CHAPTER II.
Direct Evidences from Indian Sculpture, Painting, and Coins.
The conclusions pointed to by these literary evidences seem further to be supported by other kinds of evidence mainly monumental in their character. They are derived from old Indian art—from Indian sculpture and painting—and also from Indian coins. These evidences, though meagre in comparison with the available literary evidences, native and foreign alike, have, however, a compensating directness and freshness, nay, the permanence which Art confers, creating things of beauty that remain a joy for ever. Indeed, the light that is thrown on ancient Indian shipping by old Indian art is not yet extinguished, thanks to the durable character of old Indian monuments, thanks also to the labours of the Archaeological Department for their preservation and maintenance.
There are several representations of ships and boats in old Indian art. The earliest of them are those to be found among the Sanchi sculptures belonging to an age so far back as the 2nd century B.C. One of the sculptures on the Eastern Gateway of No. 1 Stupa at Sanchi represents a canoe made up of rough planks rudely sewn together by hemp 
SCULPTURES FROM THE SANCHI STUPAS.
[To face p. 32.
or string. "It represents a river or a sheet of fresh water with a canoe crossing it, and carrying three men in the ascetic priestly costume, two propelling and steering the boat, and the central figure, with hands resting on the gunwale, facing towards four ascetics, who are standing in reverential attitude at the water's edge below."[1] According to Sir A. Cunningham,[2] the figures in the boat represent Sakya Buddha and his two principal followers; and Buddha himself has been compared in many Buddhist writings to "a boat and oar in the vast ocean of life and death."[3] But General F. C. Maisley is inclined to view this sculpture "as representing merely the departure on some expedition or mission of an ascetic, or priest, of rank amid the reverential farewells of his followers."[4] His main reasons for supporting this view are, firstly, that no representations of Buddha in human shape were resorted to until several centuries later than the date of these sculptures; and, secondly, because the representation is that of a common thong-bound canoe and not of a sacred barge suiting the great Buddha. There is another sculpture to be found on the Western Gateway of No. 1 Stupa at Sanchi which "represents a piece of water, with a barge floating on it whose prow is formed by a winged gryphon and stern by a fish's tail. The barge contains a pavilion overshadowing a vacant throne, over which a male attendant holds a chatta, while another man has a chaori; a third man is steering or propelling the vessel with a large paddle. In the water are fresh-water flowers and buds and a large shell; and there are five men floating about, holding on by spars and inflated skins, while a sixth appears to be asking the occupant of the stern of the vessel for help out of the water."[5] This sculpture appears simply to represent the royal state barge, which quite anticipates its modern successors used by Indian nobles at the present day, and the scene is that of the king and some of his courtiers disporting themselves in an artificial piece of water; but it is also capable of a symbolical meaning, especially when we consider that the shape of the barge here shown is that of the sacred Makara, the fish avatara or Jataka of the Buddhist, just as the Hindu scriptures make the Matsya, or fish, the first of the avatars of Vishnu, whose latest incarnation was Buddha. According to Lieutenant Massey, however, this sculpture represents the conveyance of relics from India to Ceylon which is intercepted by Nagas.[6]
In passing it may be noted that the grotesque and fanciful shapes given to the prow herein represented are not the invention or innovation of an ingenious sculptor trying his wit in original design; they are strictly traditional, and conform to established standards,[7] and are therefore identical with one or other of those possible forms of the prow of a ship which have been preserved for us in the slokas of the Sanskrit work Yuktikalpataru quoted and referred to above.
