Of yet standing witnesses to the submerged Continents, and the colossal men that inhabited them, there are still a few. Archæology claims several such on this Earth, though beyond wondering “what these may be”—it has never made any serious attempt to solve the mystery. Not to speak of the Easter Island statues already mentioned, to what epoch belong the colossal statues, still erect and intact near Bamian? Archæology, as usual, assigns them to the first centuries of Christianity, and errs in this as it does in many other speculations. A few words of description will show the readers what are the statues of both Easter Isle and Bamian. We will first examine what is known of them to orthodox Science.
Teapi, Rapa-nui, or Easter Island, is an isolated spot almost 2,000 miles from the South American coast.... In length it is about twelve miles, in breadth four ... and there is an extinct crater 1,050 feet high in its centre. The island [pg 352]abounds in craters, which have been extinct for so long that no tradition of their activity remains.[751]
But who made the great stone images[752] which are now the chief attraction of the island to visitors? “No one knows,” says a reviewer.
It is more than likely that they were here when the present inhabitants is of a high order, ... and it is believed that the race who formed them were the frequenters of the natives of Peru and other portions of South America.... Even at the date of Cook's visit, some of the statues, measuring twenty-seven feet in height and eight across the shoulders, were lying overthrown, while others still standing appeared much larger. One of the latter was so lofty that the shade was sufficient to shelter a party of thirty persons from the heat of the sun. The platforms on which these colossal images stood averaged from thirty to forty feet in length, twelve to sixteen broad ... all built of hewn stone in the Cyclopean style, very much like the walls of the Temple of Pachacamac, or the ruins of Tia-Huanaco in Peru.[753]
“There is no reason to believe that any of the statues have been built up, bit by bit, by scaffolding erected around them,” adds the reviewer very suggestively—without explaining how they could be built otherwise, unless made by giants of the same size as the statues themselves. Two of the best of these colossal images are now in the British Museum. The images at Ronororaka are four in number, three deeply sunk in the soil, and one resting on the back of its head like a man asleep. Their types, though all are long-headed, are different; and they are evidently meant for portraits, as the noses, the mouths, and chins differ greatly in form; their head-dress, moreover—a kind of flat cap with a piece attached to it to cover the back portion of the head—shows that the originals were no savages of the stone period. Verily the question may be asked, Who made them?—but it is not Archæology nor yet Geology that is likely to answer, even though the latter recognizes in the island a portion of a submerged continent.
But who cut the Bamian, still more colossal, statues, the tallest and the most gigantic in the whole world?—for Bartholdi's “Statue of Liberty,” now at New York, is a dwarf when compared with the largest of the five images. Burnes, and several learned Jesuits who have visited the place, speak of a mountain “all honeycombed with gigantic cells,” with two immense giants cut in the same rock. They are referred to as the modern Miaotse (vide supra, quotation from Shoo-King), the [pg 353] last surviving witnesses of the Miaotse who had “troubled the earth”; the Jesuits are right, and the Archæologists, who see Buddhas in the largest of these statues, are mistaken. For all those numberless gigantic ruins which are discovered one after the other in our day, all those immense avenues of colossal ruins that cross North America along and beyond the Rocky Mountains, are the work of the Cyclopes, the true and actual Giants of old. “Masses of enormous human bones” were found “in America, near Munte [?]” a celebrated modern traveller tells us, precisely on the spot which local tradition points out as the landing spot of those giants who overran America when it had hardly arisen from the waters.[754]
Central Asian traditions say the same of the Bamian statues. What are they, and what is the place where they have stood for countless ages, defying the cataclysms around them, and even the hand of man, as in the instance of the hordes of Timoor and the Vandal-warriors of Nadir Shah? Bamian is a small, miserable, half-ruined town in Central Asia, half-way between Cabul and Balkh, at the foot of Koh-i-baba, a huge mountain of the Paropamisian, or Hindu-Kush, Chain, some 8,500 feet above the level of the sea. In days of old, Bamian was a portion of the ancient city of Djooljool, ruined and destroyed to the last stone by Tchengis-Khan in the thirteenth century. The whole valley is hemmed in by colossal rocks, which are full of partially natural and partially artificial caves and grottoes, once the dwellings of Buddhist monks who had established in them their Vihâras. Such Vihâras are to be met with in profusion, to this day, in the rock-cut temples of India and the valleys of Jellalabad. In front of some of these caves five enormous statues—of what is regarded as Buddha—have been discovered or rather rediscovered in our century, for the famous Chinese traveller Hiouen Thsang speaks of having seen them, when he visited Bamian in the seventh century.
The contention that no larger statues exist on the whole globe, is easily proven on the evidence of all the travellers who have examined them and taken their measurements. Thus, the largest is 173 feet high, or seventy feet higher than the “Statue of Liberty” now at New York, as the latter is only 105 feet or 34 mètres high. The famous Colossus of Rhodes itself, between whose legs the largest vessels of those days passed with ease, measured only 120 to 130 feet in height. The second largest statue, which is also cut out in the rock like the first, is only [pg 354] 120 feet or fifteen feet taller than the said “Liberty.”[755] The third statue is only 60 feet high, the two others still smaller, the last being only a little larger than the average tall man of our present Race. The first and largest of the colossi represents a man draped in a kind of “toga”; M. de Nadeylac thinks that the general appearance of the figure, the lines of the head, the drapery, and especially the large hanging ears, are undeniable indications that Buddha was meant to be represented. But they really prove nothing. Notwithstanding the fact that most of the now existing figures of Buddha, represented in the posture of Samâdhi, have large drooping ears, this is a later innovation and an afterthought. The primitive idea was due to Esoteric allegory. The unnaturally large ears symbolize the omniscience of wisdom, and were meant as a reminder of the power of Him who knows and hears all, and whose benevolent love and attention for all creatures nothing can escape. As a Shloka says:
The merciful Lord, our Master, hears the cry of agony of the smallest of the small, beyond vale and mountain, and hastens to its deliverance.
Gautama Buddha was an Âryan Hindû, and an approach to such ears is found only among the Mongolian Burmese and Siamese, who, as in Cochin, distort their ears artificially. The Buddhist monks, who turned the grottoes of the Miao-tse into Vihâras and cells, came into Central Asia about or in the first century of the Christian era. Therefore, Hiouen Thsang, speaking of the colossal statue, says that “the shining of the gold ornamentation that overlaid the statue” in his day “dazzled one's eyes,” but of such gilding there remains not a vestige in modern times. The drapery, in contrast to the figure itself, which is cut out of the standing rock, is made of plaster and modelled over the stone image. Talbot, who has made the most careful examination, found that this drapery belonged to a far later epoch. The statue itself has therefore to be assigned to a far earlier period than Buddhism. In such case, it may be asked, Whom does it represent?