THE ANCIENT ABBEY OF AJANTA i2i
sities, and the influence of the north-west upon its art does not cease with Nineteen. The whole interior surface of Twenty-six — probably undertaken by the abbot Buddha Bhadra at some date subse- quent to the visit of Hiouen Tsang in the middle of the seventh century — is covered with carvings, culminating in an immense treatment of the subject so much beloved by the latest Gandharan sculptors, the Mahanirvana of Buddha. The Buddha in this carving is 23 feet long, and even the curious tripod which seems to support the beggar's bowl and crutch is reproduced. This duplication of a known subject is very eloquent.
We may conclude, then, that a vital artistic intercourse was now maintained between Gandhara and Ajanta, and in this connection the carved ornament of palm-leaves, so reminiscent of the bole of the date-palm, amongst the ornaments of the doorway on Cave Twenty-three, is of the utmost significance.
But a second catastrophe occurred in Gandhara, and the destruction of the monastic foundations in that country was complete. The wars between the Saracenic Mohammedans and the Chinese Empire culminated about the middle of the eighth century in the utter defeat and expulsion of the Eastern power (A.D. 751). The Arabs must then have swept Gandhara from end to end, and every monk who had not fled was doubtless put to the sword. India was the obvious refuge of the consequent crowd of dmigres, and art and education the only means open to them of repaying the hospitality of