Next to Sanchi sculptures in point of time we may mention the sculptures in the caves of Kanhery in the small island of Salsette near Bombay, belonging, according to the unerring testimony of their inscriptions, to the 2nd century A.D., the time of the Andhrabhritya or Śatakarni king Vashishthiputra (A.D. 133-162) and of Gotamiputra II. (A.D. 177-196). Among these sculptures there is a representation of a scene of shipwreck on the sea and two persons helplessly praying for rescue to god Padmapani who sends two messengers for the purpose. This is perhaps the oldest representation of a sea voyage in Indian sculpture.[8]
I have come across other representations of ships and boats in Indian sculpture and painting. In the course of a journey I made through Orissa and South India I noticed among the sculptures of the Temple of Jagannath at Puri a fine, well-preserved representation of a royal barge shown in relief on stone, of which I got a sketch made. The representation appears on that portion of the great Temple of Jagannath which is said to have been once a part of the Black Pagoda of Kanaraka belonging to the 12th century A.D. The sculpture shows in splendid relief a stately barge propelled by lusty oarsmen with all their might, and one almost hears the very splash of their oars; the water through which it cuts its way is thrown into ripples and waves indicated by a few simple and yet masterly touches; and the entire scene is one of dash and hurry indicative of the desperate speed of a flight or escape from danger. The beauty of the cabin and the simplicity of its design are particularly noticeable; the rocking-seat within is quite an innovation, probably meant to be effective against sea-sickness, while an equally ingenious idea is that of the rope or chain which hangs from the top and is grasped by the hand by the master of the vessel to steady himself on the rolling waters. It is difficult to ascertain what particular scene from our Shastras is here represented. It is very probably not a mere secular picture meant as an ornament. The interpretation put upon it by one of the many priests of whom I inquired, and which seems most 
THE ROYAL BARGE ON THE JAGANNATH TEMPLE, PURI.
VAITAL DEUL.
likely, being suggested by the surrounding sculptures, was that the scene represented Śrī Krishña being secretly and hurriedly carried away beyond the destructive reach of King Kańsa. It will also be remembered that the vessel herein represented is that of the Madhyamandirā type as defined in the Yuktikalpataru.
In Bhubaneshwara there is an old temple on the west side of the tank of Vindusarovara which requires to be noticed in this connection. The temple is called Vaitāl Deul after the peculiar form of its roof resembling a ship or boat capsized, the word vaitāra denoting a ship. The roof is more in the style of some of the Dravidian temples of Southern India, notably the raths of Mahavellipore, than of Orissan architecture.
There are a few very fine representations of old Indian ships and boats among the far-famed paintings of the Buddhist cave-temples at Ajantā, whither the devotees of Buddhism, nineteen centuries or more ago, retreated from the distracting cares of the world to give themselves up to contemplation. There for centuries the wild ravine and the basaltic rocks were the scene of an application of labour, skill, perseverance, and endurance that went to the excavation of these painted palaces, standing to this day as monuments of a boldness of conception and a defiance of difficulty as possible, we believe, to the modern as to the ancient Indian character. The worth of the achievement will be further evident from the fact that "much of the work has been carried on with the help of artificial light, and no great stretch of imagination is necessary to picture all that this involves in the Indian climate and in situations where thorough ventilation is impossible."[9] About the truth and precision of the work, which are no less admirable than its boldness and extent, Mr. Griffiths has the following glowing testimony:—
During my long and careful study of the caves I have not been able to detect a single instance where a mistake has been made by cutting away too much stone; for if once a slip of this kind occurred, it could only have been repaired by the insertion of a piece which would have been a blemish.[10]
According to the best information, the execution of these works is supposed to have extended from the 2nd century B.C. to the 7th or the 8th century A.D., covering a period of more than a thousand years. The earliest caves, namely the numbers 13, 12, 10, 9, 8, arranged in the order of their age, were made under the Andhrabhrityas or Śātakarni kings in the 2nd and 1st centuries B.C., and the date of the latest ones, namely the numbers 1-5, is placed between 525-650 A.D. By the time of Hiuen Tsang's visit their execution was completed. Hiuen Tsang's is the earliest recorded reference we have to these caves. The Chinese pilgrim did not himself visit Ajantā, but he was at the capital of Pulakeshi II., King of Mahārāstra, where he heard that "on the eastern frontier of the country is a great mountain with towering crags and a continuous stretch of piled-up rocks and scarped precipice. In this there is a Sangharam (monastery) constructed in a dark valley. . . . On the four sides of the Vihara, on the stone walls, are painted different scenes in the life of the Tathagata's preparatory life as a Bodhisattva. . . . These scenes have been cut out with the greatest accuracy and finish."[11]
The representations of ships and boats furnished by Ajantā paintings are mostly in Cave No. 2, of which the date is, as we have seen, placed between 525-650 A.D. These were the closing years of the age which witnessed the expansion of India and the spread of Indian thought and culture over the greater part of the Asiatic continent. The vitality and individuality of Indian civilization were already fully developed during the spacious times of Gupta imperialism, which about the end of the 7th century even transplanted itself to the farther East, aiding in the civilization of Java, Cambodia, Siam, China, and even Japan. After the passing away of the Gupta Empire, the government of India was in the opening of the 7th century A.D. divided between Harshavardhana of Kanauj and Pulakeshi II. of the Deccan, both of whom carried on extensive intercourse with foreign countries. The fame of Pulakeshi spread beyond the limits of India and "reached the ears of Khusru II., King of Persia, who in the thirty-sixth year of his reign, 625-6 A.D., even received a complimentary embassy from Pulakeshi. The courtesy was reciprocated by a return embassy sent from Persia, which was received in the Indian court with due honour."[12] There is a large fresco painting in the Cave No. 1 at Ajantā which is still easily recognizable as a vivid representation of the ceremonial attending the presentation of their credentials by the Persian envoys.
