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Published online by Cambridge University Press: 15 March 2011
On the reliefs of the Gandhāra School, in all scenes where Gautama is shown, and thus in constant association with him, there appears a figure which has been the subject of much discussion. He is called Vajrapāṇi by reason of the thunderbolt which he either grasps by its middle, or supports on the palm of his hand. This thunderbolt is the exact copy of the weapon which Indra, or Sakka, holds; but in these sculptures it is not so much a weapon, to my mind, as it is a symbol of divine authority, which is a matter of importance for the interpretation of the figure.
page 497 note 1 Grünwedel, & Burgess, , Buddhist Art in India, pp. 89–90.Google Scholar
page 497 note 2 Op. cit., p. 88.
page 498 note 1 Foucher, , L'Art Gréco-Bouddhique, p. 358.Google Scholar
page 498 note 2 Smith, Vincent, History of Fine, Art in India and Ceylon, p. 108.Google Scholar
page 498 note 3 Foucher, , loc. cit.Google Scholar
page 503 note 1 Cf. A Glimpse into the Work of the B.B.R.A. Society during the last 100 Years, p. 115.Google Scholar
page 504 note 1 Grünwedel, & Burgess, , Buddhist Art in India, p. 195.Google Scholar
