I have already briefly analysed the Sang Hyang Kamahâyânikan which seems to be the most authoritative exposition of this creed. The learned editor has collected many parallels from Tibetan and Nepalese works and similar parallels between Javanese and Tibetan iconography have been indicated by Pleyte[445] and others. The explanation must be that the late forms of Buddhist art and doctrine which nourished in Magadha spread to Tibet and Nepal but were also introduced into Java. The Kamahâyânikan appears to be a paraphrase of a Sanskrit original, perhaps distorted and mutilated. This original has not been identified with any work known to exist in India but might well be a Mahayanist catechism composed there about the eleventh century. The terminology of the treatise is peculiar, particularly in calling the ultimate principle Advaya and the more personal manifestation of it Divarûpa. The former term may be paralleled in Hemacandra and the Amarakosha, which give respectively as synonyms for Buddha, advaya (in whom is no duality) and advayavâdin (who preaches no duality), but Divarûpa has not been found in any other work[446]. It is also remarkable that the Kamahâyânikan does not teach the doctrine of the three bodies of Buddha[447]. It clearly states[448] that the Divarûpa is identical with the highest being worshipped by various sects: with Paramaśûnya, Paramaśiva, the Purusha of the followers of Kapila, the Nirguṇa of the Vishnuites, etc. Many names of sects and doctrines are mentioned which remain obscure, but the desire to represent them all as essentially identical is obvious. The Kamahâyânikan recognizes the theoretical identity of the highest principles in Buddhism and Vishnuism[449] but it does not appear that Vishṇu-Buddha was ever a popular conception like Śiva-Buddha or that the compound deity called Śiva-Vishṇu, Hari-Hara, Śaṇkara-Narâyaṇa, etc., so well known in Camboja, enjoyed much honour in Java, Vishṇu is relegated to a distinctly secondary position and the Javanese version of the Mahabharata is more distinctly Śivaite than the Sanskrit text. Still he has a shrine at Prambanan, the story of the Ramayana is depicted there and at Panataran, and various unedited manuscripts contain allusions to his worship, more especially to his incarnation as Narasimha and to the Garuḍa on which he rides[450]. 8