first (Fig. A) is a colossal statue at Anuradhapura in Ceylon, no doubt one of the great masterpieces of its age which served as a model for the school to which it belonged. The Buddha is just emerging from the Yoga trance, as indicated by the left leg being released from the "adamantine" pose when the two legs are firmly locked together. It shows the same great sweep of line and masterly generalisation of form which distinguish the classic paintings of Ajantā in India and those of the allied Cingalese school of Sigirīya. We may assume that it was the work of some famous sculptor from Northern India.
Its provenance is clearly indicated in the Sarnath Buddha (Pl. LIII, b), which, though of a later date—probably the fifth or sixth century—has exactly the same type of face. In the first half of the fourth century a.d. the King of Ceylon, Meghavarna, was on very friendly terms with the great Gupta Emperor, Samudragupta, who gave him permission to found and endow a monastery at Bodh-Gāyā. The Anuradhapura Buddha may belong to Meghavarna's reign. The Sarnath sculpture, which is about 5 ft. 3 in. in height, belonged to a temple or monastery in the Deer Park where the Buddha began to preach. It represents the Master enthroned and expounding his doctrine, while a band of disciples at his feet worship the Wheel of the Law. Though it belongs to the same great school as the Ceylon sculpture, it is more dry and academic in treatment. The contours lack the beautiful rhythmic flow of the Ceylon image, and the rather woodeny plastic treatment shows the hand of a copyist lacking in original power of expression.
Both of these Buddhas are dressed in the light diaphanous robe which is characteristic of Gupta sculpture, with a slight difference in arrangement.
