கவனிக்க: இந்த மின்னூலைத் தனிப்பட்ட வாசிப்பு, உசாத்துணைத் தேவைகளுக்கு மட்டுமே பயன்படுத்தலாம். வேறு பயன்பாடுகளுக்கு ஆசிரியரின்/பதிப்புரிமையாளரின் அனுமதி பெறப்பட வேண்டும்.
இது கூகிள் எழுத்துணரியால் தானியக்கமாக உருவாக்கப்பட்ட கோப்பு. இந்த மின்னூல் மெய்ப்புப் பார்க்கப்படவில்லை.
இந்தப் படைப்பின் நூலகப் பக்கத்தினை பார்வையிட பின்வரும் இணைப்புக்குச் செல்லவும்: Bronzes from Ceylon, Chiefly in the Colombo Museum

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i MEM
OF
COLOMB O
EDI
JOSEPH PEARS
DIRECTOR OF TH
SERIES
BRONZES FROM ( IN THE COLO
ANANDA K. COO
FELLOW OF UNIVER
WITH TWENT
CE
PRINTED FOR TE
2-CP 17679-1,010 (75103)

OIRS
THE
MUSEUM
TED BY
ON, D.S.C., F.L.S.
E COLOMBO MUSEUM
A. No. 1
DEYLON, CHIEFLY MBO MUSEUM
MARASWAMY, D.SC.
SITY COLLEGE, LONDON
Y-EIGHT PLATES
YLON
LE COLOMBO MUSEUM
1914

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OXFOR
PRINTER,
Printed at the Department of
Reprinted at th

D: HORACE HART
TO THE UNIVERSITY
REPRINTED 978
REPRINTED 988
f Government Printing, Sri Lanka (Ceylon)
e State Printing Corporation

Page 9
PREF
THE present Memoir inaugurates a news the Colombo Museum at irregular intervals, anc of the Colombo Museum in as complete a m
It is proposed to issue the Memories ir Archaeology, Ethnology and kindred Subjects,
It is appropriate that the Bronzes, whi Colombo Museum, should form the subject of an authority as Dr. Coomaraswamy has writt
January 19, 1914.

ACE
eries of publications which will be issued from | which will primarily deal with the Collections anner as possible.
two series-A and B, the first dealing with and the second with Zoology.
ich constitute perhaps the finest Exhibit in the the first Memoir, and it is fortunate that such
en the text.
JOSEPH PEARSON, DIRECTOR, COLOMBO MUSEUM.

Page 10
CONT
INTRODUCTION
LIST OF HINDU FIGURES ILLUSTRAT LIST OF BUDDHIST FIGURES ILLUST
LIST OF ANIMAL FIGURES AND MINO

ENTS
PAGE
O e O e O 5
ED . . * w . . 13
RATED . O O O o 19
R METAL OBJECTS ILLUSTRATED 24

Page 11
CEYLONESE BRONZES CH MUS
INTROD
THE present work, in the hundred and si the Ceylonese bronzes, and the one or two India together with some specimens on loan. In the given almost all the old Ceylonese bronzes i South Kensington, and the collection of the p1 completeness and to facilitate future identifi title of this monograph, the term bronze is us and minor metal-work. Objects actually ma many are in copper or brass, and a few in silvi It is only within the last few years that great importance, and the few objects in Eng From what we now know of ancient metal-w it is clear that from at least the beginning o the development of Ceylonese and Indian art p nor is there any Indian area of like size that examples in both stone and metal. Among til the Hanuman, the Pattini of the British Mus and the two feet of Nataraja (figs. 15, 18, 19 and aesthetic rank nowhere surpassed : while reproduced on Pl. XII and many of the figur are school works with very little feeling. Th Ceylon Natarajas, which lack the grace and of Madras.
It is usually very difficult to assign an ex Anuradhapura must be anterior to the 11th c 9th or 10th century. Most of those from Po occupation in the 13th century-though it m may be a few centuries earlier. Even in moc different dates closely associated.
The main purpose of this monographist Museum collection. It will, however, also be
The name of the metal or alloy given in the descrip
tion of each specimen was supplied by a Tamil coppersmith. The author is not responsible, for these determina

EFLY IN THE COLOMBO
EUM
UCTION
xty-seven figures of Pls. I—XXIV, illustrates all n examples, in the Colombo Museum collection, ; twenty-two figures of Pls. XXV— XXVIII are in the British Museum, the Indian Museum at esent writer; these have been added for greater cations. It should be understood that, in the sed in a wide sense to include all metal images ide of bronze are by no means the majority ; 2r or gold.
the Colombo Museum collection has acquired glish collections have become generally known. ork, as well as the stone sculpture in Ceylon, if the Christian era up to the 14th century roceeded concurrently and in close relationship ; has yet yielded an equal number of important hese are some works-notably the Saiva Saints, eum, the small Avalokitesvara and Jambhala, , 22, 168, 171, 172, 183 and 113)--of spiritual other examples-such as the figures of Parvati es of gods and animals on Pls. XXIII, XXIV— e same is to a considerable extent true of the sensitive modelling of the splendid examples
act date to any of these works. All those from :entury, the majority, perhaps, dating from the lonnaruva may date from the period of Tamil ay well be that the actual date of manufacture lern temples, it is usual to find images of very
o illustrate all the most important bronzes in the useful to add a short introduction dealing with
tions, nor for the references to find-places and Museum Register numbers ; though much labour has been expended in identifications.

Page 12
6 BRONZES FR
the archaeological and aesthetic significance of
following Sections :
1. Buddhist bronzes of Anuradhapura
posterior to the 16th century.
2. The Hindu images of Polonnaruv
THE BUDDH
From the 3rd Century B.C. Ceylon has re It is, indeed, somewhat surprising that the nu Sigiri should not have been greater. Ther importance, archaeologically and as Works of a there are some of very great interest, are toc development.
The most ancient images of Buddha are The large bronze from Badulla (fig. 46), and 1 exceptionally dignified and monumental. Th Badulla figure, especially in the feeling of th bronzes from Buddhavani in the Madras Pri unlike the large stone figure from the same site. Museum. The Toluvila figures belong, moreo Buddha (near the Jetavanarama Dagaba), W Ceylon, and is not surpassed in India.
The standing Buddha (fig. 48), though n and the drapery is not well expressed ; it is pro to. But though it is less accomplished than th in some respectS more convincing, and has SC precious dolomite figures on the Ruanveli pl A very interesting Buddha image is illus seem to be of the 6th or 7th century, but tak part with that of fig. 176, which is inscribed to the 8th or 9th. The image of fig. 39 is qu at any rate the two curious seated-figures on century fashion.
The existence of a Mahayana cult in Ce of many images of Bodhisattvas and Mahaya obviously more than ever inaccurate to speak ( geographical terms connoted a distinction of VM The first discovery of Mahayana relics
Archaeological Survey of Ceylon (Colombo, 18 a few bronzes are described and illustrated. T
1 Sewell, "Some Buddhist Bronzes ... ', J. R. A. S., 1895, P. 4. Cf. also a seated Buddha at Komarika-vala (Vincent Smith, The Situlpture of Ceylon, Journal of Indian Art, No. 124, fig. 2).
* Vincent Smith, A History of Fine Art in India and Ceylon, fig. 54.
* Viśvakarma, Pl. l.
4 Višvakarna, Pls. 9, 10.
5 This figure used to be shown at the Kota hena temple
uSel.

OM CEYLON
the specimens. This introduction falls into the
, and a few others ; also Kandyan Buddhist art,
а.
IST BRONZES
mained a treasury of Buddhist tradition and art. umber of small finds from Anuradhapura and e are amongst them, nevertheless, many of rt. The figures of Buddha, in particular, though few for a satisfactory elucidation of stylistic
illustrated in figs. 33, 35, 36, 39, and 46, 47, 48. he figure from the Toluvila shrine (fig. 47) are ey may be assigned to the 6th century. The e right hand, recalls the finds of 6th-century esidency ; while the Toluvila images are not , now preserved in the grounds of the Colombo Ver, to the tradition of the great Anurādhapura /hich is certainly the greatest work of art in
ot without charm, is more awkward in design, obably much later than the figures just referred e Suave images from Toluvila and Badulla, it is me reminiscence of one of the primitive and atform.
trated in fig. 177. The figure by itself might King it together with the pedestal, identical in in 9th-century characters, it may be assigned ite a late type, but the makara-toralna is old ; the makara's tails appear to be of 8th or 9th
ylon is abundantly Supported by the discovery in a feminine divinities in Ceylon. It is now Df Northern and Southern Buddhism as if these Hinayana and Mahayana.
is recorded in the Sixth Progress Report of the 96), where a number of inscribed plaques and hree of the plaques contain the Buddhist Creed
° Cf. L. A. Waddell, 'The Indian Buddh ist Cult of Avalokita and his Consort Tara . . . . , J. R. A. S., London, Jan. 894. p. 51 : " No one has yet realized the vast extent to which Mahayana and Tantrik Buddhist remains cover India nor Sufficiently realized the leading part played by the Mahayana in Indian Buddhism during its most popular period. See also Coomaraswamy, Mahayana Buddhist images from Ceylon and Java , J. R. A. S., London, April 1909; and A. Getty, The Goals of Northern Buddhism, 1914.

Page 13
INTROD
(Ye dharmma, &c.), and a confession of faith in cult. The remaining plaques are exclusively M Kanakamuni and Bodhisattvas (Avalokiteśvar to the goddess Tara (Sakti of Avalokitesvar plaques a 9th-century date. The place of disc the Vijayarāma monastery, where also the II excavated.
A number of actual images of Bodhisatt striking of these is the large bronze Maitrey Dagaba, near Basawakkulam (fig. 2). All the majority may be identified as Avalokitesvara. of discovery is not known ; it is in my own c figs. 172, 173). This figure, although quite sm to the classic Indian art of the 8th century; it the Kailasa of Elura. It may be assigned wi other nearly related examples (here, figs. 174, Nevill collection at the British Museum has a dattah), in characters probably of the first ha nothing is recorded of the place of discovery British Museum, which form part of the collet In the Museum they have been neither cleane with other figures of very different age and ch better understood in Ceylon.
Another Avalokitesvara is represented in represents the Bodhisattva as a mountain go Tsang speaks of this mountain as the speci signifying the 'Lord who looks down, may al.
with a mountain. I do not know of any other tain is actually represented ; but a similar miniatures of Avalokitesvara and Tara in (Foucher, Iconographie Bouddhique, 1900, PI. * Śrī-Potalake Lokanāthah ”. The workmanshi of the examples illustrated in figs. 172, 174, 17 that of the Cunda of fig. 178 and the Pattini century.
One other Bodhisattva, Vajrapani (also A comparison of this figure with fig. 176 sugge Two images of the feminine divinity C worshipping devatas in figs. 180, 18l. No figu Numerous Brahmanical divinities are rec ted in Buddhist art from almost the earliest per or World-Guardians, who as Brahmanical gods before the age of Buddha. In Buddhism they ar Chaturmahardjadeva) or Four Great Kings (Pa
L. A. Waddell, " Evolution of the Buddhist Cult, its Gods, Images and Art, Imperial and Asiatic Quarterly Review, Jan. 1912. L. A. Waddell, " The Dharani Cult . . . . Ostasiatische Zeitschrift, July 1912. H. Beckh, Uber des Verhältniss Buddhas
2 S.P.C. 89004

UCTION 7
Nirvana. These might have belonged to either ahayanist, containing prayers to Sikhi Buddha
a or Akasagarbha, and Samantabhadra) and a). The palaeographic evidence gives for the 'overy was a small ruined dagaba belonging to okapalas and animals of figs. 137-44 were
was have also been recovered. One of the most a, dug up in 1898 south of the Thuparama 2 other Bodhisattva figures are sedent, and the The most beautiful is one of which the place ollection, and has often been illustrated (here, all, exhibits all the fine qualities which belong recalls the figure of Siva in the great relief at th confidence to the 8th century ; and certain 176) to the 8th and 9th. One of these, in the short inscription (apparently reading sanghalf of the 9th century. It is unfortunate that of this and other interesting figures in the ction acquired from the late Mr. Hugh Nevill. d nor labelled, but are indiscriminately mixed aracter; their value would perhaps have been
fig. 175. This image is of special interest, as it d, seated, in fact, on Mt. Potalaka. Hiouen all abode of Avalokitesvara ; and this name, so refer to some association of the Bodhisattva
metal (or stone) example in which the mounrocky environment is indicated in several
the Cambridge Nepalese MS. Add. 1643 VII, 2). One of these is, in fact, labelled as p of the image is considerably coarser than that '6, and seems to be identical in character with of fig. 42. The probable date is 9th or 10th
= Sakra or Indra) is represented in fig. 185. sts for it an equal or slightly later date. India are illustrated in figs. 176, 179, and two ire of Tara has yet been found in Ceylon. cognized in Buddhism, and have been represeniod. Chief amongst these are the Lokapalas, must have been defined and specialized a little e known as the Four Great Kings Gods' (Skt. li, Chattaro maharajano), or in Ceylon the "Four
zu übersinnlichen Wesenheiten(Devatäs)im Mahaparinibhänasuttam and seine begründung im Yoga, Compte Rendu of the International Congress of Orientalists at Athens (1912), 1913 pp. l0l, 102.

