But which will be the _sixth_ Buddha represented there by _all_ the sculptures of the fifth and highest encircling wall, and dominating _all_ the zones of heaven, but which _can’t be a Dhyâni-Buddha_? That’s a new enigma rightly explained by the king of Siam, I suppose,[77] and which I’m going to show directly. And that the unfinished Buddha of the _large_ dagob _can’t_ represent the _fifth_ Dhyâni-Buddha appears from the posture of the hands which would refer to the _second_, 92 times hewed on the eastern lower-walls. Should it represent a _Dhyâni_-Buddha, it must be this one and for such an idea _I_ can’t find any reason. Had the _Mahâyânists_ had the intention to place there one of their five _Dhyâni_-Buddhas, they surely would have rendered homage to their _own_ Redeemer, the _fourth_. The four other ones may have only had a legendary-historical sense, consequently also the _second_. In spite of the _mudrâ_ of this second _Dhyâni_-Buddha the image itself should not be meant as Akshobhya, but simply as the perfect Buddha, the _Shakya having taking flesh as Buddha_—for this is the meaning of this _mudrâ_ even to the Buddhists of the southern church _who don’t know several Dhyânis_ but the _only_ Buddha. And as these five Dhyâni-Buddhas don’t wholly explain the images of the Båråbudur, and don’t wholly expound the _sixth_, I therefore thought it reasonable to take all the Buddhas of the five encircling walls as one separated group, those of the three circular terraces as a _second_, and the ones of the closed dagob as the only representative of a _third_, whereas the placing of the sculptures on these five walls should be connected with the _five_ zones of heaven Siddhârta took possession of after his birth[78]. Should this group represent the Buddha perhaps, with reference to the human- and animal world described by the sculptures hewed beneath there, we then may refer to Wilsen’s and Leemans’ and accept the images (_taken from the mentioned world_) of the upper-terraces to be the Buddha as _Arahat_ in a state of supreme purity or holiness, in the _nirvâna_, perhaps. The Buddha wholly enclosed by the large dagob, and so positively separated from the world, may refer to the _parinirvâna_, that is, the _wholly_ dissolving in the infinite _not-to-be_; _death without regeneration_, the _final purpose of all life_[79]. For this dagob is a closed grave in which for about, or at least, eleven centuries ago the Buddhists may have hidden the vase containing some ashes of the really died Buddha; a trace of the remainders of the great wise man, the spotless preacher; a minim quantity of the Master’s ashes, the divine redeemer of all that lives and suffers, that thinks, feels and dies.