Message from Barhut Jataka Labels
By B. M. Barua
Summary
The Barhut Jataka carvings feature thirty-two surviving labels attached to scenes depicting episodes from the Bodhisattva’s previous lives. These labels either name complete Birth-stories (e.g., Maghadeviya-Jataka, Isimiga-Jataka, Bhojaja-Jataka), specific episodes, or principal actors (e.g., "The episode of Kandari and Kinnarad," "The Jataka-episode of the Cat and the Cock"). Some labels reference moral verses (e.g., Yam-brahmansa-avayesi-Jataka) or describe actions (e.g., "The drawing of water in a Jataka-scene"). Others characterize scenes by external associations, such as "A woodland shrine in an animal feeding-ground" or "At the watery lake." The labels provide unique insights, as later Buddhist sites like Bodh-Gaya or Sanchi lack such inscriptions. This practice persists in Burma, where descriptive labels accompany Jataka carvings at Shwe Dagon Pagoda and Pagan. Discrepancies exist between labels and depicted scenes; for instance, a carving showing the birth of Isimiga or Rsyasmga from a doe is only an introductory episode of the Isimimgiya-Jataka. Similar inconsistencies suggest artistic adaptations, such as the separation of episodes into distinct Jatakas (e.g., Alambuss and Nalinika) or the inclusion of interludes (e.g., Kandari-Kinnarad as part of the Tesakuga Jataka). The total number of Jatakas fluctuated historically, counted as 500 before Fa-Hian’s 5th-century visit and later standardized at 550 by Buddhaghoga. The
Conclusion
The Barhut Jataka labels offer a unique window into the evolution of Buddhist narrative traditions, revealing how artistic and textual traditions intersected to shape Jataka storytelling. These inscriptions, which name specific Birth-stories, episodes, or moral verses, demonstrate a deliberate effort to organize and contextualize the carvings, a practice distinct from other contemporary Buddhist sites. The labels' ability to clarify the relationship between scenes and their broader narratives—such as the separation of episodes from complete Jatakas—provides critical evidence for understanding the fluidity of Jataka collections. This system of indexing, which persisted in Burma, underscores the dynamic interplay between visual art and textual tradition, highlighting how Jataka narratives were both preserved and adapted across time and space. The Barhut labels thus serve as a vital link between artistic representation and the literary development of Buddhism.