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. LXXXIII GRAECO-BUDDHIST INFLUENCE 369
covered in the débris of different temples (Figs. 273, 275), which from the very nature of their material could not have been mechanically reproduced, show that art work of older date and decided merit was also represented among the votive deposits of this site.
Most remarkable among these specimens is, perhaps, the little detached panel in wood, a kind of miniature stélé (Fig. 275, 3) about one foot high, which in the two upper stories shows a story from Buddha's legend, while on a projecting base worshipping figures are represented. The style of the modelling and the general disposition are so closely akin to those prevailing in the Graeco-Buddhist relievos of Gandhara that the idea of actual importation from the confines of India strongly suggests itself. In the same way the curved panel, perhaps originally forming part of a large halo carved in wood and richly gilt, which is
decorated with five seated Buddha figures, could easily be matched in the stone-cut relievos of Buddhist Viharas in the Peshawar valley. Yet there can be no doubt that this piece, like other decorative wood-carvings of which a few specimens are given in Figs. 273, 275, must have been produced locally.
An interesting contrast to all this evidence of predominant Graeco-Buddhist influence is supplied by the excellently modelled little statuette in wood (Fig. 275, 4), which represents a ` Guardian-king of the World,' probably Vaisravana, in the best Chinese style of T'ang times. It helps to remind us that here, as at Khotan, local art during the last centuries of the Buddhist period must have been exposed to a reverse current of influence from the Far East.
This Chinese influence makes itself felt also in the mural paintings of the site. Those on exposed wall surfaces had suffered almost complete effacement ; but in the vaulted
passages behind the cellas timely burial had occasionally saved them from both fire and moisture. A large series of fresco panels illustrating scenes in the life of Buddha have survived almost complete. The panels were just big enough to be cut out and safely removed. It was a hard task, for the plaster adhered so closely to the wall that Naik
VOL. II 2 B
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