THE ANCIENT ABBEY OF AJANTA 109
its turn has given birth to the Shiva emblem and to the image proper. The image has developed itself as Buddha, and also borne as an offshoot the image of Narayana. But with this extraordinary energy of modification, only to be credited when we remember the wonderful theological and philosophical fertility of the Indian mind, it is not to be supposed that the stupa as such had ceased to develop. There was at least one well-marked phase before it yet. The world, for the monk, was peopled with meditating figures. The church was ideally a great host who had attained through the Master's might. The lotus on which he sat en- throned had many branches. This thought also found expression in the stupa. The same idea is laboriously sculptured on the walls of the shrine in Ajanta Seven. And on reaching more distant parts of the order, no doubt it^ was this development that gave rise to the multiplication of small medi- tating figures and their being placed even on straight lines, or amongst leafage, wherever the architecture gave the slightest opportunity or excuse.
All this goes to show that Magadha remained (as she began), throughout the Buddhist age the source and creative centre, alike for theology and for the system of symbolism which was instrumental in carrying that theology far and wide. Waddell some years ago communicated a paper to the Royal Asiatic Society in which he urged that the original types of the Mahayanist images of Tibet must be
