historians of China speak in raptures of statues obtained from Sinhaloso sculptors in the fourth and fifth centuries, ‘here is no reason to doubt that this admiration was well founded, to judge at least from the figure here spoken of. ® In the list of illustrations, it is incorrectly described as being of copper.FROM CEYLON AND JAVA 285 the kind of idealism or realism, than the mere fact of their presence, that affords a clue. Vajrapani, Buddha, and Avalokitesvara, of the ninth century Another bronze in my own collection (PI. I, fig. 3) is evidently later. ‘The treatment of the face is relatively coarse, and the grace of the figure much less; but the statuette is still exceedingly fine. The physical ideal of the Indian hero, as described, for instance, in Bina’s Harsacurita; is well represented ; the fine details of the head-dress, and the coquettish ringlets, as well as the jewellery, are admirably executed. It is remarkable that, while the right ear has an carring—similar to those of the Avalokitesvara, fig. 2 on the same plate—the left ear has merely « roll of paln-leaf, making the opening civeular: this informality of dress is well seen in the side view of the head and shoulders (PI. I, fig. 5). The figure, robed and seated in royal style, holds a vajra in the right hand, and is undoubtedly a representation of the Bodhisattva Vajrapini. Another figure from Ceylon, having the same type of pedestal, is the Buddha of PI. II, fig. 2. The figure is seated, the right hand in bhimisparse-mudra (“calling the carth to witness”). ‘The elaborate throne consists of a combined podmdsuna and simhisana supported by a pediment similar to that of the inseribed image next referred to, This type of pediment seems to be quite independent of the form of the throne, and appears to mark a loca school, of which the date is fairly closely fixed by the inscription on another example in the British Muscum, This latter bronze (PI. I, tig. 2), onc of those belonging to the Nevill Collection in the British Museum, is similar "Translation by Cowell and FP. W. Thomas, p. 120. Contrast Griinwedel, Buddhist Art in India, p. 33, 1. 14! ? All the bronzes from the Nevill Collection in the British Museum are badly in need of cleaning, labelling, and rearrangement,286 MAHAYANA BUDDHIST IMAGES to the two last described as regards the pediment, and also resembles one or other of them in other details, which can be readily observed by a comparison of the reproductions given here (PI. I, figs. 2, 3,5; PI. IT, fig. 2). It represents the Bodhisattva Avalokitesvara, in the most usual attitude, holding » spray of a red lotus (padma) in the left hand, and with a Dhyani-Buddha in the head-dress, The ringlets and carvings especially resemble those of the Vajrapini. Its special interest lies in the presence of a short inscription, easily decipherable in the reproduction. It reads sengha- (for suaghe)-dattah, which may signify “given to the Sangha”, or may be the name of © man, the maker or donor of the image. ‘The form of the Sanskrit characters resembles very closely those of the Jetavanirima Sanskrit inscription, deciphered and repro- duced by Don M. de Zilva’ Wieckremasinghe (to whom 1 am indebted for the present reading) in Kpigraphia Zeylanica, vol. i, pt. i. The inseription is there assigned on purely palwographic grounds to the first half of the ninth century: the three bronzes under discussion may with little hesitation be referred to the sane period. These figures, then, enable us to determine the date of at least one well-characterized school of Indian Mahiyina Buddhist sculpture! Every such fact established will make it easier in the future to estimate the date of a figure lacking inscriptions, by its style and the detail of its ornament and dress alone; in fact, by canons similar to those which make it possible to judge of the date of a work of Western medimval art. It may be remarked here that other small bronzes of about the same period, not elsewhere referred to in this paper, which I have secn in Ceylon, include seated worshipping figures and a, five-headed cobra; and in the British Museum (Nevill Collection) a figure of Ganesa and 1 The Buddhist art