As might be naturally expected, it was also the golden age of India's maritime activity which is reflected, though dimly, in the national art of the period. The imperial fleet was thoroughly organized, consisting of hundreds of ships; and a naval invasion of Pulakeshi II. reduced Puri, "which was the mistress of the Western seas."[13] About this time, as has been already hinted at, swarms of daring adventurers from Gujarat ports, anticipating the enterprise of the Drakes and Frobishers, or more properly of the Pilgrim Fathers, 
A SEA-GOING VESSEL.
(From the Ajantā Paintings.)
sailed in search of plenty till the shores of Java arrested their progress and gave scope to their colonizing ambition.
The representations of ships and boats in the Ajantā paintings are therefore rightly interpreted by Griffiths as only a "vivid testimony to the ancient foreign trade of India." Of the two representations herein reproduced, the first shows "a sea-going vessel with high stem and stern, with three oblong sails attached to as many upright masts. Each mast is surmounted by a truck, and there is carried a lug-sail. The jib is well filled with wind. A sort of bowsprit, projecting from a kind of gallows on deck, is indicated with the out-flying jib, square in form," like that borne till recent times by European vessels. The ship appears to be decked and has ports. Steering-oars hang in sockets or rowlocks on the quarter, and eyes are painted on the bows. There is also an oar behind; and under the awning are a number of jars, while two small platforms project fore and aft.[14] The vessel is of the Agramandirā type as defined in the Yuktikalpataru, our Sanskrit treatise on ships.
The second representation is that of the emperor's pleasure-boat, which is "like the heraldic lymphad, with painted eyes at stem and stern, a pillared canopy amidships, and an umbrella forward, the steersman being accommodated on a sort of ladder which remotely suggests the steersman's chair in the modern Burmese row-boats; while a rower is in the bows."[15] The vessel is of the Madhyamandirā type, and corresponds exactly to the form of those vessels which, according to the Yuktikalpataru, are to be used in pleasure trips by kings.
The third representation from the Ajantā paintings reproduced here is that of the scene of the landing of Vijaya in Ceylon, with his army and fleet, and his installation. The circumstances of Vijaya's banishment from Bengal with all his followers and their families are fully set forth in the Pali works, Mahāwańso, Rājāvalliya, and the like. The fleet of Vijaya carried no less than 1,500 passengers. After touching at several places which, according to some authorities, lay on the western coast of the Deccan, the fleet reached the shores of Ceylon, approaching the island from the southern side. The date of Vijaya's landing in Ceylon is said to have been the very day on which another very important event happened in the far-off fatherland of Vijaya, for it was the day on which the Buddha attained the Nirvāṇa. Vijaya was next installed as king, and he became the founder of the "Great Dynasty."
THE ROYAL PLEASURE-BOAT.
(From the Ajantā Paintings.)
The conquest of Ceylon, laying as it did the foundation of a Greater India, was a national achievement that was calculated to stir deeply the popular mind, and was naturally seized by the imagination of the artist as a fit theme for the exercise of his powers. It is thus that we can explain its place in our national gallery at Ajantā as we can explain that of another similar representation suggestive of India's position in the Asiatic political system of old—I mean the representation of Pulakeshi II. receiving the Persian embassy. Truly, Ajantā unfolds some of the forgotten chapters of Indian history.