Page 14
8 - BRONZES FR
Guardian Gods ” (Sin. Satara varan deviyo). Th legends, even those of the canonical scripture Bharhut, in the 2nd century B.C. Apart from his life, the chief function of the Lokapalas, in B the entry of evil spirits from the direction of th The Brahmanical guardians of the four (W.), and Kuvera (N.). These had for their
In Buddhist art the actual King-gods Dhrtarästra (E.), Virüdhaka (S.), Virüpäkșa ( spirits are sculptured at the four entrances of the Mahdivamsa, again, it is mentioned that th by Dutta Gamani (101-77 B.C.) was guarded b
The four are also known in Ceylon as Deviyo) (S.), Visinu, or Vibhisana (W.), and Ay The full Brahmanical scheme often Worl four intermediate points and of the Zenith an shown by the important series of guardian fig Topaveva Dagaba (10th century). This scher Netra Mangalya ceremony (consecration of an eyes). It is also illustrated in the ceiling pai The names of the guardians in this system are Nairrta (SW.), Varuna (W.), Vayu (NW), Ku (Zenith) and Vişnu as Seşa-nâga (nadir).
The animals elephant, horse, bull, and li (see figs. 141-4); apparently not as the vidhana protective against evil spirits. For this asso Mr. Bell suggests an analogy with the heavenl rivers issuing from four mouths, respectively c Besides the sets of figures of the four goc other Buddhist-Brāhmanical divinities have beer (Kuvera), whose image occurs very frequently i other example is yet known from Ceylon. Th Jambhalah of miniature 18 in the Cambridge M as god of wealth and prosperity is associated himself cheerful and corpulent. The admirab most likely date.
Avery small four-armed Ganesa is illust Of Buddhist remains other than images, v dāgabas of the “ Bell” type (ganțhakara). TI Vaiddyanta ýilpa śāstra ; an extract from this (Ancient Ceylon, p. 336), giving the names an of a dagaba. The forms are ganthakara (bell (bubble-shaped), dhanyakam (paddy-heap), pad
The parts of a dagaba are as follow : the three-s bangles (pesd-vallalu), being the basal platform
For further details regarding the guardian Lokapalas, there may be consulted : Bell, Sixth Report Archaeological Survey of Ceylon, Colombo, 1896, p. 16; ditto, 1909, pp. 28-31; and Parker, Ancient Ceylon, pp. 291,

OM CEYLON
y occupy an important position in all Buddhist , and are first represented in Buddhist art at their services to Buddha at the chief crises of uddhist mythology, is to protect buildings from e quarters under their respective regency.
quarters were Indra (E.), Yama (S.), Varuna vehicles (vdhana), elephants.
are usually represented by their Regents, W.), and Vaisravana (N.). Figures of these the Bharhut stupa railing, about 100 B.C. In relic chamber of the Ruanveli Dagaba built y the four kings (Mahavamsa, Ch. XXX, v.89). Saman Divya Rāja (E.), Skanda (Kataragama iyanar, or sometimes the goddess Pattini (N.). d-Guardians, viz. those of the four cardinal and d nadir, was also in general use, as is clearly ures (figs. 130-2 and 136) excavated from the me is likewise recognized in the ritual of the image at the time of painting or setting the nting (18th century) of the Kelaniya Vihara. as follow: Indra (E.), Agni (SE.), Yama (S.), avera (N.), Siva or Isana (NE), and Brahma
on are also associated with the Four Quarters a of the Regents, but as being auspicious and ciation of animals with the four directions, y lake Anottata Vila, from which proceed four of an elephant, horse, lion, and bull.
ls in their capacity of guardians, images of two h found in Ceylon. One of these is a Jambhala n the Indian Buddhist monasteries, though no e image closely resembles the “ Sirhhala dvipe MS. 1643, reprodueed by Foucher.* Jambhala with a mongoose and pots of money, and is ble modelling suggests the 8th century as the
Irated in fig. 186. we have illustrated in figs. 71 and 189 two votive he six types of dagaba are described in the important work is translated by Mr. Parker d proportionate dimensions of the chief parts -shaped), ghatakara (jar-shaped), bubbulakara makara (lotus-shaped), and ambala (nelli-fruit).
tory ornaments (tun-mal-pesaya) or ornamental s or pediment with lotus-petal mouldings; the
632, 633, and 668 ; in addition to works already cited.
o Coomaraswamy, Mediaeval Sinhalese Art, p. 70. * Loc. cit., Pl. XX.

Page 15
INTROD
dome (geba) ; the tee (hatares-koțuva); the godli the umbrella (sat or chatta); and the end of th
The dagaba of fig. 71 is of admirable cra data are given.
Of other objects, the bronze panel of fig with Kandyan woodwork and ivory appliqué it jamb, originally applied to a wooden basis.
The curious and elegant lion, hook and ri of a birdcage.
The aquatic animals of figs. 154-66 are p the occasion of consecration of a tank.
The character of the remaining objects, &c. is sufficiently evident in the illustrations (
༄《།
THE HINDU
The Saiva bronzes of Polonnaruva are in works. They may have been cast in Ceylon, b Indian school of mediaeval bronzes represent Siva. The subjects include Siva and Parva the Sun-god, and one or two figures of Krsna Tamil occupation of Polonnaruva, though the Devales flourished contemporaneously with th The most striking forms are those of th here in figs. 1 and 4 is unusually perfectly pi Dancer. He is four-armed, and has flowery-b1 in the dance. On the proper right side, in the as a nãgini), on the left a cobra and the crescer terminates in a fan of Cassia leaves ; a pearl fi worn on the proper side, a woman's on the a drum (udukkai), the rear left a flame in a dish fear), the front left hand points to the lifted f bells tied round the calf of the leg, as morris-da in a fiery arch (tiruvasi), arising from the mouth a lotus pedestal (padmasana). ጳ
A legend is told in explanation of this da In the forest of Taragam there dwelt in Mimamsa. Siva proceeded there to confute beautiful woman, and by Visnu's servant Ati-Se led to dispute amongst themselves, but their ai endeavoured to destroy Him by means of inca magic fires, and rushed upon Him; but he se with the nail of his little finger, and wrapped it hi their offerings, and produced a monstrous serpe about his neck like a garland. Then He began monster in the shape of a malignant dwarf, M of his foot, and broke the ereature's back, so resumed the dance, beheld of gods and rishis. to behold the dance again in Tillai, sacred Chit: as we shall see below, in one's own heart).
1. Иišvaka

JCTION 9
ng's enclosure (devata-kotuwa); the spire (kota); 2 spire (kota-kerella). tsmanship and considerable age; but no exact
90 is particularly interesting. From analogy may be described as the lower part of a door
g of fig. 188, is probably the suspender or handle
robably votive offerings deposited in water on
such as cauldrons, basins, bells, door-handles, or accompanying descriptions.
BRONZES
all respects very different from the old Buddhist ut as a group they belong to the prolific South2d by the Madras Natarajas and the Tanjore ti, with Nandi, images of the Saiva saints, They probably mark one of the periods of possibility is by no means excluded that Siva le Buddhist viharas without conflict. he Natarajas, of which the example illustrated eserved. Siva is here represented as Cosmic aided locks ending in tight curls, and whirling flying hair, is a figure of Ganga (represented it moon. The head-dress contains a skull and let encircles the forehead : a man's earring is left. Of the four hands the rear right holds h; the front right is in abhaya mudra ("do not oot. Amongst the many ornaments are small ncers wear them. The whole figure is enclosed s of a pair of addorsed makaras, established on
ance (in the Periya Puranam), as follows:
nultitudes of heretical rishis, followers of the them, accompanied by Visnu disguised as a san, the naga Ananta. The rishis were at first nger was soon directed against Siva, and they ntations. A fierce tiger was produced in the ized it in his hands, and stripped off its skin imself about as a garment. The sages renewed nt, which Siva took in his hands and wreathed to dance ; but there rushed upon Him a last uyalaka. Upon him the God pressed the tip that it writhed upon the ground ; then He On this occasion Ati-Sesan obtained the book ambaram-the centre of the Universe (that is,
rmā, Pl. 28.
B

Page 16
10 W BRONZES FR
More significant than the details of this le. to in the Saiva hymns. The dance, called N within the universe : it is Siva's “Five-Activ Embodiment, and Release. The drum is for CI has always a moulding force on the material env The dwarf is Illusion, Plural Perception, the fett Egoity, in general, avidya. The flaming tiruva, vibrant in response to the informing energy wł on either side. The whole conception further nights of Brahma-reconciliation of time an manifestation and withdrawal.
This plastic type more than any other ex for it represents equally religion, science, and a of the philosophers of many races; but the clearest, most logical, and impassioned statem Becoming, to which any plastic art has attained. less, varies in excellence ; and notwithstandin the Polonnaruva examples, they are inferior as w the best images of Saiva saints in Ceylon, and Museum. Owing to a certain heaviness and la that the Nataraja of fig. 1 perfectly renders the and though the examples of figs. 2 and 6 have n and balance, as well as the perfection of mode praise can be given to that splendid work, tha adequately express those deep theories of life f The detailed description above given, cov with only the necessary modification of detail i Siva is represented in many other aspects to Mr. Arunachalam (Spolia Zeylanica, vol. vi, called sandhya-nrtta. A description of this danc referred to in the invocation preceding the Katha figure the arms are divided only from the elbow, ; also in a beautiful figure from Tanjore (Selectea and Crafts of India and Ceylon, fig. 50). It is p some particular local or temporary style. As poir this figure of Siva was probably associated wit the actual Nandi of fig. 109; the Parvati of fig. appear suitable. Figs. 8 and 23 are perhaps by There remain a number of standing or sea Parvati, and several separate figures of Sakti.
The Sakti of Siva is the Mother of the U Energy and Grace. "Let me set upon my head Our Mother, who cuts the fetters of rebirth and Freed. It is only through and with Sakti, who in the universe ; Siva and Sakti are the sun anc
It should he observed, at the same time, that the trampled figures of Indian sculpture have usually the same attributes as the God, and thus appear to represent
rather Time-bound phases (anhsa) of the God, than anything

OM CEYLON
gend, are the interpretations constantly referred sadanta, represents the movement of energy ities, Creation, Preservation, Destruction, eation (through sound, which, for the Hindus, ironment), the flame for Destruction (by Fire). ers of Time, Space and Causality, the sense of si circle represents awakened matter (Nature), lich touches its bounds above and below and implies the well-known myth of the days and i eternity by repeated phase-alternations of
presses the unity of the human consciousness rt. This unity has illumined the imagination, Indian Nataraja may well be claimed as the ent of the conception of life as an eternal The execution of individual works, none the g the great interest and fine preservation of vorks of art to the best of the Buddhist images to the two splendid Natarajas in the Madras ck of perfect fluidity, it can scarcely be said a thought which it is intended to symbolize; nore inspiration, they lack the perfect serenity :lling, of the best Madras figure. No higher n is implied in saying that it does fully and rom which it derives its inspiration. vering fig. 1, applies equally to figs. 2, 6, &c., ndicated in the description of the Plates. . One of these, illustrated in fig. 8, according p. 67), represents the evening dance of Siva, :e is given in Siva Pradosa Stotra, and it is also i Sarit Sagara. It may be noticed that in this a rather awkward arrangement, which appears " Examples of Indian Art, Pl. XXVII, and Arts ossible this special motif may be referable to ited out by Mr. Arunachalam (loc. cit., p. 67), h a figure of Parvati, and a bull (perhaps , 26 suggested by Mr. Arunachalam does not
one and the same artist). ited figures of Siva, accompanied by his Sakti,
Jniverse, as He its father : She is at once his ", says St. Arunandi, the gracious feet of this is seated with Our Father in the hearts of the ) is part of himself, indeed, that Siva operates l its radiance.
like a devil. In no case can the dwarf figure be identified with Yama.
* For more detailed discussion see Siddhanta Dipika, xiii. 1 (July 1912).

