The mise-en-scene is very much the same, though some variety is introduced in the arrangement of rocks and trees and animals. The rocks on the left across the river, rise to the top of the relief and serve as background to the kinnara's; there are more birds fluttering all about, and as well as the couching deer away on the left, there are two more grazing on the right near the royal attendants in company with some fat-tailed quadruped. The kinnara-couple stand on the same spot, now no longer holding each other by the hand, and only the kinnar1 has a flower, an utpala, in her left hand. Both turn towards the king who is sitting on the right, his hands in sembah, listening attentively to their words. Contrary to the text that relates how the man was silent and the woman answered the king's questions, we here see the man in the front and there is nothing to shew that it is only the woman who tells the tale. The attendants are put away into the corner on the right, separated from theirlord by a wide space of wooded ground and the king, as was to be expected, is having a private interview with the kinnara's. Two of these servants arc armed with sword and shield, while the front one is taking care of the bow which the king was holding on the last relief.

With this conversation of king and kinnara's we must compare the corresponding scene at the stupa of Bharhut, pi. 27: 12 of Cunningham; that is if Warren is correct in ascribing this scene to the same jataka . In any case identification as the Candakinnara-j ataka is here as mistaken as on Barabudur, as we have seen above. There is not much to compare in it: the medalion at Bharhut gives no details and shows only the king on a throne in conversation with a kinnara couple. So we find here nothing of any importance to Barabudur; on the contrary the picture on the Javanese monument, where the quiet conversation in the wilderness leaves no doubt of the identification, should help towards the recognition of this tale at Bharhut, though there is no forest, the manner of conversation with no sign of force such as the Candakinnara-jatal~a suggests, will probably turn the scale l). If we put more emphasis on the entire absence of forest scenery and the fact that the king is seated on a throne, then as suggested by Hultzsch , the Bharhut representation should be ascribed to the Takkariya-jataka and will have no connection with Barabudur.