of Java and Ceylon is, of course, au integral part of Indian art.FROM CEYLON AND JAVA 287 a four-headed Brahma. With the Avalokitesvara (PL I, fig. 2) may be compared an eighth or ninth century example of the same Bodhisattva from Sarmath, figured by J. H. Marshall in JRAS., 1908, p, 1088, PI. LI, fig. 3. This figure in many respocts closely resembles the Ceylon figure in the British Museum, but has less sincerity and vitality of style. Avalokitesvara on Mount Potalaka A not very well executed figure of Avalokitegvara from Ceylon, in the British Museum (Nevill Collection), is illustrated on Pl. IL, fig. 1. ‘Phe Bodhisattva is represented in the most usual posture, holding a lotus spray in the left hand and having « Dhyani-Buddha in’ the lead-dress. The padmadsanc vests upon a pediment representing rocks or a mountain, ‘The meaning of “ Avalokitesvara "-—* the Lord that looketh down ”—has perlaps some connection with the association of Avalokitesvara with a mountain, and it is even possible, as suggested by Beul,! that there ean be found in the cult of this Bodhisattva as na mountain-god some trace of an older worship of hill-gods, Hioucn Tsang speaks of Mount Potalaka in the Southern Dekhan as the especial abode of Avalokitesvara ;2 and there need be, I think, little hesitation in’ describing the figure as a representation of Avalokitesvara upon Mount Potalaka. A comparison of this figure with the Vajrapani already described reveals some points of resemblance, especially in the form of the eyes and eyebrows and in the treatment of the ringlets falling upon the shoulders. The latter detail also recalls the Avalokitesvara from Sarnath. ‘The figure is probably an example of somewhat inferior work of about the same date, ic. carly ninth century. * Benl, Buddhist Recorda of the Western World, i, 60, u., und ii, 214, ., 225, 0. 1 Lbid., ii, 232,288 MAHAYANA BUDDHIST IMAGES Jambhala: Kuvera OF other Ceylon bronzes, one of the most interesting is a small figure of Jambhala, or Kuvera, in my own collection (PL I, fig. 4). The artistic interest of this figure lies in its frank realism, contrasting with the idealistic treatinent of the figures so far referred to. ‘The God of Wealth, far less remote and hard to reach than so exalted a being as x Bodhisattva, is worshipped for materidl rather than spiritual benefits: he is represented as the very image of u fat trader seated in his booth awaiting customers. The patron saint of prosperity and trade is a comfortable, worldly person ! The realistic treatinent of the firm flesh is as masterly in its own way as the generalization of the more ideal types, such as the Avalokiteévara first described (PI. I, fig. 1). This consideration, supported by an identity of arrangement of part of the head-dress behind (the strings of the head-dress being drawn through a tlower-shaped metal ornament from which they hang down upon the nape of the neck), suggests that the figure may be of a date not far removed from that suggested for the Avalokitesvara, i.c. perhaps the sixth or seventh century. Some points of interest connected with the attributes may be referred to. We find as usual ao fruit held in the right hand, and a vessel overturned by the right foot. The riches generally supposed to issue from this vessel are represented only by a ribbon-like band, which can hardly he a snake, though suggesting one at first sight. At least, if this “ribbon”, and the similar “ribbon” which stretches. from the mouth of the mongoose under the left hand of the figure, to the mouth of a sccond vessel, are really intended for snakes, it is difficult to understand why an artist so skilful as the maker of this image should not have made his snakes more convincing. In a number of similar bronzes from Java, in the British Museum, the attributes vary: two have a purse only, one a pursebMtanbeet a anuFROM CEYLON AND JAVA 289 apparently made of skin with the animal's head preserved, and one & mongoose apparently holding a purse in its mouth. Again, two examples from Magadha are figured by Foucher (Iconographie Bouddhique, pt. i, tigs. 20, 21). In one of these a mongoose is represented, in the other & purse with an animal’s head. Foucher’s pl. ix, fig. 2, further represents “ Sinhaladvipa Jambhala ”, the “ Ceylon Jembhala”, and here the attribute is u mongoose, and there is no purse ; the reproduction is from an illumination of the eleventh or twelfth century, reproducing an older type.’ Again, a small sandstone figure of Jambhala, recently unearthed at Sahet,? has an inscription of the eighth or ninth century, and here the attribute is a large purse, the broken part of which may have originally represented an animal’s head, though no indication of this now remains. Finally, there is a Nepalese copper- gilt statuette in the Caleutta Art Gallery, figured by Mr. Havell :* this figure is four-armed and without cither purse or mongoose ; it agrees with all the other figures in naturalistic treatment. The purse from which riches are poured out seems to have been the original idea, and it is possible, as suggested by Foucher, that the mongoose is «a later development from w skin purse with an animal's head. But the mongoose may also be regarded as the destroyer of serpents, the guardians of wealth, and, if the “ribbons ” in our Ceylon statuette represent serpents, this must be the intention there. It is at any rate clear that in the seventh, eighth, and ninth centuries, the period to which most of the figures deseribed or referred to belong, the For a typical aidhana of corresponding age, describing Jambhala, see Foucher, op. cit., pt. ii, p. BI. 2 Marshall, JRAS., 1908, p. 1104, and Pl. V, fig. 2. 3 Indian Seulpture and Painting, pl. xliv. “Cf. for an example from Gandhira, Journ: Ind, Art and Industry, No. 63, July, 1898, pl. xiv, 3.290 MAHAYANA BUDDHIST IMAGES treatment of the purse-mongoose attribute was far from fixedly determined. Maiijuéri Amongst the statuettes from Java in the British Museum there is one which bears an inscription of some length, engraved in old Javanese characters on the pedestal of the tigure. This inscription, the firat part of whieh is visible in the illustration (PI. UW, fig. 4), is the well-known “ Buddhist creed” formula: Ye dharma hétu-prabhavah, ete.—* Of all objects that proceed from a cause, of these the Tathagata has explained the cause, and their cessation also: this is the doctrine of the great Sramana.” ‘The actual inscription reads— “Ve dharmmai hétuprabhavilh hétum tésim tathigato hyavadattésifien yo nirodha évambidi mahisramanah.” Professor H. Kern, who very kindly deciphered the inscription for me, remarks that it is difficult to exactly date it, because the old Javanese characters from the ninth to the eleventh century differ but little. In writing to him, however, I had suggested the ninth century as a probable date, judging from the style of the image, and in his letter to me he confirms this as the most probable date. The figure apparently represents the Bodhisattva Manjuéri. This identification rests principally on the blue lotus (atpala) held in the left hand; by its pointed form this blue lotus is easily distinguishable from the expanded red lotus (padma) often associated with Avalokiteévara (Padmapani). The presence of a Dhyani- Buddha in the head-dress is no argument against the identification, for this feature is not peculiar to Avalo- kitegvara, though very usual in his case, especially in sculptures.FROM CEYLON AND JAVA 291 With this figure may be compared another fram Java (PL. TT, tig. 5), also in the British Museum. In this especially graceful figure, seated in: the rijalilé posture, or “attitude of kingly case”, holding a blue lotus flower and bud in the left hand, and another bud in the right hand, which hangs nonchalantly over the knee, we recognize the form of Mafijuéri known as Mahirajalila- Majijuéri. ‘The bronze closely resembles a sculpture from Magadha illustrated by Foucher (leonographie Bouddhique, pt. ii, p. 48, tig. 3). The form of the moon -cushion is identical in both figures. In the Javanese figure, however, the aiiphdsana, omitted in the figure from Magadha, but mentioned in the text quoted by Foucher, is duly represented. The form of the pedestal below this simhdsuus is similar to that of the inscribed pedestal below the padmésaaa of the first example described, and