Page 17
INTROD
Next to the figures of Siva and Pârvati Polonnaruva series affords examples unique in c must be associated in date with those of the go date of the saints they represent. The four c Wäcagar, Tiru-jñāna-sambandha Svāmi, Ap all four being represented amongst the Pol Manikka Vacagar was the Prime Minister at any rate, not later than the 4th century. apostleship, when he abandoned the life of a ci spiritual hymns called collectively the Tiruvac represented as reciting from a palm-leaf manu Tiru-jiana-sambandha Swami is, next to Tamil rishis. There is scarcely a Saiva templ daily worshipped.' At the age of three, while ghat (at Shikali, in the Tanjore district); in appeared and gave him a cup of her own milk. to the direction in which the goddess had vani first in the great collection called Devaram. F opponent of the Buddhists ; he re-established til wedding, he, with his bride and all the guests, about his date have varied widely ; there is litt than Manikka Vacagar, and not later than the Tiru-jfiana-sambandha Svami is represen image illustrated in fig. 20, as a child, holding i him by Siva himself. There exists, however, a Ampthill.
Appar Svami, or Tiru-na-vukkarasu w sambandha, and a convert from Buddhism. H temple, performing the humble service of weed Polonnaruva (figs. 21, 22), he is represented in which he was accustomed to remove the weeds. fig. 22, if perhaps a little doubtful in the case (
The fourth of the great Tamil psalmists the Polonnaruva bronzes by the two images il is about the 8th century ; his birthplace Tiruvari On the occasion of his marriage, Šiva, o though F sake of saving human souls, took name and form bar the way of the wedding procession. Holdi the boy as a family slave. The document pro writing of the boy's grandfather, binding himsel that the marriage must be stopped, and the b * Follow me', He said, and led the way to a Sai appeared in a glorious vision, accompanied by as he was afterwards known, feeling like a roc and in obedience to the Lord's command, compo
- P. Arunachalam. loc. cit.
K. G. Sesha Aiyar, Tamilian Antiquary, no. 4, p. 54, endorsed by the Rev. G. U. Pope, who had previously suggested the 7th
or 8th century.

JCTION 11
come those of the Saiva saints, of whom the raftsmanship and variety. The actual figures d, but will be considered here in the order of hief Tamil saints and psalmists are Manikka par Svämi and Sundara Mürti Svämi, onnāruva bronzes. of a king of Madura, and lived about 100 A.D.; The chief events in his life were the call to tizen, and the subsequent composition of the gam. In the bronze shown in fig. 19 he is script of his songs.
Manikka Vacagar, the most popular of the in the Tamil country where his image is not his father was bathing, he was left alone on the esponse to his cry, the goddess of the place When the father returned, the baby pointed shed, and uttered a hymn, which now stands Ie became a wandering preacher, and a great ne Saiva faith in Madura. On the day of his was translated bodily to heaven. Opinions le doubt that he lived a century or two later
begining of the 7th century A.D. ted amongst the Polonnaruva bronzes by the n his hands the castanets which were given to much finer example in the collection of Lord
as the elder contemporary of Tiru-jfiana e was accustomed to wander from temple to ing the courtyards. In the two images from an attitude of devotion, holding the hoe with This identification is at any rate certain for of fig. 21. is Sundara Mirti Svami, represented amongst lustrated in figs. 15, 16, and 17. His date ir, near Negapatam. His story is as follows: Ie has neither form, nor city, nor name, yet for as an aged Brahman, and came from Kailas to ng up a piece of written palm-leaf, he claimed ved to be a copy of an original in the handand his descendants for ever. It was agreed oy must follow the Brahman as his slave. va temple, and there disappeared. Then He ārvatī and Nandi, and Sundara Mūrti Svāmi, tless tree, worshipped his master in ecstacy, ised his first hymn. In images, Sundara Murti
* Sundaram Pillai, Tamilian Antiquary, no. 3, p. 4.
Sundaram Pillai, loc, cit., p. 60; Mr. Arunachalam says about 500 A.D.
Illustrated in Pl. IV of Eleven Plates' (of Indian Sculpture).
2

Page 18
12 BRONZES FR
Svāmi is represented as a youth in bridal dres realized Whose were the bonds that bound hin (figs. 15, 16) has a touching quality of suddenly is one of the most remarkable works of all Inc One other figure (fig. 18) of a saint offe esvara, a young Brahman cowherd and devote Puranam (vol. i., pp. 512-38); or possibly Vya Patron saint of Tiger-Town (Tiru-puli-ur), wh flowers to Siva, and was given six eyes and the more perfect flowers to offer. Vyaghrapada's saints are much older than the apostles and p; a mixed Sinhalese and Grantha dialect, reads undecipherable : the whole constitutes an ho Apart from the foregoing Saiva figures, w worthy and dignified image of Surya Deva, thes Krsna. It is to be hoped that more discoverie In another series of images (figs. 42, 4. localities in Ceylon, we have remains of th goddess, representing the apotheosis of Kann unjustly accused of stealing the anklet of the and people by whom he was punished destroy cannonized, and is regarded as a manifestat jewelled anklets and the mango. She is a god as small-pox, measles, and cattle murrain. Ac tradition, Gaja Bahu (2nd century A.D.), in th India, brought away the Sacred anklets from Ma in Ceylon, where she has remained to this da cult, which includes the national game of an The identification ofthe images here illust the Nikaveva cave, appears to rest only on tra upon it, any more detailed description of her im ledge. One of the figures, the large British face strong and thoughtful, and the modelling the narrowing of the waist is carried beyond a work with any accuracy ; it cannot be earli and I should be inclined to suggest the 7th or Another Hindu divinity of great imp Karttikeyya, who is to be identified with Skand shrine at Kataragama in the South Central Pr pilgrimage. In fig. 34, Kattaragama Deviyo i heads and twelve arms, but the arrangement o Finally, we have to refer to the fine im: South Kensington, to which it was presented b associated with the bronzes from Polonnaruv tion of the monkey-god more impressive thal human or divine intelligence and affection, w
Parker, Ancient Ceylon, fig. 272. Further details of the cult and history of Pattini will be found in Parker, Ancient Ceylon, pp. 631 ff. ; C. J. R. Le Mesurier,

OM CEYLON
s, at the moment of his illumination, when he h. The best of the two images here illustrated arrested movement and breathless wonder, and lian art. ring flowers, most probably represents Chande of Siva, whose story is related in the Periya ghrapada, a Brahman boy-devotee of Siva, the O spent his days in offering the most beautiful
feet of a tiger to enable him to find more and story is related in the Koyil Puranam. These salmists above spoken of. The inscription, in
. . . pati irşabha vaninse, the first letter being norific title. e find amongst the Polonnaruva bronzes a notesun-god ; and a very good example of a dancing 's of Vaisnava images may yet be made. 3, 171, 184), from not very definitely specified e cult of Pattini. Pattini is a South Indian aki, wife of Kovilan or Pālaṁga, a goldsmith Queen of Madura. Her curse upon the king 'ed the city of Madura. She was subsequently ion of Sakti; her special attributes are the dess of chastity, and controller of diseases such cording to the Sinhalese Rajavaliya and current e course of his successful invasion of Southern dura and established the worship of the goddess y the central figure of an elaborate and varied celiya and the rites of fire-walking. rated, as well as of the beautiful wooden figure of dition; though it is not necessary to cast doubt ages would be a welcome addition to our knowMuseum bronze, is a most striking work : the of the body and limbs most admirable, though modern taste. It is very difficult to date such er than the 6th or later than the 12th century,
8th as most likely. ortance in Ceylon is Kataragama Deviyo, or a Kumara, the son of Siva and god of war. His ovince is still the scene of an important annual s represented, as Karttikeyya in India, with six f the heads and arms is awkward and unusual. age of Hanuman now in the Indian Museum at by the late William Morris. In age this may be a (10th-13th century). I know no representan this, or more pathetic in its combination of rith an animal nature.
J. C. B. R. A. S., vol. viii, no. 24, 1884 ; and V. Kanakasäbhai, The Tamils Eighteen Hundred
Years Ago, p. 5.

Page 19
LIST OF HINDU FIGU
SIV
(1) Natarāja... Siva is four-armed, and dar of two makaras. One foot is raised, the othe a drum (damaru), and in one left hand fire; thes left pointing to the legged foot. In the head-c and a figure of Ganga. For explanation of the
Polonnāruva, Siva Devāle, No. 1 : 10th — Museum Administration Report, 1908, No. 1
1907 (1911), Plate XXI ; Vincent Smith, Histo Colombo Museum register No. 13.88. 283.
Plate I, fig. , and Plate III, fig. 4.
(2) Nataraja : as fig. 1, but without tiruvč
Polonnaruva, Siva Devale, No. 1 : 10th-1
Museum Administration Report, 1908, No. 15 1908 (1913), Plate XVII : Vincent Smith, Histo Colombo Museum register No. 13.89. 283.
Plate II, fig. 2, and Plate III, fig. 5.
(3) Nataraja : as fig. 1, but without tiruvas
Polonnaruva, Siva Devale, No. 5 : 10th-1
Museum Administration Report, 1908, No. 24 1908 (1913), Plate XVI. Colombo Museum
Plate IV, figs. 6 and 7.
(4) Natarajas : as fig. 1.
Polonnäruva, lOth-3th century. Coppe
Museum Administration Report, 1908, No 106. 287.
Plate XI, fig. 24.
(5) Nataraja : with tiruvaisi in the form of the Indian Museum, Calcutta. Has a more de found at Polonnairuva.
Probably before 14th century. Copper.
Plate XVI. fig. 45.
(6) Whirling braided hair with figures repr an image of Națarāja (cf. fig. l).
Polonnaruva, 10th-12th century. Copper - Museum Administration Report, 1908, No. 290,
Plate XVI, fig. 53 3. Co 17679 (75 03)

RES IUSTRATED
A
ces within a tiruvasi arising from the mouths rests on a dwarf asura. In one right hand econd right hand in abhava mudra, the second ress a skull, and in the whirling braids indigas symbols see above, page 8.
3th century. Copper. Height 90.4 cm.
; Archaeological Surve Ceylon Annual Report ry of Fine Art in India and Ceylon, Plate LI.
isi.
3th century. Copper. Height 64.5 cm. ; Archaeological Surve Ceylon Annual Report, ory of Fine Art in India and Ceylon, fig, 188,
i or braided locks. 3th century. Copper. Height 61.5 cm.
; Archaeological Surve Ceylon Annual Report, register No. 13. 19. 284.
Height 46.2 cm. . 1-08, Colombo Museum register No. 13.
a nakara torana. Purchased in Colombo for :finitely Sinhalese character than any of those
Height 90.5 cm.
Senting (janga and a Naga, originally part of
Length 59 cm. 11, Colombo Museum register No. 3. 24.

Page 20
14 BRONZES FRO
(7) Feet, probably from a figure of Nat:
Anurädhapura, Pańkuliya monastery, 8th. İ0 cm. Nos. 62, 63. Bell, Seventh Progress Repor. Plate XVII. Colombo Museum register Nos.
Plate XXIII, fig. 113.
(8) Siva: with skull in head-dress, four-ar The arms dichotomize from the elbow, as in th Examples of Indian Art, Plate XXVII, and Vis Polonnaruva, Šiva Devale, No. 5 : 10thMuseum Administration Report. 1908, No. 12 1908 (1913), Plate XIX ; Coomaraswamy, Sele Vincent Smith, Histor of Fine Art in India an Colombo Museum register No. 13.92. 284.
Plate V, fig. 8.
SIVA and F
(1) Siva and Pârvati, seated: Siva with cresc two hands holding axe and deer, others in ahhaya bud in right hand, her left hand in vara mudrā. Polonnaruva, Šiva Devale, No. 1 : 10th-13t Museum Administration Report, 1908, No. 2 Plate II, fig. 3.
(2) Siva and Pârvati : standing figures s contained within a tiruvasi.
Polonnaruva, Šiva Devale, No. 1 : 10th-1. Museum Administration Report, 1908, No. 5 1907 (1911), Plate XXI. Colombo Museum
Plate VI, fig. 10,
PARN
(1) Pārvatī. Polonnaruva, Siva Devale, No. 5 : 10th-1 Should be associated with the Siva of fig. Report for 1908 (1913), Plate XIX ; Museum A Smith, Histor) of Fine Art in India and Ceylon,
104. 286. Cf. fig. 12. Plate X, fig. 23.
(2) Pārvatī. Polonnaruva, Šiva Devale, No. 3 : 10th-1 Museum Administration Report, 1908, No. 23 Plate XI, fig. 26.
(3) Pārvatī. Polonnaruva, Siva Devale, No. 5 : 10thArchaeological Survey Ceylon Annual Report Register No. 13, 109.287.
Plate XII, fig. 27.