The explanation of the complex picture before us can best be given after Mr. Griffiths, than whom no one is more competent to speak on the subject. On the left of the picture, issuing from a gateway, is a chief on his great white elephant, with a bow in his hand; and two minor chiefs, likewise on elephants, each shadowed by an umbrella. They are accompanied by a retinue of foot-soldiers, some of whom bear banners and spears and others swords and shields. The drivers of the elephants, with goads in their hands, are seated, in the usual manner, on the necks of the animals. Sheaves of arrows are attached to the sides of the howdahs. The men are dressed in tightly-fitting short-sleeved jackets, and loin-cloths with long ends hanging behind in folds. Below, four soldiers on horseback with spears are in a boat, and to the right are represented again the group on their elephants, also in boats, engaged in battle, as the principal figures have just discharged their bows. The elephants sway their trunks about, as is their wont when excited. The near one is shown in the act of trumpeting, and the swing of his bell indicates motion. "These may be thought open to the criticism on Raphael's cartoon of the Draught of Fishes, viz. that his boat is too small to carry his figures. The Indian artist has used Raphael's treatment for Raphael's reason; preferring, by reduced and conventional indication of the inanimate and merely accessory vessels, to find space for expression, intelligible to his public, of the elephants and horses and their riders necessary to his story."
Vijaya Sińha, according to legend, went (B.C. 543) to Ceylon with a large following. The Rakshasis or female demons inhabiting it captivated them by their charms; but Vijaya, warned in a dream, escaped on a wonderful horse. He collected an army, gave each soldier a magic verse (mantra), and returned. Falling upon the demons with great impetuosity, he totally routed them, some fleeing the island and others being drowned in the sea. He destroyed their town, and established himself as king in the island, to which he gave the name of Sińhala.[16]
LANDING OF VIJAYA IN CEYLON (ABOUT 543 B.C.).
I shall now present a very important and interesting series of representations of ships which are found not in India but faraway from her, among the magnificent sculptures of the Temple of Borobudur in Java, where Indian art reached its highest expression amid the Indian environment and civilization transplanted there.
Most of the sculptures show in splendid relief ships in full sail and scenes recalling the history of the colonization of Java by Indians in the earlier centuries of the Christian era. Of one of them Mr. Havell[17] thus speaks in appreciation: "The ship, magnificent in design and movement, is a masterpiece in itself. It tells more plainly than words the perils which the Prince of Gujarat and his companions encountered on the long and difficult voyages from the west coast of India. But these are over now. The sailors are hastening to furl the sails and bring the ship to anchor." There are other ships which appear to be sailing tempest-tossed on the ocean, fully trying the pluck and dexterity of the oarsmen, sailors, and pilots, who, however, in their movements and looks impress us with the idea that they are quite equal to the occasion. These sculptured types of a 6th or 7th century Indian ship—and it is the characteristic of Indian art to represent conventional forms or types rather than individual things—carry our mind back to the beginning of the 5th century A.D., when a similar vessel also touched the shores of Java after a more than three months' continuous sail from Ceylon with 200 passengers on board including the famous Chinese pilgrim Fa-Hien. It is noteworthy that "astern of the great ship was a smaller one as a provision in case of the larger vessel being injured or wrecked during the voyage."[18]
The form of these ships closely resembles that of a catamaran, and somewhat answers to the following description of some Indian ships given by Nicolo Conti in the earlier part of the 15th century: "The natives of India build some ships larger than ours, capable of containing 2,000 butts, and with five sails and as many masts. The lower part is constructed with triple planks, in order to withstand the force of the tempests to which they are much exposed. But some ships are so built in compartments that should one part be shattered the other portion remaining entire may accomplish the voyage."[19]
These ships will be found to present two types of vessels. To the first type belong Nos. 1, 3, 5, 6. They are generally longer and broader than the 
INDIAN ADVENTURERS SAILING OUT TO COLONIZE JAVA.
No. 1. (Reproduced from the Sculptures of Borobudur.)
INDIAN ADVENTURERS SAILING OUT TO COLONIZE JAVA.
No. 2. (Reproduced from the Sculptures of Borobudur.)
vessels of the second type, have more than one mast, are many-ribbed, the ribs being curved, not straight. These vessels are built so narrow and top-heavy that it is necessary to fit outriggers for safety. An outrigger is a series of planks or logs joined to the boat with long poles or spars as shown in Fig. 1. It is customary when a large amount of sail is being carried for the crew to go out and stand on the outrigger as shown in Fig. 5.
No. 1 has got two masts and one long sail. No. 3 has got square sails and one stay-sail in front. In No. 5 the crew appear to be setting sail or taking sail down. No. 6 has been interpreted by Mr. Havell as representing sailors "hastening to furl the sails and bring the ship to anchor," but this suggestion seems to be contradicted by the sea-gulls or albatrosses of the sculpture flying around the vessel, which without doubt indicate that the ship is in mid-ocean, far away from land.
