Foucher’s meaning was quite unexpectedly confirmed by another writing, the so-called Bodhisattvavadânakalpalata which runs as follows:
“One day (king) Uposyada went on horseback in order to visit a hermit’s colony which had asked for his assistance to be defended from demons.
There were princely risyis who kept a stone bottle ready. This was meant for a sacrifice which was to have the power to procreate children. The king, tired as he was of the long ride, and before he could be prevented from doing so, empties the bottle. Returned at home he discovers an unpainful swelling on his head, and when the tumour had ripened at length out came a boy whose education was disputed by the 60.000 women of the harem.”
On this ground of birth the child was called Mûrdhyaya, and Mândhâtar or Mûrdhatar when both names are joined together.
It was the Kasymir poet Ksyemendra who gave Foucher this missing link to explain the sculptures.
On the two first relievoes we see the distribution of presents done in the name of the king that he might get a child.
On the third sculpture the king is departing.
On the fourth we see Upasyada dismounting, and the sacrificial vase he is going to drink from.
5 shows us the child got by this.
6 and 7 refer to the horoscope of the future tyakravartin or suzerain of the world, and the astrologer’s reward.