there cannot be much difference of date between these two figures of Mafijusri. In the Javanese tigure the face appears to be somewhat injured and originally somewhat poor, but the gesture of the figure is oxtremely graceful, and the modelling of the lotus is especially charming. Feminine Divinities Several statuettes from Ceylon in the British Museum (Nevill Collection) represent fominine divinities. Two of at Cunda in the four-armed, beneficent form. In one figure the two lower hands are in dhydni-madra, with w bowl resting on the open palms; the other two hands hold a rosary and an object which is probably a book. In the head-dress, in place of a Dhyani-Buddha appears a Stipa, exactly similur in form to that associated with the Mafjuéri from Gaya illustrated by Foucher (op. cit., pt. ii, p. 43). In the second figure (PI. LI, fig. 1), the two lower hands hold respectively a bowl and a hook. The exact mudra202 MAHAYANA BUDDILIST IMAGES and attributes of “the other hands are not readily recognizable. A Dhyini-Buddha appears in the head- dress, This figure is decidedly superior in execution to that first described. Both figures may be provisionally assigned to the ninth century, possibly somewhat later. It is unfortunate that nothing is known of the provenance and original associations of the Ceylon figures. T have not found any figure of ‘Tava amongst the Ceylon or Java bronzes in the British Muscum., Hindi Feminine Divinities A large and very beautiful bronze in the British Museum (VI. II, fig. 3), presented by Sir G. Brownrigg in 1830, and said to come from “ North-East Ceylon, between Trincomalee and Baticcalon”, is described as Patiala or Pattini-Devi. Not much can be said as to its date in the absence of further information, inscriptions, and attributes; but the workmanship is so fine, the whole effect so dignified and beautiful, one would be inclined to assign « comparatively early date to this bronze. Our knowledge of early mediwval Hindu art in Ceylon is still very limited. One may, however, safely mention the twelfth or ab any rate the thirteenth century as the latest in which work so good is likely to have been produced. A number of fine Saivite bronzes of the twelfth ventury have lately been found by the Archmological Survey at Polomnaruva, and when these are published it may be possible to study such an image as the present more efleetively, but so far L have only scen inferior photographs of two of these reeentlyy discovered images, all of which are now in the Colombo Museum. But the Pattini is possibly very nuch earlier, for, of all the Ceylon bronzes so far known to me, with the single exception of the Avalokitesvara first described, it is by far the most beautiful. In the absence of further data, the identification asFROM CEYLON AND JAVA 293 Pattini may be allowed to stand. It may be mentioned that the cult of Pattini is said to have been introduced into Ceylon from Southern India by Gajabihu, after his successful wars in the beginning of the seeond century A.p.! Similar in style and feeling to this figure, is a small bronze (PI. Tf, fig. 2) from Ceylon, in the British Museum (Nevill Collection), a seated figure with tall head-dress, the right hand in varu-medrad, and the treatment of the drapery very like that in the larger figure. In both, the manner in which the limbs are represented as visi through the transparent material of the skirt is’ v masterly. There is also a gene type. A particular detail in which sinnilavity i is noticeable, is the high position of the nipples on the breast. On these grounds [am i ted to associate these two bronzes as regards subject and date, It may be remarked that both show traces of the gilding which probably at one time covered all the bronzes described. Mahayana Buddhism in Ceylon It has long been well known that the Buddhism of Ceylon has not been exclusively of the Hinayana sehool. In the Sixth Progress Report of the Archiological Survey of Ceylon (Colombo, 1896, p. 12), a number of in: plaques ure described and illustrated. They are considered to be of the ninth century, the Sinhalese characters agreeing closely with those of the stone inseriptions of the same