In the upper circle on the right hand side a group of Buddhist priests, in their yellow robes, may be seen worshipping. In front two supple women, such as so frequently occur in these sculptures, bend in attitudes of adoration, and on the left a chief in the ordinary Hindu costume—surrounded by the women of his family—presents his little son to the Buddha-emblem.
In the lower circle the same structural arrangements occur up to the Trisul (or emblem), but the whole is surmounted by the Chakra, or Wheel, which we know to be the symbol of Dharma or the Law. Here all the worshippers are men; it is, we are told, one of the very few scenes in these sculptures from which women are entirely excluded. Whether it was considered that the study of the Law was unsuited for women, or whether some other motive governed the designers, certain it is that, contrary to the usual rule, the whole of the worshippers are of one sex and one race. The only other noticeable peculiarity is the introduction of two antelopes, one on each side of the throne.
The second circle represents the Trisul ornament, or emblem, not on a throne, but behind an altar. The sacred feet of Buddha are depicted, but there are no relics. In the upper compartment the principal worshippers are two men with seven-headed snake-hoods, and two women with single snakes.
In the centre of the bas-relief sits the principal personage, with a nine-headed snake-hood, between two of his wives, and beyond, on both rims of the circle, stands a female figure, supporting herself by the branches of a tree. On each a young girl waits; one of these girls has a snake at the back of her head. In front are three musicians, also with snakes; and on their right a lady without a snake receives the assistance of a girl with a snake.
“This distinction,” says Mr. Fergusson, “between people with snakes and those without is most curious and perplexing. After the most attentive study I have been unable to detect any characteristic either of feature or costume by which the races can be distinguished, beyond the possession or absence of this strange adjunct. That those with snakes are the Naga people we read of, can hardly be doubted; yet they never are seen actually worshipping the snake like the Dasyus, but rather as protected by it. The snake seems their tutelary genius, watching over, perhaps inspiring them; but whether they borrowed this strange emblem from the natives of the country, or brought it with them from the north-west, are questions we are hardly yet in a position to answer satisfactorily.”
We have thus abundant evidence of the prevalence of Serpent-worship in India in “olden times;” the reader will, perhaps, be surprised to hear that it lingers still throughout the peninsula. Dr. Balfour, who had an intimate acquaintance with the habits and customs of the natives, asserts that the worship both of the sculptured form and the living creature, is general. The sculpture invariably represents the Nag or Cobra, and almost every hamlet owns its Serpent deity. Sometimes it is a single snake, with the hood spread open. Occasionally the sculptured figures are nine in number, forming the Nao Nag, which is designed to represent a parent snake and eight of its young, but the prevalent form is that of two snakes twining in the manner of the Esculapian rod of classical antiquity.
It is the opinion of some Hindus that the living snake is not worshipped as a devata, or deity, but simply reverenced in commemoration of some ancient event—possibly of some astronomical occurrences. Others, however, distinctly assert that it is worshipped as a devata. However this may be, there can be no doubt that the living snake is worshipped throughout all Southern India. On their feast days the worshippers resort to the snake’s lair, which they bedaub with vermilion streaks and patches of turmeric and of wheat flour, and close at hand they suspend garlands of flowers, strung upon white cotton thread, and laid over wooden frames. During the rainy seasons occurs the great Nagpanchanic festival, when the Hindus go in search of snakes, or have them brought to their houses by the Sanpeli, the snake-charmers who ensnare them. The snakes are then worshipped, and offerings of milk are made to them, and in almost every house figures of snakes, drawn on paper, are affixed to the walls, and worshipped. Those who visit the snakes’ abodes, or tents, plant sticks around the hole, and about and over these sticks wind white cotton thread. A bevy of Mahrathi women repair to the hût, and joining hands, wind round it in a circle five times, singing songs; after which they prostrate themselves. They pour milk into the hole; hang festoons of Chembela flowers and cucumber fruit, and sprinkle a mixture of sugar and flour.
In reference to this festival, Colonel Meadows Taylor writes:—
On this occasion, Nags or Cobras are worshipped by most of the lower classes of the people in the Dekhan, and more particularly in the Shorapore country. The ceremonies are very simple: the worshippers bathe, smear their foreheads with red colour, and in small parties,—generally families acquainted with one another,—resort to the places known to be frequented by snakes. In such places there are generally sacred stones, to which various offerings are made, and they are anointed with red colour and ground turmeric, and invocations are addressed to the local genius and to the serpents. Near the stones are placed small new earthen saucers, filled with milk; for cobras are fond of milk, and are believed to watch the ceremony, coming out of their holes and drinking the milk, even while the worshippers are near, or are lingering in the distance to see if their offerings be received. It is considered a fortunate augury for the worshippers if the snake should appear and drink. Should the snake not appear, the worshippers, after waiting awhile, return to the place next morning, to ascertain the result: if the milk have disappeared, the rite has been accepted, but not under such favourable auspices as if the reptile had come out at once. These ceremonies end with a feast.