When, a long time ago, in the beginning of our last century, the middle-dagob was opened a double space was found inside, a smaller above a larger one, and, among others, a Buddha image corresponding in size to all other sculptures, whereas the posture of the hands tallied with those on the eastern lower walls[75].
This image having been unfinished can’t be ascribed to the merest chance or to an untimely stop of the temple-building, because the dagob itself, where it had been wholly closed in, was finished afterwards.
So it must have been intentionally left in this state, but I can’t possibly accept the supposition that it should refer to the future [fifth] Dhyâni-Buddha in state of being.
A future, not yet existing Buddha can’t be materialized by a half-sculptured image, and the fifth Dhyâni-Buddha is never hewed in the posture of the hands of the second, but always, such as on the northern lower walls, in his own mudrâ whereas the future Buddhas as Bodhisattvas were represented not only in other postures but also in another dress and ornament and with their own attributes.
Besides, the hypothesis challenged by me would not yet solve still existing mysteries, but would only give rise to other enigmas which don’t bring us any farther.
The explanation of the fact may be much simpler.
I think it may have been considered quite unnecessary to finish a sculpture in such an accurate manner like all the other ones, if it should be hidden from sight for ever.
What is the meaning of these different Buddhas?
According to the posture of the hands we may divide them into six—according to other data into three groups. Nothing more and nothing less.
The three groups are: