IIIFカラー高解像度
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
| |||||||||
|
| IIIFカラー高解像度 |
| Ancient Khotan : vol.1 | |
| 古代コータン : vol.1 |
 |
 |
 |
 |
 |
 |
|
|
 |
|
|
|
|
|
|
|
|
引用情報
Sec. iv] THE SCULPTURES OF THE RAWAK VIHARA 495
what was manifestly the customary dress of the period and the country, and this gives to them their special archaeological interest.
The figure to the left proper in the group south of the gate (R. xxvii ; Plate XIV. c) is Costume of
well preserved from the waist downwards, and is dressed in a double garment descending to vàrapâlas,
R. xxvii.
the top of high and pointed boots. The latter still retain in parts their dark-red colouring.
Of the lower coat only the edges laid in narrow frills are visible. The upper garment is
decorated on the edges with a raised border showing wave line ornament, while in the middle
between the legs descends a line of broad triangular pleats clearly visible in the reproduction.
Hanging from the middle of the waist is shown a knife in a narrow scabbard. The figure
nearest to the gate and turned slightly towards the entrance is similarly accoutred in a double
garment with broad borders reaching to the top of the red-coloured boots. None of the
garments retain any colouring. The folds of the coats are indicated by slightly hollowed
lines. In front of this second image were found broken remains of a recumbent figure
consisting of a lower portion partly embedded in the floor, a much-decayed torso, and
a head. Both are seen in Plate XIV. c as held up by one of the labourers. The head
was badly defaced ; but features strikingly different from those of the sacred heads, such as
broad protruding lips and a flat nose, could still be distinguished on it. The question suggests
itself whether this figure, which seems to have been reclining against the feet of the second
Dvârapâla, may not represent a demon, Kubera's typical cognizance 18.
The Dvârapâlas to the north of the gate (see Fig. 67, besides Plate XIV. d) differ in dress Dvârapâlas,
from the others mainly by showing bulging trousers tucked into boots, which, like the ` Charuks' R. xxviii.
worn nowadays, are wide at the top, with an ornamental border on their brim. The boots
were originally coloured dark-red. The trousers are for the greater part hidden by two large
coats hanging down from the waist, one above the other. The bands of embroidery marked
in relief along the hem of the coats show elaborate patterns with small circlets and crochets
and are still distinguishable in the original photographs. Below the edges of the upper
garment of the figure near the entrance there remained traces of light-brown colouring.
Between the feet of each of the two figures further away from the entrance were found Female bust
small female busts, • visible in Plate XIV. c, d and Fig. 67, and evidently identical. The one R. xxvadt.
(R. xxvii. t) which could be removed without difficulty broke in transit to London, but its
numerous fragments were successfully reunited by Mr. A. P. Ready of the British Museum.
Plate LX X XV shows front and side views of the head and bust, both remarkable for graceful
outlines and good modelling. The careful and easy treatment of the hair displayed by the
side view deserves special notice, as well as. the delicate proportions of the breasts. The
upward tilt of the head seems an indication that these small sculptures were intended to
occupy the position in which they were found, and were not mere deposits from some other
part of the shrine. In appearance they curiously recall the female figure which some well-
known Gandhâra reliefs, representing the scene of Gautama's final departure from his palace,
show rising from the ground between the feet of his horse Kanthaka i7. Whether this figure
is to be interpreted as the goddess of the earth, according to Prof. Grünwedel's ingenious
conjecture, or otherwise to be accounted for, it is clear that our small sculptures can have
only a very distant connexion with it. Perhaps they were meant for Yaksinis, inserted for
the purpose of showing that the guardians whose feet they seem to support are Yaksa
kings.
16 See above, p. 253. Foucher, L' Art du Gandhâra, i. pp. 337 sqq.
17 See Grünwedel-Burgess, Buddhist art, pp. too sqq.;
|
|
|
|
|
|
|
|
|
Copyright (C) 2003-2019
National Institute of Informatics（国立情報学研究所）
and
The Toyo Bunko（東洋文庫）. All Rights Reserved.
本ウェブサイトに掲載するデジタル文化資源の無断転載は固くお断りいたします。