88. Bhiru lands at Bhirukaccha
Naturally this relief a good deal resembles No. 86. It is divided in the same way into sea and landscape, and the ship is very much the same. This vessel does not seem to be sailing at such speed as the other one and is not quite so well-finished. Its build is however the same; the crow are of a larger size, so there are fewer of them.
The scene on land however is quite different to that of Hiru's arrival and again makes it look as if there might be some reason for this difference; the scene depicted has too many charactericticsto tee considered only the representation of "landing". Under some trees on the right several men are sitting, surely sailors from the ship, in front of a bearded person seated comfortably in a small pendapa or couch under a canopy on a dais, apparently speaking to them; he wears his hair with a band round it, twisted high with hanging locks. He looks as if he lived there and is conversing with the persons just landed. The front one of the group who, like the one most behind, has a beard, holds a sort of bottle with a stopper that he either is presenting or has most likely just received. Our text, as we know, gives no information about this.
At the end of these Rudrayana scenes I will call attention to the representation of this same tale in the newer Tibetan art; not of course that this of itself might yield efficient material for comparison, but because of the fact that apparently almost the same version of the avadana has been followed. It is most instructive to see how the Tibetan artist has made nearly the same kind of selection from the material for his scenes as the sculptors of the Barabudur and wherein their choice differs. We find consecutively depicted : the presentation of the cuirass; j ewelers come to value it; the portrait of the Buddha being made; the portrait arrives at Roruka; it is received with honor by Rudrayana; the preaching of Katyayana; Candraprabha's dance; the preaching in the zenana (by Katyayana himself, not Gaily); Candraprabha visits her spouse as a godess; Rudrayan. a becomes a monk; he goes to Roruka; his last meditation; his death; his head is brought to Qikhandin (these artists did not shrink from horrors!); Katyayana rescued from the sandheap; the flight of the ministers; Katyayana's journey with his companions through the air; the stay at Khara; erection of the bowlstupa; Cyamaka hanging to his master's garment; Yamaha and the miracle of the shadow; Vokkana, Katyayana's mother and the staffstupa; the sandal-stupa.