In some images an umbrella alone, and in some, as at [p. 478], both an umbrella and tree form the canopy.
The fourth sedent posture may be called the ‘Argumentative’ (Tarka) attitude (as shown in the engraving opposite [p. 477]). It represents Gautama with the thumb and finger of the right hand touching the fingers of the left, and apparently going through the heads of his doctrine[255], and enforcing it, as he usually did, by reiterations. This is sometimes called the ‘Teaching’ attitude.
Often the ‘Ye dharmā’ formula (see [p. 104]) is carved either under or at the side of images in this attitude.
The fifth may be called the ‘Preaching’ attitude. It is often erect. The Buddha has one finger raised in a didactic manner. Monks in the present day often read the Law and preach in the same manner.
The sixth attitude also—as a rule—comes under the erect class, and is often scarcely to be distinguished from the last. It may be called the ‘Benedictive’ attitude (Āṡirvāda). See the engraving opposite [p. 477].
It represents the Buddha in the act of pronouncing a benediction, the right hand being raised. This attitude is sometimes sedent. Even to this day Buddhist monks bless laymen in a similar attitude. Occasionally the figure with the hand upraised has a crown, and an ornamental head-dress; but it may be taken for granted that all images of the Buddha which represent him with a crown of any kind after his attainment of Buddhahood, are comparatively modern and incorrect.
On the other hand, it is clear that even ancient sculptures, when they represent him as a prince, may correctly give him decorations and a head-dress.
The seventh attitude may be called the ‘Mendicant.’ This also is a standing figure, holding a round alms-bowl in one hand, and sometimes screening it with the other (compare [p. 40]). Examples of this attitude are rare. There are no real mendicants in Buddhism. No monk ever begs, he only receives alms.
The eighth and last attitude is recumbent, and this is perhaps as important as the second, though not so common (see the uppermost figure opposite to [p. 477]). It represents the moribund Gautama lying down on his right side, with his head turned towards the north, and his right cheek resting on his right hand, about to pass away in the final consummation of Pari-nirvāṇa (see pp. [50], [140]). In many representations of this attitude, the usual five rays of light often mentioned before are made to issue from the crown of the head. A colossal image of this kind was seen by me in a temple near Colombo, and there is a good example of it in the Indian Institute at Oxford[256]. In some carvings of the dying Buddha a few attendants are represented, who hold umbrella-like canopies over the recumbent figure, or bow down reverentially before it. It has been asserted that this scene—as commemorative of the grand consummation of the Buddha’s career through countless existences—is held in as much reverence by Buddhists as the crucifixion is by Christians.
The representation of the Buddha in the act of being born is found in sculptures and bas-reliefs, but is never found as a separate image. It represents him springing out of the side of his mother ([note, p. 180]). This birth-scene is occasionally carved on temples. It is shown in the lower part of the engraving (opposite [page 477]). The god Brahmā is seen receiving the new-born child, while Indra stands on his right and the mother’s sister (i.e. nurse, [p. 24]) is on her left.