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 XXVII

PAINTING FROM BEZEKLIK

Bez. xii. A–I

HIS large picture, II feet Io inches high by 18 feet in length, was removed

from the inner end of the south-east wall. At the end of the cella was

originally a kind of altar, upon which lay, as on a couch, the recumbent

effigy of the departed Buddha after the attainment of Parinirvána—his head

directed towards the west, or, if the orientation of Afráz-guys plan is correctly

indicated, the south-west. This effigy was doubtless modelled in mud plaster,

and had long before been destroyed.

At the bottom of the extremely interesting right-hand section, A to C, the

figure seated in meditation is probably the disciple Mahá Kassapa, who would

thus be at the feet of the Buddha. There is a calm serenity expressed in this figure,

as of all doubts removed and complete composure of conscience attained. His

thin grey moustache indicates that he is advanced in years; and his smooth,

unwrinkled face that his life has been `void of cares and strife'. He comes now to

keep vigil at the feet of the departed Master. Deep in meditation, he is oblivious

of the noisy demonstrations in progress behind him. Although he is clearly

Chinese, the whole conception and design of the figure calls to mind some of those

of the early Italian painters, but with less of their Byzantine rigidity. There are

qualities in this figure such as are not found in any other of our Central Asian

paintings. The correct proportions, easy and expressive pose, the delicate con-

touring of the simple white drapery with its graceful, flowing lines, the con-

scientious observance of the manner in which the discreetly placed yellow bands

follow the folds, all together express the quality of an artist of a different calibre

from those responsible for the surrounding work, or, indeed, for any of the other

pictures in the collection.

The group of figures above, probably designed by the artist of the Mahá

Kassapa, but not executed by him, is full of interest. The loudly lamenting,

emaciated old disciple in Buddhist robes is eloquent of unrestrained, vociferous

grief; one hand at his ear in a pose common to those who would concentrate their

yells, and the other curling itself in nervous action at his knee. His rheumy, wide-

open eyesg lare despairingly from his tear-sodden face into a future void of all

but immeasurable desolation. The two ash-smeared, well-nourished sádhus, with

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