No. 1 shows probably a wooden figure-head and not a man; so also do Nos. 3, 5, 6. There is also a sort of cabin in each of the vessels of the first type. Again, in No. 1 the figure aft appears to be a compass.[20] No. 5 appears to be in collision with some other vessel, or perhaps it shows a smaller vessel which used to be carried as a provision against damages or injury to the larger one from the perils of navigation. This was, as already pointed out, true of the merchantman in which Fa-Hien took passage from Ceylon to Java. No. 5 illustrates also the use of streamers to indicate the direction of winds.
There is another type of ships represented in Nos. 2 and 4. The fronts are less curved than in the first type; there is also only one mast. No. 2 shows a scene of rescue, a drowning man being helped out of the water by his comrade. No. 4 represents a merrier scene, the party disporting themselves in catching fish.
Some of the favourite devices of Indian sculpture to indicate water may be here noticed. Fresh and sea waters are invariably and unmistakably indicated by fishes, lotuses, aquatic leaves, and the like. The makara, or alligator, showing its fearful row of teeth in Fig. 2, is used to indicate the ocean; so also are the albatrosses or sea-gulls of Fig. 6. The curved lines are used to indicate waves.
INDIAN ADVENTURERS SAILING OUT TO COLONIZE JAVA.
No. 3. (Reproduced from the Sculptures of Borobudur.)
INDIAN ADVENTURERS SAILING OUT TO COLONIZE JAVA.
No. 4. (Reproduced from the Sculptures of Borobudur.)
INDIAN ADVENTURERS SAILING OUT TO COLONIZE JAVA.
No. 5. (Reproduced from the Sculptures of Borobudur.)
INDIAN ADVENTURERS SAILING OUT TO COLONIZE JAVA.
No. 6. (Reproduced from the Sculptures of Borobudur.)
The trees and pillars appear probably to demarcate one scene from another in the sculpture.
Finally, in the Philadelphia Museum there is a most interesting exhibit of the model of one of these Hindu-Javanese ships, an "outrigger ship," with the following notes:—
Length 60 feet. Breadth 15 feet. ...
Method of construction.—A cage-work of timber above a great log answering for a keel, the hold of the vessel being formed by planking inside the timbers; and the whole being so top-heavy as to make the outrigger essential for safety.
Reproduced from the frieze of the great Buddhist temple at Borobudur, Java, which dates probably from the 7th century A.D. About 600 A.D. there was a great migration from Guzarat in ancient India near the mouths of the Indus to the island of Java, due perhaps to the devastation of Upper India by Scythian tribes and to the drying up of the country.[21]
Lastly, it may be mentioned that in the Great Temple at Madura, among the fresco paintings that cover the walls of the corridors round the Suvarṇapushkariṇī tank, there is a fine representation of the sea and of a ship in full sail on the main as large as those among the sculptures of Borobudur.
We shall now refer to the available numismatic evidence bearing on Indian shipping; for besides the representations of ships and boats in Indian sculpture and painting, there are a few interesting representations on some old Indian coins which point unmistakably to the development of Indian shipping and naval activity. Thus there has been a remarkable find of some Andhra coins on the east coast, belonging to the 2nd and 3rd century A.D., on which is to be detected the device of a two-masted ship, "evidently of large size." With regard to the meaning of the device Mr. Vincent Smith has thus remarked: "Some pieces bearing the figure of a ship suggest the inference that Yajña Śrī's (A.D. 184-213) power was not confined to the land."[22] Again: "The ship-coins, perhaps struck by Yajña Śrī, testify to the existence of a sea-borne trade on the Coromandel coast in the 1st century of the Christian era."[23] This inference is, of course, amply supported by what we know of the history of the Andhras, in whose times, according to R. Sewell, "there was trade both by sea and overland with Western Asia, Greece, Rome, and Egypt, as well as China and the East."[24]
In his South Indian Buddhist Antiquities,[25] Alexander Rea gives illustrations and descriptions of three of these ship-coins of the Andhras. They
 No. 1. |
 No. 2. | |
 No. 3. |
 No. 4. |
ANDHRA SHIP-COINS OF THE SECOND CENTURY A.D.
