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
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| IIIFカラー高解像度 |
| Ruins of Desert Cathay : vol.2 | |
| 中国砂漠地帯の遺跡 : vol.2 |
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引用情報
CH. LXVIII BUDDHIST EMBROIDERY PICTURE 207
The central life-sized figure, with its rather hieratic look
and severe archaistic pose, is Buddha himself ; the indica-
tions of rock behind suggest that the scene is laid at
the Gridhrakuta or ' Vulture grotto,' famous in Buddha's
life - story. The two figures nearest to the Master on
either side have suffered sad havoc, probably through
want of care and protection before the cave was walled up.
They seem to represent his earliest disciples, Kasyapa being
still recognizable in the aged face on the right. Outside
them we see two richly adorned Bodhisattvas in poses of
worship. A similar grouping was observed in some of
the oldest frescoes of the site. Above them two graceful
Gandharvas on cloud - scrolls support the canopy over
Buddha's head. Below we see the donors and their female
relations grouped in adoration, on either side of a yellow
central panel from which the inscription originally stitched
in has unfortunately disappeared.
The colours of the silks used for the embroidery have
survived in remarkable freshness and shimmer, far better
than the reproduction, owing to unsurmountable technical
difficulties, succeeds in showing. The work contained in
this picture may be guessed from the fact that merely to
stitch it on to a new backing of canvas, a task which was
absolutely needed and which Miss E. A. Winter, a lady
trained at the Royal School of Art Needlework, performed
with great care and skill, took over two months. The
damage which this fine piece of embroidery had suffered
before its final deposition is shown by earlier attempts at
repairs, and confirms the impression of its high antiquity
derived from other indications.
A word of mention must be given to the fine embroidered
cushion cover seen in Fig. 197. Its floral ornamentation
and tracery is remarkable, both for its harmonious colours
and for its close affinity to designs still common in modern
embroidered work of Turkestan and China. Were it not
for the ascertained date of the walling-up of the chapel,
we should scarcely have suspected that this piece of
domestic art went back to at least the tenth century A.D.
But questions even more curious in their antiquarian
aspects are raised by the remains of woven art fabrics
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