国立情報学研究所 - ディジタル・シルクロード・プロジェクト
『東洋文庫所蔵』貴重書デジタルアーカイブ

long-limbed. The artist has shown extraordinary genius in the diversity of pose,

of occupation, and animation distinguishing the figures. The difficulty of endowing

each of these many persons with an individual interest is such as any practical

designer will appreciate; and the success achieved must claim our admiration. The

proportions of the figures are good and the actions natural. Although well worth

close examination, the extent of effacement they have suffered has obscured many

details and rendered the task difficult. To describe each figure individually here

would be tedious for the reader; but a few general observations may be helpful

and acceptable.'

The central figure, seated cross-legged, with the left hand probably at breast

level, has a brown nimbus and dark green vesica. The ground colour within the

enclosing circle is grey, with the radiating lines dark brown. It has been suggested

that the nondescript animal, now a mere ghostly silhouette, may be an antelope,

which is an attribute of the Moon deity, and also appears sometimes as the vi Nana

of the goddess of light.

The surrounding figures are sometimes full-face, others in profile or inclining

to the right. They are variously engaged in teaching, presenting offerings, or, with

folded hands, just adoring. Two of the volutes in the upper zone enclose, in each,

two figures. In that immediately to the left of the centre, both figures turn to the

right. One is on a higher level than the other and his hair seems to be dressed in

the typical top-knot of a sádhu. Both have their hands in the aii ali (adoring) pose.

Of the other couple, the figure to the left is kneeling, and, with hand outstretched,

seems to be making an offering to a seated Buddha or Bodhisattva.

It will be noticed that the hands are long and graceful and that when the thumb is

abducted the separation from the fingers is very pronounced. I have already referred

in the Introduction (p. xxvi), to the occurrence of this gesture in Western art.

The costumes are of two kinds; one with a long dhoti covering the legs to the

ankles; the other short, leaving the legs bare. A loin-cloth is usual and a kind of

upavita or narrow shawl, crossing from the left shoulder and passing round the body

below the right arm. A stole, passing over the shoulders and winding round the

arms, with freely flowing ends, seems common to all. Most of the figures wear a

simple head-dress (rnuku.ta) consisting of a white head-band, knotted or with two

bosses above the ears, and a central elliptical rosette. The colours of the garments

ring the changes on white, green, blue, pink, red, and red-brown. The hair is

I Detailed description of each figure is given in my Catalogue of Wall Paintings. Delhi, 1933, pp. 6o sqq.

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