civilized people. All the art and culture, the highest standards of Hindu taste and living, in the tenth century of triumphant Buddhism, are expressed in this sculptured record of the golden age of Java. The Boro Boedor sculptures are finer examples of the Greco-Buddhist art of the times than those of Amravati and Gandahara as one sees them in Indian museums; and the pure Greek countenances show sufficient evidence of Bactrian influences on the Indus, whence the builders came.
Of the more than five hundred statues of Buddha enshrined in niches and latticed dagobas, all, save the one mysterious figure standing in the central or summit dagoba, are seated on lotus cushions. Those of the terrace rows of chapels face outward to the four points of the compass, and those of the three circular platforms face inward to the hidden, mysterious one. All are alike save in the position of the hands, and those of the terrace chapels have four different poses accordingly as they face the cardinal points. As they are conventionally represented, there is Buddha teaching, with his open palm resting on one knee; Buddha learning, with that hand intently closed; Buddha meditating, with both hands open on his knees; Buddha believing and convinced, expounding the lotus law with upraised hand; and Buddha demonstrating and explaining, with thumbs and index-fingers touching. The images in the lotus bells of the circular platforms hold the right palm curved like a shell over the fingers of the left hand—the Buddha who has comprehended, and sits meditating in stages of Nirvana. It was never intended that worshipers should know the mien of the