M CEYLON
raja. W 9th century. Copper. Height 8 cm. and Archaeological Survey Ceylon, 1896, p. 74 and 3. 89. 297 and 13, 190. 297.
ned, with axe and deer, in half-dancing pose. Tanjore example (Coomaraswamy, Selected. soak arma, Plate XXVIII). 13th century. Copper. Height 67 cm. : ; Archaelogical Survey Ceylon Annual Report, cted Examples of Indian Art, Plate XXVIII ; d Ceylon, fig. 189; Visvakarma, Plate XXIX.
PÄRVATI
ent moon and cobra in head-dress, four-armed, and vitarka mudra, Parvati holding blue lotus
h century. Copper. Heights 60.3 and 51 cm. Colombo Museum register No. 13.90. 284.
imilar to the seated images of fig. 3, but
3th century. Copper. Height 47 cm. ; Archaeological Survey Ceylon Annual Report, register No. 13.94.284. .
VAT
3th century. Copper. Height 51.2 cm.
8, as in Archaeological Survey Ceylon Annual tdministration Report, 1908, No. 20; Vincent fig. 192. Colombo Museum register No. 13.
3th century. Copper. Height 63.6 cm. 3. Colombo Museum register No. 13. 108.287.
-13th century. , 1908 (1913), Plate XVII. Colombo Museum

Page 21
LIST OF HINDO FIG
(4) Pārvatī. Polonnâruva, Siva Devâle, 10th-13th ce Colombo Museum register No. 13. 110. 2 Plate XII, fig. 28.
(5) Pārvatī.
| Polonnâruva, Siva Devâle, 10th-13th ce Colombo Museum register No. 13. 111A Plate XII, fig. 29.
(6) Pārvatī.
Polonnaruva, Siva Devale, No. 1 : 10th
Museum Administration Report, 1908, N l l B. 288.
Plate XIII, figs, 30, 31, 32.
(7) Šakti, probably Pārvatī.
Polonnaruva, 10th-13th century. Copp
Museum Administration Report, 1909, Nc 206. 299.
Plate XXIII, fig. 129.
(8) Sakti, perhaps Parvati: right hand wit
Polonnaruva, Siva Devale, 10th-13th cer
Museum Administration Report, 1908, 96. 285.
.13 Plate VIII, figs. 12 and ہے۔
(9) Sakti not identified
Sangili Kanadara tank, Anuradhapura, Height 9.4 cm.
Colombo Museum register No. 13. 213. which is broken or imperfect, was found on Ch. XIV, v. 100, has : * The image of a Deva holes in it. should be consigned to water ” (Av
Plate XXIII, fig. 133.
KÄRTT
Kataragama Deviyo, or Kārtikeya : six-he with grotesque lion-head.
Dunagaha Devale, Negombo District, I Colombo Museum register No. 13. 1 13. Plate XIV, fig. 34.
GAN
Gamesa. Ceylon, 10th Century (?). Brit Plate XXVIII, fig. 186.
3. S.P.C. 89004

URIES ILLUSTRATED 15
ntury. 87.
ntury. 288.
13th century. Copper. Height 78.7 cm. No. 3. Colombo Museum register No. 13.
ær. Height 31 cm. ... 3-08. Colombo Museum register No. 13.
h blue lotus bud, left hand in vara mudrā. tury. Copper. Height 41 cm. No. 21, Colombo Museum register No. 13.
9th-10th centuгу, perhaps earlier. Copper,
299. It is interesting to note that this image, the site of a tank. The Mahanirvana Tantra, with missing limbs, or which is broken or has alon, Tantra of the Great Liberation, p. 346).
TKEYA aded, riding on peacock, nearly plain torana.
909. Bronze. Height 19.5 cm. 288.
NESA ish Museum. Nevil Collection.

Page 22
16 i BRONZES FI
ŠAVA
(1) Sundara Mūrti Svāmi, Šaiva saint an Polonnāruva, Siva Devāle, No. 5, 10thMuseum Administration Report, 1908, No. 1908 (1913), Plate XIX; Coomaraswamy, St Vincent Smith, History of Fine Art in India and Ceylon, fig. 48. Colombo Museum register Nc
Plate VIII, figs. 15 and 16.
(2) Sundara Mürti Svāmi, Šaiva saint and Polonnaruva, Šiva Devale, No. 5, 10th-1. Museum Administration Report, 1908, No. 1 1908 (1913), Plate XVIII. Colombo Museum
Plate VIII, fig. 17.
(3) Saiva saint-Candesvara, or perhaps Polonnaruva, Siva Devale, No. 5, 10th-| Museum Administration Report, 1908, No. 1908 (1913), Plate XVIII. Colombo Museum
Plate IX, fig. 18.
(4) Mänikka Väcagar, Saiva saint and ps holding a palm-leaf manuscript, inscribed with Polonnaruva, Siva Devale, No. 1, 10thMuseum Administration Report, 1908, No. of India and Ceylon, fig. 47. Colombo Muse
Plate IX, fig. 19.
(5) Tirujiana Sambandha Svami, Saiva sa Polonnāruva, Siva Devāle, No. 5, 10th — Museum Administration Report, 1908, No. 1 1908 (1913), Plate XVIII. Colombo Museum
Plate IX, fig. 20.
(6) A Śaiva saint, probably Appar Svāmi, Polonnāruva, Siva Devāle, No. , 10th — Museum Administration Report, 1908, No. 1
Plate X, fig. 21.
(7) Appar Svāmi, Saiva apostle and psalm Polonnāruva, Siva Devāle, No. 1, 10th-1 Museum Administration Report, 1908, No. Plate X, fig. 22.
NAND :
Nandi. Polonnaruva, Šiva Devale, No. 5, 10th-13. Museum Administration Report, 1908, No. 2 Parvati of figs. 8 and 23, as in Archaeological S. XIX. Colombo Museum register No. 13. 185
Plate XXIII, fig. 109.

OM CEYLON
SANTS
psalmist. 3th century. Copper. Height 62.6 cm. 6 : Archaeological Survey Ceylon Annual Report lected Examples of Indian Art, Plate XXXI ; Ceylon, fig. 189; Arts and Crafts of India and ... 13. 98.285.
| psalmist.
th century. Copper. Height 52.7 cm.
7 : Archaeological Survey Ceylon Annual Report,
register No. 13.99. 285.
Vyaghrapada-offering flowers. 3th century. Copper. Height 73 cm.
; Archaeological Survey Ceylon Annual Report, register No. 13. 100. 286.
almist : right hand in vitarka mudra, left hand
the formula Namasivaya, Hail to Siva. 3th century. Copper. Height 54.2 cm. 8 : Visvakarma, Plate LXII; Arts and Crafts um register No. 13. 101. 286.
int and psalmist ; with castanets. 3th century. Copper. Height 48.6 cm. 3; Archaeological Survey Ceylon Annual Report,
register No. 13. 102. 286. V
saint and psalmist (c. 500 A.D.). 3th century. Copper. Height 58.4 cm. ). Colombo Museum register No. 13. 103.286.
ist. 3th century. Copper. Height 55 cm.
4.
ivas bull
h century. Copper. Height 42 cm. 5. This should be associated with the Siva and
Irvey Administration Report, 1908 (1913), Plate
297.

Page 23
LIST OF HINDU FIG
ΡΑΤΤ
(1) Erect figure of Pattini, with cobra, anc Probably 9th-10th century. Copper. He Collection of Leslie de Saram, Esq., No. 22.
Plate XVI, fig. 43.
(2) Sakti: Pattini (?). Bronze. Height 1 Colombo Museum register No. 13. 215. 299 figure suggest the Kandyan style. A date of 1
Plate XXIII, fig. 135.
(3) Pattini, with high head-dress from which left in vitarka mudra.
Bronze. From the north-east of Ceylon, b 7th-8th century. Height 143.75 cm.
British Museum (presented in 1830 by Sir Art, Plate XXXIII ; Vincent Smith, History o, Višvakarnā, Plate XLVIII.
Plate XXVI, fig. 171.
(4) Seated figure of Pattini : probably 9thCollection of Leslie de Saram, Esq., No. 26.
Plate XVI, fig. 42.
(5) Pattini. Ceylon, about 10th century. British Museum, Nevill Collection; J. R. A.
Plate XXVIII, fig. 184.
VIŞINI (1) Vişņu with two śaktis. Mediaeval, pe1 Collection of Leslie de Saram, Esq., No. 26.5 cm. (šaktis).
Colombo Museum register No. 11. 201. 26
Plate XVI, fig. 41.
(2) Visnu with two Saktis : on pedestal, with Vişņu four-armed, two hands holding cakra ands left hand touching left thigh. The whole surm
South Indian, 17th-18th century. Copper. H Colombo Museum register No. 13.95. 284.
Plate VI, fig. 11.
LAKŞI Sakti, probably Laksmi. Trincomalee; abo Colombo Museum register No. 13. 214, 29
Plate XXIII, fig. 134.
KRŞIN (1) Bala-Krsna. Kurunegala. Copper. H Presented by R. G. Templar, Esq., 1887. C Plate XXI, fig. 98.
Ο

RES ILLUSTRATED 17
N
dress raised to show one anklet. ght 22.5 cm. Colombo Museum register No. 11. 197. 265.
5 cm.
The costume and head-dress of this unique 5th-18th century may be suggested.
a jewel is missing; right hand in vara mudrā,
etween Trincomalee and Batticaloa, perhaps
3. Brownrigg). Selected Examples of Indian Fine Art in India and Ceylon, Plate L;
-10th century. Copper. Height 13.3 cm.
Colombo Museum register No. 11.198. 265.
Height 16.4 cm. S., April 1909, Plate III, fig. 2.
U
haps Indian. 26. Copper. Height 30.5 cm. (Visnu), and
5.
side pilasters surmounted by a makara torana. ankha, one right hand in vara mudrā and one lounted with a seven-headed cobra.
(eight 20.8 cm. (Visnu), and 16.5 cm. (Saktis).
M
put 13th century ? Copper. Height 16 cm. 9.
NA
Leight 8.3 cm. olombo Museum register No. 13. 171. 295.

Page 24
18 BRONZES F
(2) Bala-Krsna. Brass. Height 12.2 cm. Colombo Museum register No. 13. 172. 2. Plate XXI, fig. 99.
(3) Dancing Krsna. Polonnaruva, Siva 53,7 cm.
Museum Administration Report, 1908, No.
Plate XI, fig. 25.
HAN
Hanuman. Copper : three views. Ceylon stand 76.2 cm.
Indian Museum, South Kensington (prese
Society), Plate VII : Arts and Crafts of India a
Plate XXV, figs. 168–170.
S. SÜ Sūrya Deva, the Sun. Polonnāruva, Šiva Height 54 cm.
Museum Administration Report, 1908, No. 1908 (1913), Plate XIX; Vincent Smith, His Colombo Museum register No. 13. 97. 285.
Plate VII, fig. 14.

ROM CEYLON
95.
Devale, No. 1 : 10th-13th century. Height
14. Colombo Museum register No. 13. 107.287.
UMAN
, 10th-13th century. Height of figure with
nted by William Morris). Eleven Plates (India ad Ceylon, fig. 49; Visvakarma, Plate C.
RYA
Devale, No. 5: 10th-13th century. Copper.
8 : Archaelogical Survey Ceylon Annual Report, 'ory of Fine Art in India and Ceylon, fig. 190.

Page 25
LIST OF BUDDHIST FIC
BUDD
(1) Sedent Buddha, sheltered by the naga Kandyan, 19th century, collection of Leslie Colombo Museum register No. 11. 176. 264
Plate XV, fig. 38.
(2) Sedent Buddha, with makara torana. 2
Collection of Leslie de Saram, Esq. The sh the image.
Colombo Museum register No. 11. 186. 26
Plate XV, fig. 39.
(3) Recumbent Buddha (parinirvana). Nilgama, Matale district, 19th century. 27. Colombo Museum register No. 13. 117. 28S
Plate XV, fig. 40.
(4) Sedent Buddha, with makara torana.
Kotagama, Kégalla district, presented by the Height 20.2 cm.
Colombo Museum register No. 13. 112. 288
Plate XIV, fig. 33.
(5) Sedent Buddha, with makara torana.
Anuradhapura, presented by the Governmen torana copper. Height 23 cm.
Colombo Museum register No. 13. 114. 288.
Plate XIV, fig. 35.
(6) Visi-ata Buddha ripaya, plaque with twen
Excavated in Uda Dumbara, 1909 : about 1 Colombo Museum register No. 13. 115.
Plate XIV, fig. 36.
(7) Buddha. Collection of Leslie de Saram, Esq. No. Colombo Museum register No. 1 1. 185. 26.
Plate XVI, fig. 44.
Ο 2

URES ILLUSTRATED
A
Mucalinda, brass. . de Saram, Esq.. Height 42.5 cm. No. 1.
4.3 cm. No. 13. rine (8th-9th century) is perhaps older than
5.
5X65 cm. ).
Government of Ceylon, June 1900. Bronze.
3.
t of Ceylon, 1875. Figure and disana bronze,
ty-eight Buddhas, surmounted by a lion head. 10th century (?). Bronze. Height 19 cm. 288.
10. Copper. Height 16.5 cm. 5.

