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

PLATE XIX

PAINTINGS FROM BEZEKLIK

Bez. iii. A, B

THIS is a continuation of the series of pictures, on the same wall as Bez. iii. C—F, in plate xiv, in each of which the standing Buddha is the central figure. The Buddha figure between C and B is missing; only the sides of the haloes remain. Continuing from this hiatus, to the right of the vesica, in the

foreground, is an important personage of regal aspect, possibly a OEäkya prince,

who has decided to follow the Buddha and is seated in Western fashion on a low

stool. His hands are folded reverently, and with head inclined towards the

Buddha his face expresses a dreamy ecstasy, mingled with some speculation, as he

submits to the sacrifice of his luxuriant hair, still, for a brief period, spreading in

thick masses behind his shoulders. The long, slit lobes of his ears carry gold

rosettes from which hang bunches of five coloured beads, and his necklet is of

chased gold and red in alternate sections, with red and green beads. The armlets

are red-brown, with gold edges and studs, a boss with green jewel on the outer side

of each, and a green leaf-shape palmette above, in front. The three golden double

bangles have a green palmette rising from the highest on each forearm. His

elaborate clothing consists of an upavita, saffron colour, with a green pleat; a saffron

stole; buff loin-cloth with green border; and a brown-pink skirt. The end of a

buff girdle hangs between his knees. The stool, or ásana, on which he sits is green

on top, and the frame brick-red with yellow edges and studs. Below the top of the

frame is a band of green scroll-work on white, and the same at the bottom edge of

the picture. Two vertical bands of the same pattern suggest short legs of the stool.

Near the bottom of the picture is a row of alternate brick-red and green rectangles.

The flowing lines of the drapery, although excessive, effectively develop the form

of the figure; and while expressing more exuberance on the part of the painter than

care for truth of detail in the drawing, give animated contrast to the resigned tran-

quillity of the person involved.

Behind the seated figure stands the barber-monk Upali, perhaps sent by King

Suddhodana, the Buddha's uncle, to perform the solemn head-shaving rite. The

razor, of Chinese pattern, held in his right hand is urged forward by his left; and

as it is advanced, locks of hair fall in front of the face and neck of the prince. The

pose of the barber's hands expresses the sureness and elegant delicacy of his touch,

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