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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. W hen we look for the principal cult image in the sanctum ofa Chlukya temple, we notice Sthat in the early Vaisnava caves (Badami III and II) there is no trace of it. The altar or pedestal (pitha) is cut from the live rock. It may have carried a stone or wood image. The caves as well as the early structural temples all were later converted to the Saiva cult and provided with a litiga.We have shown elsewhere, that the main reliefs of Badami cave III (A.D. 578) are not all of this date; there are two replacements (Narasimha and Hari-Hara) and two additions (Trivikrama and Astabhiijasvirmi). It is unusual to encounter Hari-Hara-whom we primarily associate with Saiva worship-in a Vaisnava temple.2 The two remaining original images are Vaikuntha-NIrdyana and VarIha; we can only speculate as to the identity of the other two.Among the bracket sculptures, however, most of which represent mithunas, we can identify Siva and Pdrvati (four times), Ardhandrirvara, as well as KIma and Rati.Garuda appears under the cornice. The ceiling reliefs of the verandah have Visnu in the center, surrounded by eight Dikpilas; he is flanked by Siva (with Ganega and Ganas) and Brahmd (with four regents) and, beyond, Indra and Varuna. The hall ceiling has Brahmi in the center medallion, surrounded by four regents.The principal reliefs in Badami cave II (ca.6oo) are Trivikrama and Vardha; Visnu on Garuda adorns the verandah ceiling. The small panels on the bracket-capitals and below include Siva and PNrvati, Durgi Mahisisura-mardini, Lakuliga (seated, with club in right hand), Kirttikeya, K~ima and Rati. Natega appears in the small kudu above the Trivikrama panel.As for the early structural temples, the Rock Temple or Upper Sivilaya (probably before 640) has three principal relief panels which represent Krsna Govardhana (south), Vardha (west) and Narasimha (north). The Vaisnava subshrine at Mahakut (early 8th century) has Vardha (south), a standing Visnu (west) and an Ugra-Narasimha (north). Garu

As a collector, Charles Lang Freer had an overwhelming interest in the arts of the Far East; and this is naturally reflected in the relatively small number of Indian works of art he purchased in his lifetime. In 1907 he bought an ivory carving from Orissa and some 134 miniatures of various Indian schools, mostly Mughal; and in 1914 he acquired a stone carving from Java which reflects the dominantly Hindu culture that overran Southeast Asia in medieval times. Since the opening of the Gallery in 1923 a few more sculptures have been added: four by John Ellerton Lodge, the first Director, one by his successor, Archibald Gibson Wenley, and one by the present writer.In spite of the limited size of this group, the rarity and the exceptional quality of some of the pieces make it an outstanding collection that has attracted the favorable attention of scholars and connoisseurs in this field all over the world. It seemed desirable, therefore, to make as thorough a study as possible to determine the date and place of each in relation to the existing body of comparative material in India and the West, and to make it available to a wider audience in published form.To undertake this task we were fortunate to secure the services of Dr. Aschwin Lippe, formerly Research Curator in the Metropolitan Museum of Art. Dr. Lippe is a leading scholar in the arts of the Far East and has also specialized in the sculpture of India, has travelled widely in that country and studied the major monuments with a deep scholarly knowledge and a discriminating eye. We are very pleased to be able to publish the results of his research on our collection.The objects in the Freer Gallery were photographed by Raymond A.Schwartz, Chief of the Freer Photographic Laboratory, and for the other illustrations appropriate acknowledgement is made in each caption. The book was edited and seen through the press by Lloyd E. Langford, Editorial Secretary, who has worked out the problems of style and layout and handled all IX negotiations with the printer; and Fritz Hartmann and the Briider Hartmann Company have given us every cooperation in producing a volume that is worthy of their reputation and of the material it treats. Finally we express our gratitude to the Kevorkian Foundation for a grant to cover the cost of publication.

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