Page 26
20 BRONZES FR
(8) Sedent Buddha, right hand in vitarka Badulla, 5th-6th century. Height 54.5 ( Presented by G. F. K. Horsfall, Esq. Co
Plate XVII, fig. 46.
(9), Sedent Buddha, hands in dhyana mudra, 1S m1SSIng.
Anurādhapura, Toluwila pilima-ge, 5th-6t Catalogue of Finds deposited in the Colombo No. 13. 119. 289.
Plate XVII, fig. 47.
(10) Standing Buddha. Bronze. Height Ceylon, June 1890.
Colombo Museum register No. 13. 120. 2
Plate XVII, fig. 48.
(11) Buddha, right hand in bhumisparsa in simhasana, with a pediment as in fig. 176.
Ceylon, 8th-10th century. Present posi
J. R. A. S., April 1909, Plate II, fig. 2.
Plate XXVII, fig. 177.
(12) Sri-patula, sacred footprints of Bud Bronze. Length 3.8 cm. Catalogue of Finds depo, Museum register No. 13. 184. 296.
Plate XX, fig. 108.
(13) Model of foot, portion with toes only. of Finds deposited in the Colombo Museum, Sect 188. 297.
Plate XXII, fig. 112.
BODНISATTVAS
(1) Bodhisattva, probably Maitreya : triva, Anuradhapura, excavated south of Thup, century. Copper. Height without modern
Catalogue of Finds deposited in the Colomb Examples of Indian Art, Plate XX; Vincent S fig. 187. Colombo Museum register No. 13.
Plate V, fig. 9.
(2) Avalokitesvara, bronze. Dhyâni Budi
Ceylon, 8th century. Height 8.7 cm.
Author's Collection. J. R. A. S., 1909, F Plate XXI : Havell, Indian Sculpture and Pain Art in India and Ceylon, fig. 195; Coomaraswa
Plate XXVII, figs. 172, 173

OM CEYLON
mudra, left hand holding lotus, bronze. m., length 43 cm. lombo Museum register No. 13. 118. 289.
on padmasana with support for chatra, which
h century. Height 22 cm. with chatra 32.3 cm Museum, No. 100. Colombo Museum register
22 cm. Presented by the Government of
89.
nudra. Pedestal consisting of padmasana and
tion not known.
ldha. Tamil ruins valavya, Anuradhapura. sited in the Colombo Museum, No. 92. Colombo
Sigiriya. Brass. 13.4 and 10 cm. Catalogue . III, No. 10. Colombo Museum register No. 13.
AND DEVAS
hka figure with handsin vitarka and vara mudrā. arama Dagaba, near Basavak-kulam. 6th-7th stand 46.5 cm. po Museum, No. 97 ; Coomaraswamy, Selected mith, History of Fine Art in India and Ceylon, 93. 284.
dha in head-dress; right hand in vitarka mudra.
late I, fig. 1: Selected Examples of Indian Art, ting, Plate XI ; Vincent Smith, History of Fine my, Arts and Crafts of India and Ceylon, fig. 28.

Page 27
LIST OF BUDDHIST FIC
(3) Avalokitesvara, Ceylon, 8th century. British Museum, Nevil Collection. J. R. A Plate XXVII, fig. 174.
(4) Avalokitesvara, on Mt. Potalaka. Dhy mudra, left hand holding rose lotus. Padmasana o
Ceylon, 9th-10th century. Height 13.75 British Museum, Nevill Collection. J. R. A Plate XXVII, fig. 175.
(5) Avalokitesvara. Dhyani Buddha in he: holding rose lotus. Inscription, Samgha-dattahi or signifying given to the Samgha .
Ceylon, 8th-9th century. Height 9.6 cm. British Museum, Nevill Collection. J. R. A Plate XXVII, fig. 176.
(6) Vajrapani. Copper. Ceylon, 16th century. Height 11.1 cm. Author's Collection. J. R. A. S., April 190 Plate XXVIII, fig. 185.
(7) Cunda. Ceylon. 9th-10th century. No. 178, four-armed, with rosary, bowl, and No. 179, four-armed, with bowl, book, and o Height 11.25 cm.
J. R. A. S., April 1909, Plate III, fig. 1. Plate XXVII, figs. 178, 179.
(8) Praying Devata. British Museum, Ne Ceylon, about 10th century.
(9) Praying Devata. Present position not Ceylon, about 10th century. Plate XXVII, figs. 180, 181.
(10) Jambhala (Kuvera), copper. Ceylon, 8th century. Height 7.8 cm. Author's Collection. J. R. A. S., April 19 Fine Art in India and Ceylon, fig. 196, Arts and
Plate XXVIII, figs. 182, 183.
(11) Seated figure, not identified. Alms-hal logue of Finds deposited in Museum,No.95, cf. fig. 3
Plate XXI, fig. 97.
LOKAP
(1) Lokapālas, Anurâdhapura, 9th-10th ce 26.2 cm. and 26 cm.
From cellas at the four entrances to the Pu Seventh Progress Report Archaeological Survey of not double-bodied like those from Vijayarama

GURES ILLUSTRATED 21
Height 8.7 cm. I. S., April 1909, Plate II, fig. 3.
āni Buddha in head-dress, right hand in vara n a rocky pediment representing Mt. Potalaka.
ΟΠΥ .
I. S., April 1909, Plate II, fig. 1.
ad-dress, right hand in vara mudrā, left hand n Sanskrit characters, being the donor's name
. S., April 1909, Plate I, fig. 2.
)9, Plate I, figs. 3, 5.
British Museum, Nevill Collection. i chank (?). Nectar vessel (?) in head-dress. ther attributes. Dhyani Buddha in head-dress.
vill Collection.
, known.
09, Plate I, fig. 4; Vincent Smith, History of Crafts of India and Ceylon, fig. 29.
l, near the Rest-house, Anurādhapura. Cata39. Colombo Museum register No. 13. 170.295.,
ÄLAS ntury. Copper. Heights 26.5 cm., 26 cm.,
liyankulam monastery, Anuradhapura (Bell, Ceylon, 1896 (1904), p. 3). These figures are (figs. 137-40), nor associated with animals.

Page 28
22 BRONZES F
Fig. 128, with the vajra, is probably Dhrtara deposited in the Colombo Museum, Nos. 82, 84, 298; 13.203. 298; 13.204. 298; 13.205. 298.
Plate XXIII, figs. 125-8.
(2) Lokapalas. Topaveva, 10th century The seven figures obtained by Mr. Bell fro are here illustrated in figs. 130, 131, 132 (A-D)
(3) Brahma : Four-armed, four-faced, fr. symbols.
Archaeological Survey Administration LXVIII.
Plate XXIII, fig. 130.
(4) VişQu (nadir) : eight-armed, tWo-facei Archaeological Survey Administration Re LXVIII.
Plate XXIII, fig. 131.
(5) Varuna (west) : two-armed, with a c Archaeological Survey Annual Report, 19 Plate XXIII, fig. 132 A.
(6) Agni (south-east) : two-armed, with Archaeological Survey. Annual Report, 190 Plate XXIII, fig. 132 B.
(7) Nairta (south-west) : two-armed, ho Archaeological Survey Annual Report, 19 Plate XXIII, fig. 132 C. −
(8) Indra (east) : two-armed, with club i Archaeological Survey Annual Report, 19
Plate XXIII, fig. 132 D.
(9) Yama (south) : two-armed, with sy Archaeological Survey Annual Report, 19 Plate XXIII, fig. 136.
These seven figures bear the Colombo M and 13. 216. 300. See also Colombo Museu referred to under the numbers 55/09, 56/09, by Mr. Bell, Archaeological Survey Annual were found in the compartments of a brick Topaveva Dagaba. In other chambers were 145-8 and 166.
The seven figures clearly represent sev Brāhmanical system, corresponding to the fo and the zenith (Brahmâ) and nadir (Vişnu) Regents (Satara-varam deviyo) is exemplified

OM CEYLON
ra, Regent of Indra (E.). Catalogue of Finds 1, 83. Colombo Museum register Nos. 13.202.
Copper. Average height 15.2 cm. In the second cella of the Topāvęva lake Dāgaba, and 136. The identifications are as follows :
ont hands in attitude of worship, others with
eport, 1909 (1914), Plates LXI, LXII, LXIII,
d, with mugura and cakra. port, 1909 (1914), Plates LXI, LXII, LXIII,
obra in right hand. 09 (1914), Plate LXIX.
symbols. 9. (1914), Plate LXIX.
olding symbols. O9 (1914), Plate LXX.
n right hand. O9 (1914), Plate LXX.
mbols. 19 (1914), Plate LXIX.
useum register Nos. 13. 207. 299 to 13. 212. 299. n Administration Report, 1909, where some are 59/09, and 60/09. Their find-place is described Report, 1909 (1914), pp. 17 and 28–31. They vantra-gala, in the second relic-chamber of the ound the objects here illustrated in figs. 116-19,
in of the ten Lokapalas or Dik-palas of the ur cardinal points, the four intermediate points, while the purely Buddhist scheme of the Four n the examples here illustrated in figs. 125-8 and

Page 29
LIST OF BUDDHIST F
137-40. The Brahmanical system appears to h it will be found in the 18th-century ceiling-p: recognized in the Netra Mangalya ritual, for pp. 70-5.
Lokapalas, Dik-palas, or Regents of the F divinities from the four entrances of the Vi century.
These are the figures illustrated by Bell, Ceylon, 1896, Plates XXII-XXV and pp. 8, 1( vice-versa). The images have been consideral prepared. Two hands of each image are fol inwards ; the other hands hold attributes in mil Each has two faces and four arms. Copper. are as follows :
(10) Dhrtarastra (Dhatarattha). Regent was originally a trident. The left arm is broke the elephant, fig. 143.
Colombo Museum register No. 13. 217.30
Plate XXIII, fig 137A. and B.
(11) Viripaksa (Virulha). Regent of the cobra is coiled about the arm ; the left hand attributes as supreme king of the nagas. Ass
Colombo Museum register No. 13. 218. 3
Plate XXIII, fig. 138 A and B.
(12) Vaisravana (Vessavana). Regent of now missing. Associated with the lion, fig.
Colombo Museum register No. 13. 219. 3
Plate XXIII, fig. 139 A and B.
(13) Viridhaka (Virupakha). Regent of now missing. Associated with the horse, fig. Colombo Museum register No. 13. 220.
Plate XXIII fig. 140 A and B.
4 SPC 89004

GURES ILLUSTRATED - 23
ave been the one in general use in later times : inting of the Kelaniya Vihara, and was that which consult my Mediaeval Sinhalese Art,
our Quarters, Satara-varam deviyo : guardian ayarāma monastery, Anurādhapura, 8th-9th
Sixth Annual Report Archaeological Survey of 5 (but Plate XXIV should be Plate XXV and bly damaged since the original drawings were led in worship, on the side originally turned itant attitudes guarding the respective quarters.
Each 16.5 cm. in height. The identifications
of the East. The rod held in one right hand n off a little below the elbow. Associated with
O (A).
West. The right hand grasps a cobra, another points to the ground. The cobras are his
ociated with the bull, fig. 151.
500 (A).
the North. A thin club in the right hand is
141. 00 (A).
the South. A thin club in the right hand is
142. 300 (A).

