But what best deserves remembrance in connection with Kanîshka's name are the wonderful sculptures which of late years have been discovered in such quantities in the Hashtnûgar district, and elsewhere. They are known, generically, as the Gandhâra sculptures, as they are supposed to be the output of a distinct school which flourished in the district of that name. But in conception, style, and execution, they assimulate closely to the Græco-Roman school, which at this period of the world's history was nearly cosmopolitan.
Kanîshka is also to be remembered for the Great Buddhist Council he convened, in imitation, apparently, of Asôka. The story goes that certain commentaries, being approved by this Council, were ordered to be engraved on copper, and placed, for security, in a st'hupa or tumulus.
The site of this has not yet been discovered, the copper plates remain unread!
A find this, perchance, for the coming years! It is something to look forward to, something which may clear up many points concerning Kanîshka now "strangely open to doubt."
The history of his successors is, likewise, doubtful. We stand, indeed, on the threshold of one of those curious intervals in Indian story, when the curtain comes down on the living picture of the stage, leaving us to wonder what the next act of the drama will be, and when it will recommence. Still more like, perhaps, is the position of the spectator to one who, on some mountain top, watches the rolling clouds sweep through the valleys below him. A stronger breath of wind, a little rift in the hurrying white vapour, and a glimpse of the life that goes on and on below the mists comes into view for a moment, and is gone the next.
So we look back towards the beginning of the third century after Christ. A glint of sunlight, a passing peep of something recognisable, obliterated in an instant by the rolling clouds growing more and more obscure as they deepen and darken.
"Then there were in this land three kings, Hûshka, Jûshka, and Kanîshka, who built three towns."
So runs the Kashmir chronicle.
It reads like the beginning of a fairy tale, but nothing follows save a gold coin with the beautifully executed portrait of a striking-looking man upon it, a man with deep-set eyes and determination marked upon every feature. Beneath it, the legend of King Huwûshka, or Hûshka.
Another glimpse comes to us of one Vâsu-deva. Does he in truth belong to the Mongolian princes, with their strange uncouth names? His is a purely Indian one, and the coins which bear his name no longer bear the Bactrian camel. The bull, too, is attendant on the Indian God Siva, complete with his noose and trident.