are all of lead, weighing respectively 101 grains, 65 grains, and 29 grains. The obverse of the first shows a ship resembling the Indian dhoni, with bow to the right. The vessel is pointed in vertical section at each end. On the point of the stem is a round ball. The rudder, in the shape of a post with spoon on end, projects below. The deck is straight, and on it are two round objects from which rise two masts, each with a cross-tree at the top. Traces of rigging can be faintly seen. The obverse of the second shows a ship to the right. The device resembles that of the first, but the features are not quite distinct. The deck in the specimen is curved. The obverse of the third represents a device similar to the preceding, showing even more distinctly than the first. The rigging is crossed between the masts. On the right of the vessel appear three balls, and under the side are two spoon-shaped oars. No. 45 in the plate of Sir Walter Elliot's Coins of Southern India is also a coin of lead with a two-masted ship on the obverse.
Besides these Andhra coins there have been discovered some Kurumbar or Pallava coins on the Coromandel coast, on the reverse of which there is a figure of a "two-masted ship like the modern coasting vessel or d'honi, steered by means of oars from the stern." The Kurumbars were a pastoral tribe living in associated communities and inhabiting for some hundred years before the 7th century "the country from the base of the tableland to the Palar and Pennar Rivers. . . . They are stated to have been engaged in trade, and to have owned ships and carried on a considerable commerce by sea."[26]
- ↑ General F. C. Maisley, Sanchi and its Remains, p. 42.
- ↑ The Bhilsa Topes, 27.
- ↑ Foe-koue-ki, ch. xxiv., note 11.
- ↑ Sanchi and its Remains, p. 43.
- ↑ Sanchi and its Remains, p. 59.
- ↑ Mrs. Spier's Life in Ancient India, p. 320.
- ↑ The identity of the form of the prow of the Sanchi barge with that given in the Yuktikalpataru may incline one to hazard the conjecture that the work may be compiled from works at least as old as the Sanchi monument, or at any rate the portions treating of prows.
- ↑ See Bombay Gazetteer, vol. xiv., p. 165.
- ↑ J. Griffiths, The Paintings in the Buddhist Cave-Temples of Ajanta.
- ↑ Ibid.
- ↑ Beal, Buddhist Records of the Western World, vol. ii., p. 257.
- ↑ Vincent A. Smith, Early History of India, pp. 384, 385.
- ↑ See Dr. Bhandarkar's Early History of the Deccan, ch. x.
- ↑ Griffiths, The Paintings in the Buddhist Cave-Temples of Ajanta, p. 17.
- ↑ Griffiths, The Paintings in the Buddhist Cave-Temples of Ajanta, p. 17.
- ↑ See Turnour's Mahāwańso, chs. 6-8.
- ↑ E. B. Havell's Indian Sculpture and Paintings, p. 124.
- ↑ Beal, Buddhist Records, vol. ii., p. 269.
- ↑ India in the Fifteenth Century, in the Hakluyt Society publications, ii., p. 27.
- ↑ This is the suggestion of a European expert, Mr. J. L. Reid, member of the Institute of Naval Architects and Shipbuilders, England, at present Superintendent of the Hugli Docks, Salkea (Howrah). In connection with Mr. Reid's suggestion, the following extract from the Bombay Gazetteer, vol. xiii., Part ii., Appendix A, will be interesting: "The early Hindu astrologers are said to have used the magnet as they still use the modern compass, in fixing the North and East, in laying foundations, and other religious ceremonies. The Hindu compass was an iron fish that floated in a vessel of oil and pointed to the North. The fact of this older Hindu compass seems placed beyond doubt by the Sanskrit word maccha-yantra, or fish machine, which Molesworth gives as a name for the mariner's compass."
- ↑ The Javanese chronicles relate that about A.D. 603 a ruler of Gujarat, forewarned of the coming destruction of his kingdom, started his son with 5,000 followers, among whom were cultivators, artisans, warriors, physicians, and writers, in 6 large and 100 small vessels, for Java, where they laid the foundation of a civilization that has given to the world the Sculptures of Borobudur.
- ↑ Early History of India, p. 202.
- ↑ Z.D.M.G., p. 613. (On Andhra Coinage.)
- ↑ Imperial Gazetteer, New Edition, vol. ii., p. 825.
- ↑ Archaeological Survey of India, New Imperial Series, xv., p. 29.
- ↑ Sir Walter Elliot in the Numismata Orientalia, vol. iii., Part ii., pp. 36, 37. (Coins of Southern India.)