Page 30
LIST OF ANIMAL F
METAL OBJECT
ANI
(1) Lion. From cella at northern entral 8th-9th century. Copper. Colombo Museu this figure and the three following is described Survey, pp. 8, 16, and Plates XXII-XXV. See Museum, Nos. 69-72. ፍ
Plate XXIV, fig. 141.
(2) Horse. From cella at southern entra 8th-9th century. Copper. Height 11 cm.
Plate XXIV, fig. 142.
(3) Elephant. From cella at eastern entra 8th-9th century. Copper. Colombo Museu
Plate XXIV, fig. 143.
(4) Bull. From cella at western entran 8th-9th century. Copper. Height 11.3 cm.
Plate XXIV, fig. 144.
(5) Sedent lion. Anuradhapura. Brass. the Colombo Museum, No. 65. Colombo M
Plate XXI, fig. 105.
(6) Lion passant. Anurâdhapura : 6th ce Finds deposited in the Colombo Museum, No. 6
Plate XXI, fig. 106.
(7) Three lions. Copper. Height 7.8 cm From the second cella of the Topāvęva Dāgab figs. 116-19, 130-2, 138, and 145-8. The fil figures (146-8) is described in the Archaeol pp. 28—31.
Plate XXIV, fig. 145.
(8) Three elephants. Copper. Height 6 register No. 13. 225. 300. Plate XXIV, fig. 146.
(9) Three horses. Topaveva Dagaba. register No. 13. 226.300.
Plate XXIV, fig. 147.
24

CURES AND MINOR
'S ILLUSTRATED
MALS
nce to Vijayarâma Monastery, Anurâdhapura : m register No. 13. 221. 300. The find-place of in the Sixth Annual Report of the Archaeological also Catalogues of Finds deposited in the Colombo
ince to Vijayarâma Monastery, Anurâdhapura : Colombo Museum register No. 13. 223. 300.
ance to Vijayarama Monastery, Anuradhapura : m register No. 13. 223. 300.
ce to Vijayarâma Monastery, Anurâdhapura : Colombo Museum register No. 13. 288.300.
Height 9.8 cm. Catalogue of Finds deposited in (useum register No. 13. 181. 296.
ntury ? Copper. Height 7.5 cm. Catalogue of 6. Colombo Museum register No. 13. 182. 296.
Colombo Museum register No. 13. 224.300. a, associated with the objects here illustrated in hd-place of this group and the three following
ogical Survey Annual Report for 1909 (1914),
| cm. Topäveva Dägaba. Colombo Museum
Copper. Height 7 cm. Colombo Museum

Page 31
ANIMAL FIGURES AND MINOR
(10) Three bulls. Topaveva Dagaba. ( register No. 13. 227.300.
Plate XXIV, fig. 148.
(11) Elephant. Dondra Head. Copper. No. 13. 229. 301.
Plate XXIV, fig. 149.
(12) Lion. Dondra Head. Copper. He 230. 301. -
Plate XXIV, fig. 150.
(13) Bull. Dondra Head. Copper... , Hei 231. 301.
Plate XXIV, fig. 151.
(14) Lion. Dondra Head. Copper. Heig 232. 301.
Plate XXIV, fig. 152.
(15) Five elephants. Dondra Head. H Nos. 13. 233. 301 ; 13. 234. 301 ; 13. 235. 301
Plate XXIV, fig. 153.
(16) Lion. Ceylon : 16th-17th century ? Plate XXVII, fig. 187.
(17) Seven-headed cobras. Anurädhapura and 17 cm. Colombo Museum register Nos.
Plate XX. figs. 85, 86.
(18) Twenty-one-headed cobra. Inferior co cella of the Topāvęva Dāgaba. Colombo Mus Survey Annual Report, 1909 (1914), Plate LXV) were obtained the objects here illustrated in fi a second yantra-gala of nine compartments, e. cobras, adult female and four young, or forty-fiv to ensure the presence of indiga guardians for Parker, Ancient Ceylon, p. 657.
Plate XX, fig. 87.
The history of Dondra is summarized in Tennent's Ceylon, 1860, vol. ii, pp. 113 and 114 : " The most important temple was a shrine which in very early times had been erected by the Hindus in honour of Vishnu. It was in the height of its splendour, when in 1587 the place was devastated in the course of the marauding expedition by which De Souza d'Arronches sought to create a diversion during the siege of Colombo by Raja Simha II.'
Sir Emerson Tennent may have been somewhat in error in attributing the foundation of the temple to the Hindus, inasmuch as the cult of Vishnu is closely connected with that of Buddha in Ceylon. In most Buddhist Vihares in Ceylon there is a black statue of Vishnu either in the same room with the Buddha-rupa, or in a separate amere.

METAL OBJECTS ILLUSTRATED 25
'opper. Height 5.7 cm. Colombo Museum
Height 2.8 cm. Colombo Museum register
ght 2.5 cm. Colombo Museum register No. 13.
ght 3 cm. Colombo Museum register No. 3.
ht 3.7 cm. Colombo Museum register No. 13.
(eight 4.8 cm. Colombo Museum register ; 13. 236. 301 ; 13. 237. 301.
Bronze. Length 8.5 cm. Author's Collection.
:9th-10th century ? Copper. Height 14.7 cm. 13. 157. 293, and 13. 158. 294.
pper and brass. Height 20 cm. From the third eum register No. 13. 159. 294. Archaeological and p. 29. The chamber below that in which gs. 116-19, 130-2, 136, and 145-8, contained ach of which contained a family of five metal e snakes in all. These were no doubt deposited he treasure placed in the relic chamber. Cf.
The bronzes which have been rescued from the disaster of
Dondra are all miniatures. . . . They include seven bronze elephants, three horses, one bull, six homunculi, a bronze bottle,
a conch shell, miniature chatties and a few other articles. Some of these things may have partaken of the nature of toys without being divested of a religious significance.
A great annual religious fair is still held at Dondra, at which forms of animals crudely modelled in pottery are sold for the delectation of the young. The age of bronze and copper has given way to that of brass and unglazed pottery (Condensed from P. Arunachalan, Ancient Bronzes in the Colombo Museum ..., Spolia Zeylanica, vol vi, pp. 71, 72).

Page 32
26 . . BRONZES FR
(19) Seven-headed cobra. Anuradhapura. register No. 13. 238. 301.
Plate XXIV, fig. 154.
(20) Chank. Copper. Height 3.3 cm. No. 13. 239. 301.
Plate XXIV, fig. 155.
(21) Aquatic and semi-aquatic animals.
century (but see description offig. 166). Colom 301 : 13. 242. 301 ; 13. 243. 301 : 13.244. 302
248. 302 : 13. 249. 302. These were probably at the time of consecration. The Mahdnirvd consecration of a Tadaga (reservoir over 2,000s in width) there should be a nagastambha (a co. Aquatic animals such as fish, frogs, alligators, a to the means of the person consecrating. . . . Th gold, two alligators, and two tortoises, one of c Great Liberation, p. 314).
Plate XXIV, figs. 156-65.
(2) Fish on pedestal. Topaveva : 10th cc No. 13. 250. 302.
This fish is also illustrated in the Archaeo Plate LXVII. It was found, together with the 130—2, 136, and 145-8, in the second cella of th
Plate XXIV, fig. 166.
SYMBOLS OF BRAHMA
“ The constant use of the emblems of the of the gods; this was provided for by the offeri carved (cast), or drawn, were thought to be t injuries inflicted by evil spirits, who were bo Ancient Ceylon, pp. 506–21 and 643 seq.
(1) Double Tristila, partly broken. Coppe century. Probably a symbol of Siva (Isana). objects here illustrated in figs. 116-18, 130-2, 13 Report, 1909 (1914), Plate LXVII. Colombo M
Plate XXII, fig. 119.
(2) Double Trisula. Copper. Height 5. Colombo Museum register No. 13. 197. 298. St
Plate XXIII, fig. 120.
(3) Two Ankusa or Heiduva (elephant-goac 12 cm. Perhaps symbols of Ayilyanar. From associated with the objects here illustrated in figs, Survey Annual Report, 1909 (1914), Plate LXV. 298, and 13. 194. 298.
Phate XXIII, figs. 116,117.

OM CEYLON
Copper. Height 6.8 cm. Colombo Museum
Anuradhapura. Colombo Museum register
Copper. “Anuradhapura, o anterior to 12th bo Museum register Nos. 13. 240. 301 ; 13.241.
13. 245. 302; 13. 246. 302; 13.247. 302; 13. leposited or intended to be deposited in a tank na Tantra, Ch. XIII, 166—7, reads : “ In the quare cubits in area and not less than 45 cubits umn in the centre) and some aquatic animals. ld tortoises, should be made of metal according ere should be made two fish and two frogs of opper and one of gold ' (Avalon, Tantra of the
ntury. Copper. Colombo Museum register
logical Survey Annual Report for 1909 (1914), copper figures here illustrated in figs. 116-19 he Dagaba in the Topaveva lake.
ANICAL DEITIES, ETC. .
deities was not intended for the satisfaction ngs presented to them. The symbols, whether he most effectual guards against all kinds of th vindictive and numberless. See Parker,
r. Height 10.5 cm. Topāvęva Dāgaba, 10th From the second cella, associated with the
36, and 145-8, Archaeological Survey Annual
useum register No. 13. 196. 298.
3 cm. Probably a symbol of Siva (Isana). Polia Zeylanica, vol. vi, Plate XXIII, fig. 3.
ls) on pedestals. Copper. Heights 11.3 cm., the second cella of the Topāvęva Dāgaba,
118, 119, 130-2, 136,and 145-8, Archaeological [I. Colombo Museum register Nos, 13, 193,

Page 33
ANIMAL FIGURES AND MINOR
(4) Ankusa or Heiduva (elephant-goad). Colombo Museum register No. 13. 199. 298.
Plate XXIII, fig. 122.
(5) Vajra (?). Copper. Height 5.3 cm. register No. 13. 192. 298. Spolia Zeylanica, vo
Plate XXIII, fig. 115.
(6) Svastika. Copper. Diameter 9 cm. ( Dagaba, together with other objects here illust 145-8. 10th century. Colombo Museum reg
"The Indian meaning of the Swastika, the ( that is, “may it be well.' It indicates its luc the words themselves in the form Swasti are inscriptions in Ceylon. But the symbol goes b interpretation . . . . The guarding power of lab the cause of their constant employment in charr which the people of the East as well as the Swastika is doubtless largely based on the be malignant beings (Parker, Ancient Ceylon, p.
Plate XXIII, fig. 118.
(7) Svastika. Copper. Diameter 5.3 cm Colombo Museum register No. 13. 200. 298.
Only four cast metal svāstikas appear to ha from the Kiribat Vihara, or from the Thuparar
Plate XXIII, fig. 123.
(8) Blue lotus-bud. Copper. Height 7.2 cı Finds deposited in the Colombo Museum,No. 182 (
Plate XXIII, fig. 121.
(9) Star. Muniseram, mediaeval. Brass. No. 13. 168. 295.
Plate XXI, fig. 95.
(10) Four engraved copper plates. Rua parently with Hindu deities, the fourth with elep Colombo Museum register Nos. 13. 177. 296 ;
Plate XXI, fig. 104.
LAM
(1) Candelabrum. Muniseram, mediaeval. register No. 13. 121. 289. Presented by F. R.
Plate XVIII, fig. 49.
(2) Lamp with Gaja-Laksmi, in torana Sur. Bronze. Height 14.6 cm. Colombo Museum
Plate XIX, fig. 64.
D

METAL OBJECTS LLUSTRATED 27
Copper. Perhaps a symbol of Ayilyanar. Spolia Zeylanica, vol. vi, Plate XXIII, fig. 2.
Perhaps a symbol of Indra. Colombo Museum pl. vi, Plate XXIII, fig. 4.
Obtained from the second cella of the Topāvęva rated in figs. 116, 117, 119, 130-2, 136, and ister No. 13. 195. 298. ross with bent arms, is Su-4-asti, ' it is well, ' k-bringing power as an auspicious wish, and cut at the commencement of numerous later lack to a date that is far anterior to any such yrinthine and spiral and meander designs. . . is ns against evil spirits. . . . Thus the partiality West and America have exhibited for the lief in its defensive properties against these p. 491-8).
h. Anuradhapura (?), about 10th century.
ve been found in Ceylon. This may be the one na Dagaba (Parker, Ancient Ceylon, p. 490).
m. Possibly a symbol of Visnu. Catalogue of (?). Colombo Museum register No.13. 198.298.
Diameter 7.9 cm. Colombo Museum register
unveli Dâgalba, Anurādhapura. Three aphant-goad (anikusa). The largest 6.5 cm. long. 13. 178. 296 ; 13. 179. 296 ; 13. 180. 296.
PS
Brass. Height 47.5 cm. Colombo Museum . Saunders, Esq., 1887.
mounted by lion head. Dehiwela, mediaeval. register No. 13. 136. 291.

Page 34
28 BRONZES FR
(3) Cresset (at-pandama). North Central P cm. Bronze. Colombo Museum register No. 1. Plate XLV., 2, 3, 5.
Plate XIX, fig. 62.
(4) Part of a Lamp. Muniseram, mediae Museum register No. 13. 129, 290.
Plate XIX, fig. 58.
(5) Harinsas; probably finials of lamps. M 23 cm. Colombo Museum register Nos. 13. 1
Plate XIX, fig. 59.
(6) Part of a Lamp. Muniseram, mediaeva register No. 13. 132. 291.
Plate XIX, fig. 60.
(7) Lamp ; a type still common in South Colombo Museum register No. 13. 133. 291. J Plate XIX, fig. 61.
(8) Camphor-burner with laced bracket. M Colombo Museum register No. 13. 137. 291.
Plate XIX, fig. 65.
(9) Bracket Lamp for three wicks. Mun Colombo Museum register No. 13. 138. 291.
Plate XIX, fig. 66.
(10) Camphor-burner (tuvakkal) with in Bronze. Height 7.8 cm., length 24.7 cm. Spol register No. 13. 139. 292.
Compare figs. 65, 67 with Mediaeval Sin Mahdibodhi, Plate XXVIII.
Plate XIX, fig. 67.
EW]
(1) Ewer. North Central Province, probal Height 34.2 cm. Colombo Museum register
Plate XVIII, fig. 50.
(2) Kotalaya. Kurunēgala, mediaeval. Il register No. 13. 141. 292.
Plate XIX, fig. 69.
(3) Kotalaya, with spout in the shape of an lent by Mr. P. E. Pieris, C.C.S. Brass. Heigh register No. 13. 126. 290.
Plate XVIII, fig. 55.
BO
() Bronze Bowl. North Central Province logue of Finds deposited in the Colombo Museum
292.
Plate XX, fig. 74.