period. ‘Three of the plaques contain the “ Buddhist creed” and a confession of faith in Nirvana. These might belong to adherents of either school. The remaining plaques are exclusively Mahiyinist, and con- tain prayers to Sikhi-Buddha, Kanakamuni, Bodhisattvas (Avalokitesvava or Akasagarbha, Sumantabhadra), and the goddess ‘Tit, proving the existence of a well-established Mahiyanist worship. } Rajavaliya, translation, Colombo, 1900, p. 48, and W. A. de Silva, Ceylon National Review, January, 1907, p. 341. vibed204 MAHAYANA BUDDHIST IMAGES The images now deseribed serve to supplement our seanty knowledge of Mahiyiny Buddhism in Ceylon. ‘The relative importance of the two schools has been somewhat misunderstood, and it appears that the signi- ficance of Mahayana Buddhism in the history of Ceylon Buddhism is much greater than has been supposed. Broadly speaking, the whole development of Buddhist art in India, apart from the edifying narrative and decoration of the Barihat and Sifici types, turns on Mahayanist doctrines. he pure rationalism of Buddha's teaching, the monastic ideal, represented rather a philosophy than a faith, and it was only with the growth of the conception of Buddha as an incarnation of # transcendental being, an “Over-Buddha”? and the conversion of Buddhism into a true religion, in the sense of a conception of man’s relation to the Infinite, and to all those matters upon which the Buddha himself maintained so deliberate and strict a silence,— it was only with this development that a religions art, properly so-ealled, beeame possible. Although the first royal patronage of Mahayinist doctrines resulted only in the production of the quantities of insipid statues and reliefs so well-known from Gandhira—no more interesting than any other branch of decadent classic art-—it was still in relation to Mahiyanist doctrine (and to the growing synthesis of Hinduism) that the subsequent development of a national and sincere religious art took place. All that part of Buddhist art which is not merely a survival of Agokan velic-worship and edifying narrative,* is essentially Mahityainist. ‘Che orthodox Hinayanist in "Cf. the opening paragraphs of Major L. A. Waddell’s paper on ‘The Indian Buddhist Cult of Avalokita” in JRAS., 1804. 51, 2 The development of this iden is not well expressed by the phrase “deilivation of Buddha”, ‘The process ix quite other than that of the elevation of a hero to the heavens. 3 This is of course a large excey Art, pp. 250-1, in Ceylon ; see Medieval SinhaleseFROM CEYLON AND JAVA 205 modern Ceylon explains the statue of Buddha found in every Vihira, as a symbol or memorial of the human teacher who at his death, by the attainment of purinirevdna, passed beyond the reach of men. But, as we have seen, the image of Buddha, historically at least, is inseparable from Mahayana thought and doctrine ; and, if we examine w little further the Buddhist art of Ceylon, we shall find that to this day it represents a popular Buddhism having abundant Mahiyanist elements. For example, the following Mahayanist elements may be noted in modern Sinhalese Buddhist art and practice: the conception of Buddha as a still living being, more or less implied in the use of images, and in many uncanonical legends current in Ceylon ; the rites of dedication of images of Buddha, entirely analogous to those used in the consecration of Hinda images; the representation of Maitri-Bodhisattva (the only Bodhisattva now recognized in Ceylon) in every temple side by side with representations of Buddha himself. “Phese are ndditional to the older evidences of a Mahiyanist cult above referred to, to which may be added the presence of a Dhyani-Buddha in the head-dress of the ancient alto- velievo of “Kushta Rijn” (? Avalokitegvara) at Veligama, wnd the wearing of a Buddha figure in the sune way by an actual king, Vimala Dharma Sarya I, probwbly implying the conception of divine royalty representative on carth of God above. ‘There ave also many historical references to the purification of the church hy orthodox kings, and to reconciliations of the various sects. There have, no doubt, been repeated reformations of the Buddhist church in Ceylon, and the art may have been often reinterpreted in a purely Hinayanist sense, as is the tendency to-day ; but it still remains the case to-day that there are many traces of Mahiyinist belicfs in Sinhalese Buddhisin and art If 1 See old engraving reproduced in Rouffuer & Jouynboll’s Indische Batikkunet, vol. iii; and in my Medieval Sinhalese Art, pl. xxii, ® See Medieval Sinhalese Art, pp. 70-5. snas. 1909. 