large sun-window, originally intended to illuminate the shrine, but here filled by an image of Siva seated in yogi attitude with the right hand raised in the gesture of teaching.[1] This is one of the many points in which Saiva and Buddhist iconography correspond.
From the level of the inner courtyard the solid plinth upon which the temple rests can be seen (Pl. XXVII, a). It is about 27 feet high, and sculptured with a whole herd of elephants, as if supporting the temple on their backs, showing the characteristics of the noble beasts with consummate art and with an amazing effect of monumental dignity. It goes round the whole length of the main temple with its assembly-hall, only interrupted by the porches on the north, south, and west sides, which at the ground level are filled with sculpture illustrating legends from Saiva mythology. Under the southern porch, which was formerly connected with the chapel on the opposite side of the courtyard, there is a fine panel (Pl. XXVII) telling the story from the Rāmāyana of Rāvana's impious attempt to remove Kailāsa to Ceylon. Worsted in the fight with Rāma and his monkey allies, Rāvana flew in his magic car to Kailāsa, and in order to force the Great God to come to his aid, began to undermine the mountain, hoping to carry it off on his back. Parvati felt the ground tremble, and her attendants fled in dismay. She clutched Siva's arm to rouse him from his meditation; but He who knows the past, present, and future, only pressed down His foot and held the ten-armed demon-king a prisoner in the dungeon he had made for himself, where he remained a thousand years until he had expiated his crime by repentance.
For the pilgrim the outer circumambulation of
- ↑ Dharma-chakra-mudra.