OM CEYLON
rovince, probably Anuradhapura. Length 21.4 3. 134. 291. Compare Mediaeval Sinhalese Art,
val. Brass. Diameter 60.5 cm. Colombo.
uniseram, mediaeval. Brass. Height of each 30. 291, and 13. 131. 291.
l. Brass. Height 30 cm. Colombo Museum
India. Muniseram. Brass. Length 38 cm.
Muniseram, mediaeval. Brass. Length 23 cm.
iseram, mediaeval. Brass. Length 27.2 cm.
scription. Polonnāruva, 10th-12th century. ia Zeylanica, vol. vi., p. 70. Colombo Museum
halese Art, Plate XLV, 7, and Cunningham's
ERS
ply Anuradhapura: 6th-8th century 2 Copper. No. 13. 122. 289.
Bronze. Height 12.7 cm. Colombo Museum
elephant's head and trunk. From Ratnapura ; ut 35.8 cm., length 59 cm. Colombo Museum
WLS
, probably Puliyańkulam, Anurādhapura. Cata1, No. 172. Colombo Museum register No. 13.146.

Page 35
ANIMAL FIGURES AND MINOR
(2) Bowl. Kovil west of the Y road, Anu Finds deposited in the Colombo Museum, No. 13
Plate XX, fig. 75.
(3) Basin. Pankuliya, Anuradhapura. Inf 148.293.
Plate XX, fig. 76.
(4) Basin. Pahkuliya, Anuradhapura. In register No. 13. 149. 293.
Plate XX, fig. 77.
(5) Platter. Kurunęgala, mediaeval. ] register No. 13.145. 292. Presented by F. R.
Plate XX, fig. 73.
(6) Platter. North Central Province, pro cm. Catalogue of Finds deposited in the Colombo register No. 13. 144. 292.
Plate XX, fig. 72.
(7) Cauldron. Excavated on site of Rest-h cm., depth 23.3 cm. Colombo Museum regist
Plate XVIII, fig. 54.
(8) Mortar and pestle. Kandy, but perh mortar 14 cm., diameter 7 cm.; pestle 25 cm.
Plate XX, fig. 84,
KARAN
(1) Karanduva: miniature Dagaba. Pre Plate XXVIII, fig. 189.
(2) Karanduva : miniature Dagaba. Brc Colombo Museum register No. 13. 143. 292. shape' (ganthakara): see Parker, Ancient Ceyl
Plate XIX, fig. 71,
KOTAS (
(1) Finial of a Dagaba. From the Vata-da Brass. Height 120 cm. Catalogue of Finds dep Colombo Museum register No. 13. 191. 297.
Plate XXIII, fig. 114.
(2) Finial. Muniseram, mediaeval. Copp No. 3. 135. 291.
Plate XIX, fig. 63.
. (3) Finial. Anuradhapura. Copper. He
No. 13. 155. 293. ·
Plate XX, fig. 83.
4-CP 1767 (3.75)

METAL OBJECTS ILLUSTRATED 29
adhapura. Bronze. 12 X5 cm. Catalogue of 2. Colombo Museum register No. 13. 147.292.
:rior brass. Colombo Museum register No. 13.
erior brass. 9.3x22.5 cm. Colombo Museum
Brass. Diameter 23 cm. Colombo Museum Saunders, Esq., 1887.
pably Anuradhapura. Bronze. Diameter 28.6 Museum, Sect. III, No. 157. Colombo Museum
buse, Anurădhapura. Copper. Diameter 180.5 der No. 13. 125. 290.
laps of European origin. Brass. Height of Colombo Museum register No. 13. 156.293.
pUVAS
sent position unknown.
inze. Height 34.3 cm., diameter 19.4 cm. Colombo Museum Old Collection. The 'bellon, p. 336 seq.
FINLALS)
ge Dagaba, Polonnaruva : 10th-13th century. Osited in the Colombo Museum, Sect. III, No. 40.
er. Height 30 cm. Colombo Museum register
tight 29.5 cm. Colombo Museum register

Page 36
30 BRONZES FR
BOXES AN
(1) Reliquary or meditation box (yantra. Height 12.3 cm., length 15.1 cm. Colombo M Ancient Ceylon, p. 658.
Plate XXIII, fig. 124.
(2) Box, said to have contained sandal. Museum Old Collections. Colombo Museum r
Plate XVIII, figs. 51, 52.
(3) Box, containing Sinhalese coins. Color 5 cm. Colombo Museum register No. 13. 140
Plate XIX, fig. 68.
(4) Casket. Colombo Museum Old Collec Colombo Museum register No. 13. 128. 290.
Plate XVII, fig. 57.
(5) Casket, said to have contained gold orn diameter 14.2 cm. Colombo Museum registe
Plate XVIII, fig. 56.
(6) Killotaya (lime-box), North Central Height 5 cm. Colombo Museum register No. 1 Colombo Museum, No. 162.
Plate XIX, fig. 70.
DOOR FU
(1) Panel, probably part of a doorjamb (s Rest-house, Anuradhapura : 6th-8th century. width 18.9 cm. Catalogue of Finds deposited in History of Fine Art in India and Ceylon, fig. 186.
Plate XXI, fig. 90.
(2) Lions, probably door-furniture. Ka 13.6 cm., length 15.6 cm. Colombo Museum ri
Plate XXI, fig. 91.
(3) Door or cupboard handle. Anuräd) Museum register No. 13. 174. 295.
Plate XXI, fig. 101.
(4) Ornament, probably tongue of a lock ( 188). Anuradhapura. Brass. 9.8 x 12.7 cm. C. Mediaeval Sinhalese Art, fig. 103, and Plate X
Plate XXI, fig. 102.
(5) Oval handle-plate, inlaid with silver, S Finds deposited in the Colombo Museum, Sect. I 183. 296.
Plate XXI, fig. 107.
MISCELL,
(6) Powder-horn, seven-sided. Sīgiriya :5th of Finds deposited in the Colombo Museum, Sect. 167. 295.
Plate XXI, fig. 94.

OM CEYLON
) CASKETS
gala), with cover. Anuradhapura. Copper. useum register No. 13.201. 298. See Parker,
paste. Bronze. Height 12.2 cm. Colombo gister No. 13. 123. 290.
nbo Museum Old Collections. Copper. Height
292.
tions. Copper. Height 11.5, diameter 16.3 cm.
aments. Polambe. Copper. Height 13.5 cm.,
No. 13. 127. 290.
Province, probably Anuradhapura. Copper. 3. 142.292. Catalogue of Finds deposited in the
RNITURE
hown sideways on Plate). Alms-hall near the Copper, formerly gilt. Length 61.3 cm., the Colombo Museum, No. 96; Vincent Smith, Colombo Museum register No. 13. 162.294.
ndyan : 17th-18th century. Brass. Height egister Nos. 13. 163. 294, and 13. 164. 294.
hapura. Brass. 22 X 10.2 cm. Colombo
upside down on Plate), with lion head (cf. fig. olombo Museum register No. 13. 175. 296. Cf. LIII A, 7.
igiriya. Brass. Length 11.4 cm. Catalogue of II, No. 13, Colombo Museum register No. 13.
ANEOUS
century. Copper. Height 5.8 cm. Catalogue III, No. 1. Colombo Museum register No. 13,

Page 37
ANIMAL FIGURES AND MINOF
(7) Stirrup. Kurunegala or Muniseram, Colombo Museum register No. 13. 160. 294.
Plate XX, fig. 88.
(8) Stirrup. Kurunegala or Muniseram, Museum register No. 13.161. 294. Spolia Z.
Plate XX, fig. 89.
(9) Armlet. Pańkuliya, Anuradhapura. deposited in the Colombo Museum, No. 60.
Plate XXI, fig. 92.
(10) Armlet. Anuradhapura. Brass. I the Colombo Museum, Sect. III, No. 60. Colc
Plate XXI, fig. 93.
( 1 1) Tripod. Kurunęgala (?), mediaeval. No. 3. 154. 293.
Plate XX, fig. 82.
(12) Tripod. North Central Province, pro 41.1 cm. Catalogue of Finds deposited in the C register No. 13. 176. 296.
Plate XXI, fig, 103.
(13) Tripod. Polonnaruva (? Siva Deval Height 15.3 cm. Museum Aaministration Repo No. 13. 153. 293.
Plate XX, fig. 81.
(14) Bell, with triSila terminal. Anurad About 10th century. Height 15 cm. Catalog Sect. III, No. 93. Colombo Museum register
Plate XXIII, fig. 111.
(15) Bell, with triSilla terminal, ornament 10th-13th century. Bronze. Height 29.8 cm. Museum, Sect. III, No. 41. Colombo Museum
Plate XXIII, fig. 110.
(16) Cymbal, with smith’s mark engravec
dhapura. Bronze. Diameter 14.3 cm. Catal Sect. III, No. 17 l. Colombo Museum registe
Plate XXI, fig. 100.
(17) Perforated wheel, probably part of Colombo Museum register No. 13. 169. 295.
Plate XXI, fig. 96.
(18) Spoons. 9.3x 22.5 cm. Bronzes. century. 35 cm., 37.5 cm., and 33.5 cm. Spoli
deposited in the Colombo Museum, No. 42. Co 151. 293 ; 13. 152. 293.
Plate XX, figs. 78, 79, 80.
(19) Bird-cage hook. Ceylon : 5th-9th cen Plate XXVII, fig. 188.
5. S.P.C. 89004

METAL OBJECTS ILLUSTRATED 31
mediaeval. Inferior copper. Height 16.5 cm. Spolia Zeylanica, vol. vi, p. 70.
mediaeval. Brass. Height 15 cm. Colombo 2ylanica, Vol. vi., p. 72.
Copper. Diameter 9 cm. Catalogue of Finds olombo Museum register No. 13. 165. 294.
Diameter 6.6 cm. Catalogue of Finds deposited in mbo Museum register No. 13. 166.295.
Height 20.5 cm. Colombo Museum register
bably Anuradhapura. Inferior brass. Height olombo Museum, No. 170. Colombo Museum
e, No. 6) : 10th-13th century. Inferior brass. rt, 1909, No. 5–08. Colombo Museum register
hapura, below Basawak-kulam bund. Bronze. :ue of Finds deposited in the Colombo Museum, No. 13, 187. 297.
ed with a bull and lingam. Polonnaruva:
Catalogue of Finds deposited in the Colombo register No. 13. 186. 297.
i. North Central Province, probably Anuraogue of Finds deposited in the Colombo Museum, r No. 13. 173. 295.
a toy. Anuradhapura. Diameter 5.5 cm.
»olonnaruva (Siva Devale, No. 6) : 10th-13th a Zeylanica, Vol. vi., p. 70, and Catalogue of Finds lombo Museum register Nos. 13. 150. 293 ; 13.
tury (?). Length 18 cm. Author's Collection.

Page 38


Page 39


Page 40
FIG.

PLATE I
1. Nataraja. Xi

Page 41
LLLCLCLL LLEE LLLL LLLLHtrH ECLaaHHS sLGLL SS LLLLrSS S S
 

PLATE I.
, S.C. 89

Page 42


Page 43


Page 44
FIG. 2. N FIG. 3. Ši

PLATE II
ataraja. x; va and Parvati. x:

Page 45
Menoirs of the Color by Museum, Series A. No. 1.
蠱 屬
 
 
 
 


Page 46


Page 47


Page 48
F.G. 4. Nataraja (s: FIG. 5. Nataraja (s

PLATE III
ame as fig. 1), back view. x3 ame as fig. 2), back view. x

Page 49
LLLCCCTCL LLL LLL LLLLHHLLL LLLLLaLLLLSS CTCTCL LLLS LLLLLCS S S
 

PLATE III.
శా+
سلا
S.P.C.E.O.

Page 50


Page 51


Page 52
FIG. 6. Nataraja FIG. 7. Nataraja

PLATE IV. i
,×景
(same as fig. 6), back view. Xi

Page 53
Memoirs of thic Calon, bio Museum, Series A. No. 1.
 

PLATE IV.
ཎྜི་

Page 54


Page 55


Page 56
FIG. 8. Siva. XX FIG. 9. Bodhisattv

LATE V
'a, probably Maitreya. x:

Page 57
Merloirs of the Colonio Musen, Series A. No. 1.
 