20296 MAHAYANA BUDDHIST IMAGES this be realized it becomes more than ever misleading to speak of the two divisions of Buddhist thought as Northern and Southern. In Ceylon, at least, both schools existed at times side by side. ‘The bronzes described in the present paper serve to illustrate a Mahiyinist phase of Sinhalese Buddhism at a period when Buddhist art was a. living tradition and reached its highest development. Very little is known of Sinhalese sculpture in the centurics after the twelfth or thirteenth. And when we come to more modern works, of the seventeenth or eighteenth centuries, we find a great loss of vitality in the traditional art so far as sculpture is concerned, many images of Buddha being now quite lacking in fecling (except for a certain dignity and majesty inseparable from even the last developments.of the tradition), and some even hidcous and grotesque. It may be noted, as an interesting detail, that in the later types the wsnisa is replaced by a flame. It is greatly to be hoped that in the future there may be discovered more of the early images, and that something may be learnt of their associations and of the historical development and relations of the schools of art, of the existence and importance of which they are a sufficient indication. DESCRIPTION OF PLATES. Prater I.—Bnronzxs rrom Certon, Fa, 1.—Avalokitesvara, Coylonese, about the seventh century, Dhyaui- Buddha in head-dreas, vight hand in vifarka-mudré. Author's collection. Height of image, 3§ inches. 2.—Avalokitesvara (Padmapiini), Ceylonese, ninth century. Inscrip- tion daiigha- (for avigha) -datlah in Sanskrit charactors. Dhyani-Buddha in hend-dress, right hand in rara-mudrd, ved lotus (padme) in left hand. British Museum, Nevill Collection, No. #3. Height of image, 33 inches. + 3.—Vajrapini, Ceylonese, ninth century. Right hand holding eajra. Author's collection. Height of imago, 414 inches. 4.—Jambhala (Kuvera), Ceylonese, about the seventh century. Right hand holding fruit, left resting on mongoose. Author's collection, Height of image, 3} inches. » 5.—Side view of head of the Vajrapiini of Fig. 3.FROM CEYLON AND JAVA 207 Phare IL —Broxzes rrom Crviox asp Java. Fig. 1.—Avalokitesvarn (Padinapini) on Mount Potalaka, Ceytonese, Y ninth contury. Dhydni-Buddho in head-dress, right hand in vara-mudrd, left hund holding red lotus (padma). British Museum, Nevill Collecti No. 7. Height of imnge. 51} inches. +» 2—Buddha, Ceylonese, ninth contury. Right hand in bhiimisparia nindra, +» 8—Avalokitotvara, Coyloneso, ninth century or earlier. 7D) tarka-mudrd. i Musoum, Novill Collection, No. i Height of image. ches. —Maiijusri, Javanese, ninth century or a little later, For inscription (ye dharmmd, etc.) in old Javanese characters, see above, p. 200, Upper hands : loft holding r right 2. Lower hands: right in rara-mudra, left holding inlue lotus (uipala), British Museum, Rafiles Collection, No. 13s “Found in the vicinity of the mountain Dieng or Prahu.” Height of imago, 643 inches. »» 6.—Mahiviijalila-Madjuiri, Javanese, winth century or a little Inter. Rajltla posture, blue lotus (wpala) spray in left hand, and bud in right. British Museum, Raflles Collection, No. 12 Found in the viei Height. of image, 54 Mts St ng or Prahu.” ity of the mountain Di ches. Puate 111.—Bronzes Fic, L—Cunda, Coyloneso, ?ninth cent dress, lower hands holding bowl and book. Novill Collection, No. ray Height of image, 44 inches. +» 2—2Pattini, Ceylonese, British Museum, Nevill Collection, No. a Right hand in cara-mudrd. Height of image, 61%; inches, y+ 3—Pattini, Ceyloneso, British Museum, presented by Sir G. Brownrigg in 1830, ‘From the north-east of Ceylon, between ‘Trincomalee and Butticuloa.” Right hand in rara-, left in ritarka-mudrd. Height of image, 4 ft. 94