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Digital Archive of Toyo Bunko Rare Books

1058 CAVE-TEMPLES & ANTIQUES OF THE THOUSAND BUDDHAS [Ch. XXV

coloured resp. slate-blue and dark green, with black hair. Hair of other heads is slate-blue ; those forming pyramid are

all of Bodhisattva type, Dhyani-buddha appearing on tiara in middle of lowest row. Avalok.'s flesh yellow, coarsely

shaded with orange-red. The more uncommon emblems of Padmâsana, cloud, bunch of grapes, and fly-whisk, are found amongst emblems of halo ; emblem of Sun shows well-preserved fig. of Sun-bird.

Two striding Nâgas, with demonic faces, and small snakes rising from their tiaras, support Avalok.'s Padmâsana as it

rises from tank. Other attendants numbered six : Bodhi-

sattvas of Sun and Moon ; Nymph of Virtue and Sage ; and two fire-headed Vajrapânis. But of these, Bodhisattva of

Sun and the Sage (who occupied R. top corner and position

immediately below) are lost. Miniature Bodhisattva of Moon, with blue and white disc and five white steeds, floats

in L. top corner ; below her kneels Nymph of Virtue with

dish of flowers. She wears ' dancer's ' dress, and redcoiffed head-dress as in Ch. iii. 004. Below come contorted

and demonic Vajrapânis, that on L. blue, that on R. red. Short inscr. is placed by each of them, and by Nymph above.

Of lower end of painting, divided off by band of rosette orn., only L. half remains containing women donors, and

central dedicatory inscr. (19 11. incomplete at bottom, fairly

preserved). Women are almost obliterated, but seem to have comprised four grown-up persons and a little girl. From

their head-dresses radiate yellow leaves instead of pins ; but dress otherwise seems to correspond to that of women in *Ch. 0010z. Jacket of foremost is of brown elaborately flowered in red and blue. Part only of black-capped head of one man remains on R.

Workmanship of comparatively rough style and colouring coarse originally. 3' x 2' 8".

Ch. liv. 002. Painted silk banner, complete except for side streamers, slightly discoloured.

Head-piece orig. of painted silk mounted on dark green silk damask (lozenge diaper) ; later covered with brown silk

embroidered with leaves and flowers and backed with, green

silk. Bordered with terra-cotta silk damask of naturalistic floral pattern, stamped with cloud scrolls in grey-black paste.

Whole much destroyed. Four bottom streamers of plain grey silk (discoloured); weighting-board painted with flower design on dark red ground.

Subject : Dharmapâla Vajrapâni, of Chinese demon type. Attitude as in Ch. xxiv. 001, general treatment and style

of brushwork as in Ch. 004. Dluiti bright crimson with

slate border; stole dark brown and green ; flesh light brown with modelling indicated in pink (faded) ; plain halo in apple-

green ; clouds dark pink. Face grotesque, with lumpy fore-

head and globular protruding eyes, red at socket and with green irises ; lipless mouth indicated by single bow-shaped

black line ; moustache, beard, and whiskers shown by fringe of single curving hairs. Gamboge cartouche for inscr. (blank) to L. of head.

Painting 2' r" x 6$", length complete 5' 10". Pl. LXXXVI ;

Thousand Buddhas, Pl. xxix.   •

Ch. liv. 003. Fr. of large silk painting showing upper part of Lokapâla, prob. Dhrtarâsera, Guardian of the East, more than life-size. Edges broken all round. Very fine work, the drawing vigorous and the colouring brilliant and in excellent condition.

Preserved portion from bearded chin to hip-belt only, the • fig. standing L. with L. hand outspread at breast holding arrow. Equipment that of the more ' Chinese ' of Lokapâlas in banners (see *Ch. ooro, General Note), but comprises no mantle. It is painted in vivid scarlet, orange, blue, mauve, and green. Borders, straps, discs of corslet, pedestals of jewel orns. on shoulders, etc., are covered with profuse jewel or semi-naturalistic floral ornaments in same bright colours. Scale-armour on shoulders and skirt in large oblong scales ; but on body it is represented by small interlacing black circles on a white ground, clearly intended for chain-mail (not elsewhere represented).

Lokapala wore no helmet, but a tiara, the white streamers of which fall upon his breast ; coat of mail finished at top by blue jewelled collar lying back from neck. The finely drawn lips are straight, slightly parted, and painted deep crimson ; the sweeping beard black. Flesh is painted a light tawny brown, and behind L. shoulder remains part of green halo edged with flame.

Gr. M. 2' X 2'. Thousand Buddhas, Pl. XXVIII.

Ch. liv. 004. Large silk painting with Chin. inscr., representing Paradise of .Sdkyanuni or Amiteibluz ; with side-scenes showing legend of Kalyiinamkara and Pâpamkara, as in Ch. xxxviii. 004. General treatment as in *Ch. lii. 003, etc. ; condition good, but middle of picture broken away at bottom. Inscrs. refer to side-scenes only and give no date.

Buddha (Sakyamuni according to M. Petrucci, Appendix E, III. vii) has R. hand in vitarka-mudrâ, L. open on lap ; Bodhisattva on R. has hands in same pose ; Bodhisattva on L. (with Dhyani-buddha on tiara) has R. hand also in vitarka-mudrâ, L. lifted and held out, palm uppermost. Both sit cross-legged facing spectator, with their heads leaning towards the Buddha. The attendant host consists entirely of Bodhisattvas, except for four shaven haloed disciples immediately on Buddha's R. and L. One of these is old and emaciated.

Across top of picture is represented a valance of orange drapery set in black flowered band. In front the dancer occupies her terrace alone except for two Garudas; musicians are grouped on two separate terraces in bottom corners, in place of the usual subsidiary Buddhas who are absent. The Garudas seem to play on musical instruments, apparently pipe and clappers; musicians, six a side, play on harp, flute, lute, pipe, clappers, and both types of mouth-organ, as in *Ch. lii. 003 ; liii. 002. Infant souls rise from lake, or float on lotuses upon it ; behind musicians rise trees with pear-shaped leaves and groups of conventional pink and white flowers. Architecture of celestial mansions above well shown.

Drawing delicate, especially in features of Bodhisattvas, and workmanship highly finished throughout. The prevailing colours are the usual crimson and dull green, but enlivened