PLATE W.
B, S.P.C., 89C04

Page 58


Page 59


Page 60
FIG. 10. Siva FIG. 11. Vişn

PLATE VI
and Parvati. x
u with two Saktis.
德

Page 61
Menoirs of the Colombo Museum, Series A. No. 1.
 

PLATE WI.
|
[ '31 H
[]] '$1H

Page 62


Page 63


Page 64
P
FIG. 12. Šakti, pe FIG. 13. Same as FIG. 14. Surya De

LATE VII
rhaps Pãrvati. X*ã fig. 12, Side view. Xa
Va X

Page 65
Mfer T7 Urs of the Calon 7 ho Muse Inn, Series A. No. 1',
 

PLATE W.
그
盖
*
器
I? r
S.F.C. 394

Page 66


Page 67


Page 68
  

Page 69
Men fairs of the Caprili bio Museur, Series A. No. .
 

PLATE WII.
TROJEFRAFR
9 I 'ĐIH

Page 70


Page 71


Page 72
PLA
FIG. 18. Candesvara. FIG. 19. Manikka V: FIG. 20. Tirujfiana S

ATE IX
, or perhaps Vyaghrapada xas içagar. X ambandha Svāmi. X

Page 73
Merroirs of the Colonic Museum, Scies A. No.
壹f呜
 
 

PLATE IX.
రా
虚
25
S.P., Old

Page 74


Page 75


Page 76
FIG. 21. Probably FIG. 22. Appar S FIG. 23. Sakti, pr

PLATE X
Appar Svämi. si vâmi. X 5*5 obably Pärvati. X s*

Page 77
Memoirs of the Colombo Museum, Series A. No. 1.
 

PLATEX.
ŹŃ.
"{$1H

Page 78


Page 79


Page 80
FIG. 24. Na FIG. 25. Kr FIG. 26. Pā

PLATE XI

Page 81
Memoirs of the Colombo Museum, Series A. No, I.
 

PLATE X.
I
I. S.F.C. 904

Page 82


Page 83


Page 84
PL
FIG. 27. FIG. 28. FIG. 29.

ATE XII
Pārvatī. Pārvatī. Pārvatī.

Page 85
Menoirs of the Colombo Museum, Series A. No. 1.
 

PLATE XII.

Page 86


Page 87


Page 88
FIG. 30. Parvati. FIG. 31. Pärvati (sa FIG. 32. Pärvati (sa

'LATE XIII
×器 me as fig. 30), side view. me as fig. 29), back view.

Page 89
Memoirs of the Calan ibu Museur II, Series A. Na. I.
 

PLATE XIII.
|3. 5.F.Լ., 39Ալյ4

Page 90


Page 91


Page 92
FIG. FIG. FIG. FIG. FIG.
33. 34. 35. 36. 37.
PLA
Buddha.
Kataragama Buddha Visi-ata Bud Swing with

TE XIV
Х6 l Deviyo or Karttikeya... Xaħa く表ラ
dha-rupaya... xi Šaiva emblems. x'a

Page 93
Мелтојгs
of the Coah Museu77, Series A. N. .
 
 

PLATE XIV.
LE "FJIH

Page 94


Page 95


Page 96
PI
FIG. 38. FIG. 39. FIG. 40.

LATE XV
Buddha. x Buddha. x Buddha. Xi

Page 97
Memoirs of the Colombo Museum, Series A. No. 1.
 

PLATE XV.
FIG. 39
. 4{I}
1. R.E.C. 834

Page 98


Page 99


Page 100
FIG. FIG. FIG. FIG. FIG.
41. 42. 43. 44. 45.
PLATE XV
Visnu with t
Pattini. x; Pattinī. X Buddha.
Nataraja (In

I
wo Saktis. × 5
iš
-l
2
く安置ラ
dian Museum, Calcutta). Xi

Page 101
Memoirs of the Colomba Museum, Serics A. No. 1.
 

PLATEXVI.

Page 102


Page 103


Page 104
PL
FIG. 46. FIG. 47. FIG. 48.

ATE XV
Buddha. x Buddha. X Buddha. Ж
고, 5
l 2
부 2

Page 105
Merloirs of the Colombo Museum, Series A. No. 1.
 

PLATEXW.
Lț¢ © IAI
4, 5, F., 8 HC)

Page 106


Page 107


Page 108
PLATE XVI
FIG. 49 Candelabrum.
FIG. 50 Ewer. X 3s
FIGS. 51, 52. Box to hold sar FIG. 53. Braided hair (p. FIG. 54. Cauldron. X FIG. 55 Kotalaya. X
FIG. 56. Casket. X. FIG. 57. Casket. X}

II
X ä
ndal paste. Xia
art of an image of Natarāja). Xảoể
o

Page 109
Memoirs of the Colombo Museum, Series A. No. 1.
 
 
 

PLATEXW.
F

Page 110


Page 111


Page 112
FIG. FIG. FIG. FIG. FIG. FIG. FIG. FIG. Fig. FIG. FIG. FIG. FIG. FIG.
58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71.
PLATE
Part of a lal
Haninsas, fin Lamp. x: Lamp. X
Cresset (at-l. Finial (kota Lamp with Camphor bu Bracket lam Camphor bu Box. Xa Kofalaya. Killotaya (li Miniature di

: XIX
mp. X is 5 ials of lamps. x is
pandama). X ;
). X Gaja-Laksmi in torana. Xi urner. X a
p。×割
urner. X
×莲 me box). x agaba. Xġ

Page 113
Meriors of the Color o MLSer, Serie A. No.
 
 

PLATE XIX.
5. S., 894

Page 114


Page 115


Page 116
FIGS. 72, 73. FIGS. 74, 75. FIGS. 76, 77. FIGS. 78–80. FIGS. 81, 82.
FIG. 83. FIG. 84
FIGS. 85, 86.
FIG. 87.
FIGs. 88, 89.
PLAT
Platter Bowls. Basins Spoon Tripoc Finial. Morta SevenTwent Stirrup

S X;
X #4
S X
ls X #
Χ 1.
r and pestle. × headed cobras. x. y-one-headed cobra. x )S. ×表。

Page 117
Memoirs of the Colombo Museum, Series A. No. 1.
 
 
 

PLATE XX.
8
8 "Đl H

Page 118


Page 119


Page 120
FIG. 90. FIG. 91.
FIGS. 92, 93.
FIG. 94. FIG 95. FIG. 96. FIG. 97.
FIGS. 98, 99. FIG. FIG. FIG. FIG. FIG. FIG. FIG. FIG. FIG.
100. 101. 102. 103. 104. 105. 106. 107. 108.
PLATE XXI.
Panel. xas Lions. X s. Armlets. X Powder horn. Star. x Perforated whe Figure (unident Bala-Krsna. } Cymbal. Xi Door handle. Ornament with Tripod. xas Four engraved Lion. X. Lion. x # Handle plate. Śrī-patula, sacri

X
붉
el. X ified). X; 1 م,
Y 3
X lion head (upside down on plate). X
plates. X
×器 ed footprints of Buddha. x.

Page 121
Memoirs of the Colombo Museum, Series A. No. 1.
L
ཕྱི་
 
 
 
 
 
 
 
 
 
 
 

PLATE XX.
"ĐIH
"LO I "ĐỈNH
voi solo
****', '-',
£0| '$1H
Z0] 'Đl-H
[0] 'Đl-I
i6. S. P. c. 89004

Page 122


Page 123


Page 124
FIG.109. FIGS. 110, 111. FIG. 112. FIG. 113. FIG. 114. FIG. 115. FIGS. 116, 117. FIG. 18. FIGS. 119, 120. FIG. 121. FIG. 122. FIG. 123. FIG. 124.
PLATE XX
Nandi, Šiva Bells with t Model of p Feet, proba Finial of a Vajra (Hinc Elephant-gc Svāstika.
Double tris
Lotus-bud.
Elephant-go Svāstika. Reliquary o

KII
's bull. X
riśla terminals. x; art of human foot. x bly from a figure of Națarāja. Xi dāgaba. X
lu emblem). X
pads x ×器 ūlas. X
×器 ad. xi, く墨
r Meditation box (yantra-gala). x:

Page 125
Memoirs of the Colombo Museum, Series A. No. 1.
 

PLATE XXIII.
委
器

Page 126


Page 127


Page 128
PLATE
FIGS. 125–8. Lokap
FIG. 129, Šakti, FIGS. 130, 131, 132(A-D), and 136. Lokap
viz. 130. Brahm
13. Visņu 132 A. Varun
B. Agni (
C. Nairrta
D. Indra (
136. Yama
FIG. 133. Šakti ( FIG. 134. Šakti ( FIG. 135. Šakti (I FIGS. 137–40. Lokapā viz. 137 A, B. : Dhrtari 138 A, B. Vīrūpā 139 A, B. Vaišrāv
140 A, B. Virūdha

XXIII
ālas (Sataravaram Deviyo)
probably Pārvatī. X:s
×器
ālas, viz. Brahmā and Vişņu and five out of the
ight Dik-palas. xi. a (Zenith).  ́Nadir). a (W.). SE.).
(SW.). E.).
(S.). not identified). x probably Lakşmi). Xi berhaps Pattini). Xġ
las (Sataravaram Deviyo).
ișţra (E.). ksa (W.). ana (N.). aka (S.).

Page 129
Menoirs of the Colombo Museum, Series A. No Í.
 
 
 

PLATE XXIII.
T. S.F. 394

Page 130


Page 131


Page 132
FIG. 141. FIG. 142. FIG. 143. FIG. 144. FIG. 145. FIG. 146. FIG. 147. FIG. 148. FIG. 149. FIG. 150. FIG. 151. FIG. 152. FIG. 153. FIG. 154. FIG. 155. FIG. 156. FIGs. 157, 158. FIG. 159. FIG. 160. FIG. 161. FIGs. 162, 163. FIGs. 164, 165, 166, 167.

PLATE XXIV
Lion. ×器 Horse. XElephant. ४}
Bull. X ਰੂ Three lions. ×录、 Three elephants. x Three horses. ---x
Three bulls. x: Elephant. x
Lion. ×器 Bull. ×暑 Lion. ×器 Five elephants. ×器
Seven-headed cobra. Ха Chank.
Snail.
Crabs.
Two fishes.
Tortoise.
Crab.
Tortoise.
Fishes.

Page 133
Memoirs of the Colombo Museum, Series A. No. 1.
§țI 'DI-H
 

PLATE XX W.
99 I
'{}|l}}|
L9 I "ĐIH
£Ç I "ĐIH
I ȘI 'Đl:H ()$|
'91) 6s, I !

Page 134


Page 135


Page 136
PLATE
FIGs. 168, 169, 170. Hanuman.
Ken

XXV
Three views. Indian Museum, South sington.
figs. 168, 170. X fig. 169. ×志

Page 137
Memoirs of the Coloniha MuscL III, Series A. No. 1.
 

PLATE XXV.
s
産
| . .P.T, II

Page 138


Page 139


Page 140
PLA
FIG. 171. Pattini

TE XXVI
British Museum. X,

Page 141
Memoirs of the Color: Eyco Musen 7, Series A. NO. W.
 

PLATE XXVI.

Page 142


Page 143


Page 144
FIGS. 172, 173. Avalokiteśvara. Avalokiteśvara. Avalokiteśvara. Avalokiteśvara.
FIG. FIG. FIG. FIG. FIG. FIG. FIG. FIG.
174. 175. 176. 177. 178. 179. 180. 181.
PLATE X
Buddha.
Front Nevill Nevill Nevill
Cundā. Nevill Collecti Cundā. Nevill Collecti
Praying Devatā. Praying Devatā.

XVII
and back views. Author's Collection. x 1 Collection, British Museum. X Collection, British Museum. x Collection, British Museum. x;
on, British Museum. on, British Museum. x:

Page 145
Mer, Jir:5 of the Color77 bo
Music III.a, Series A. No, 1.
さ
器
S
 
 
 
 
 

PLATE XXVII.
fill^{(1-I
シ"7
窦滔滔滔
19, S.P.. 89)

Page 146


Page 147


Page 148
PLATE
FIGS. 182, 183. Jambhala (Kuvera). Froi
FIG. FIG. FG. FlG. FIG. FIG.
84. 85. 86.
87. 88. 89.
Pattinī. Nevill Collection Vajrapani. Author's Coll Gaņeșa. Nevill Collectior Lion. Author's Collectio Bird cage hook. Author. Digaba. (position unk no

XXVIII
ut and back views. Author’s Collection. X, , British Museum. x:
ection. X ; , British Museum. n. x
S Collection. X: wn).

Page 149
Mellors
of the Colom 7 bol Museurri, Series A. No, I.
蓋
蘇
盟
 
 
 
 

PLATIE XXW III.
_)==---
多多言M
681 'ĐI H
고대통改書會實

Page 150


Page 151


Page 152


Page 153


Page 154


Page 155


Page 156