"These little balusters are of considerable interest, as their sculptured statues are much superior in artistic design and execution to those of the railing pillars. They are further remarkable in having Arian letters engraved on their bases or capitals, a peculiarity which points unmistakably to the employment of Western artists, and which fully accounts for the superiority of their execution. The letters found are p, s, a, and b, of which the first three occur twice. Now, if the same sculptors had been employed on the railings, we might confidently expect to find the same alphabetical letters used as private marks. But the fact is just the reverse, for the whole of the 27 marks found on any portions of the railing are Indian letters. The only conclusion that I can come to from these facts is that the foreign artists who were employed on the sculptures of the gateways were certainly not engaged on any part of the railing. I conclude, therefore, that the Raja of en:Shungas, the donor of the gateways, must have sent his own party of workmen to make them, while the smaller gifts of pillars and rails were executed by the local artists." in The stūpa of Bharhut: a Buddhist monument ornamented with numerous sculptures illustrative of Buddhist legend and history in the third century B. C, by Alexander Cunningham p. 8 (Public Domain)
A Guide to Sanchi, John Marshall p.50ff Public Domain text
【注：このrefはいずれノートに記述し直すための覚書です】"元記事（英文）の出典とされるカニンガムの著書には、この文はなく、英訳も発言者の取り方がおかしいため、南伝大蔵経第4巻律蔵273ページとパーリ三蔵の律蔵第2巻、犍度、小品、164ページ((C) Copyright the Pali Text Society and the Dhammakaya Foundation, 2015, CC BY-SA)を参考にして 書き換えた。"
Didactic Narration: Jataka Iconography in Dunhuang with a Catalogue of Jataka Representations in China, Alexander Peter Bell, LIT Verlag Münster, 2000 p.18
Between the Empires: Society in India 300 BCE to 400 CE by Patrick Olivelle [1]
"There is evidence of Hellensitic sculptors being in touch with Sanchi and Bharhut" in The Buddha Image: Its Origin and Development, Yuvraj Krishan, Bharatiya Vidya Bhavan, 1996, p.9
Buddhist Architecture Huu Phuoc Le, Grafikol, 2010 p.149ff
Early Buddhist Narrative Art by Patricia Eichenbaum Karetzky p.16
Early Byzantine Churches in Macedonia & Southern Serbia by R.F. Hoddinott p.17
The East: Buddhists, Hindus and the Sons of Heaven, Architecture in context II, Routledge, 2015, by Christopher Tadgell p.24
Age of the Nandas and Mauryas by Kallidaikurichi Aiyah Nilakanta Sastri p.376 sq
"There is evidence of Hellenesitic sculptors being in touch with Sanchi and Bharhut" in The Buddha Image: Its Origin and Development, Yuvraj Krishan, Bharatiya Vidya Bhavan, 1996, p.9
Faces of Power: Alexander's Image and Hellenistic Politics by Andrew Stewart p.180
"The Goddess Lakshmi in Buddhist Art: The goddess of abundance and fortune, Sri Lakshmi, reflected the accumulated wealth and financial independence of the Buddhist monasteries. Her image became one of the popular visual themes carved on their monuments" in Images of Indian Goddesses: Myths, Meanings, and Models, Madhu Bazaz Wangu, Abhinav Publications, 2003, p. 57 [3]
“Bharhut Gallery”. INC-ICOM Galleries. Indian National Committee of the International Council of Museums. 3 March 2016時点のオリジナルよりアーカイブ。29 September 2014閲覧。
【注：このrefはいずれノートに記述し直すための覚書です】"元記事（英文）の出典とされるカニンガムの著書には、この文はなく、英訳も発言者の取り方がおかしいため、南伝大蔵経第4巻律蔵273ページとパーリ三蔵の律蔵第2巻、犍度、小品、164ページ((C) Copyright the Pali Text Society and the Dhammakaya Foundation, 2015, CC BY-SA)を参考にして 書き換えた。"
web.archive.org
“Bharhut Gallery”. INC-ICOM Galleries. Indian National Committee of the International Council of Museums. 3 March 2016時点のオリジナルよりアーカイブ。29 September 2014閲覧。
"These little balusters are of considerable interest, as their sculptured statues are much superior in artistic design and execution to those of the railing pillars. They are further remarkable in having Arian letters engraved on their bases or capitals, a peculiarity which points unmistakably to the employment of Western artists, and which fully accounts for the superiority of their execution. The letters found are p, s, a, and b, of which the first three occur twice. Now, if the same sculptors had been employed on the railings, we might confidently expect to find the same alphabetical letters used as private marks. But the fact is just the reverse, for the whole of the 27 marks found on any portions of the railing are Indian letters. The only conclusion that I can come to from these facts is that the foreign artists who were employed on the sculptures of the gateways were certainly not engaged on any part of the railing. I conclude, therefore, that the Raja of en:Shungas, the donor of the gateways, must have sent his own party of workmen to make them, while the smaller gifts of pillars and rails were executed by the local artists." in The stūpa of Bharhut: a Buddhist monument ornamented with numerous sculptures illustrative of Buddhist legend and history in the third century B. C, by Alexander Cunningham p. 8 (Public Domain)
