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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Serindia : vol.2 | |
セリンディア : vol.2 |
Sec. vi] LOKAPALAS AND VAJRAPANIS 875
elsewhere also.3 His cortège consists partly of demons, evidently representing Yaksas, and partly of figures purely human, which are clearly individualized but still await definite identification. Among them is a nymph presenting flowers ; a finely painted old man carrying what may be a Vajra, and two male figures in hieratic dress and pose. The fifth is a remarkably well-drawn archer preparing to shoot at a bat-like demon in the air. In the latter we can safely recognize a Garuéia, the hunting of whom is a frequent motif in Turfân frescoes,36 and whose winged figure is well known to Gandhâra sculpture.
Another and larger painting, Ch. xxxvii. 002 (Plate LXXIII),37 equally spirited in its composition if not so careful in execution, presents to us VaiAravana riding in rapid progress across the ocean, accompanied by a numerous host. The scene is of special interest because, from the appearance in the foreground of goblins resisting the god's followers and of scattered coins and jewels, it may be assumed to represent the legend of Vaigravana winning his treasure from the Nâgas. Among other points of archaeological interest duly referred to in the Descriptive List, the elaborate ` horse millinery ' of the god's steed may be singled out for mention. In the fragment of a third large picture, Ch. 0069, the attendant clad over head and shoulders with a tiger-skin is of interest because he stands on rolls of coins, emblematic of Vaisravana or Kubera as the god of Wealth, and carries in his right a mongoose, an attribute of this Lokapâla not elsewhere met with in our paintings.38 Among the seven silk banners representing Vaigravana, Ch. 0087 with the curious figure of the god and the girl's bust below and Ch. 0098 with its fine demonic head may be specially noted as characteristic specimens of the ` Central-Asian ' and ` Chinese ' styles.3°
Of the other three Lokapâlas, Dhrtarastra, the Regent of the East, distinguished by bow or arrow, is the only one who is also represented in a large painting, Ch. liv. oo3, excellent in drawing and colouring, but unfortunately in fragmentary condition.40 He appears besides in five banners.*' Next to Vaigravana the most frequently portrayed is Virttpâksa, the ruler of the West, shown with his sword on twelve banners, some of very fine execution.42 Viradhaka, Guardian of the South, appears to have been the least popular with the local donors ; for we find him, marked by his club, separately on only two pictures, one of them a silk banner.43 Finally there remains for mention a silk banner showing a figure of the type and dress of Lokapâlas, but without either the demon cognizance or a distinctive attribute.44
Along with the Lokapâlas we may conveniently notice a small group of silk banners and paper paintings which show us Dharmapâlas, or ' Protectors of the Law', and forms of Vajrapani in fury, which are still favourite figures in the Buddhist imagery of the Far East. Derived from the ancient Gandhâra representation of the thunderbolt bearer,4& they already meet us at Lung-mên. They show there those poses and that exaggerated development of the muscles which remain characteristic
Legend and
emblems of
Vaisravana.
Paintings of other Lokapâlas.
Dharma- pâlas or Vajrapânis.
35 See Ch. 0085 ; xviii. 002 (Pl. xC).
S6 For references, see Granwedel, Allbuddh. Kultstttlen, Index, p. 351, S.V. Garuda; for an illustration, ibid. Fig. 583,
p. 282.
37 For a more successful reproduction on a larger scale, see Thousand .8., Pl. XXVI.
38 For the fragment of a fourth painting, Ch. 0031, representing Vaigravana with at least one attendant, cf. Descriptive List below, pp. 945 sq.
39 See for Ch. 0098, Thousand B., PI. XLVIII. The other banners are Ch. 0085, 00106, 00107, 00117; lxi. oo5. Pictures on paper are Ch. oo161 (Pl. xCII), 00405; xxii.
0034.
10 See Thousand B., PI. xLVIII.
" See Ch. 00468 ; xxvi. a. 002 (Pl. LxxxV), oo6 (Pl, LXXXVII); Iv. oo5, 00t7.
42 Cf. *Ch. 0050, 0022, *0035, 0040 (Pl. LXXXV ; Thousand B., PI. XLVII), 00469; xx. 0011 ; xxiii. oor ; xxxiv. 004 ; xlix. 007 ; lv. 0018 (Pl. LXXXV, carrying Stûpa), 0020, 0046. See also the painting Ch. 00395, mounted on paper.
43 See Ch. xxvi. a. ow ; xvii. 003 (on paper). But cf. also the Lokapala sets xviii. 002 (Pl. Xc); xxii. 0026 (Pl. XCII).
" See Ch. 0095 (Pl. LxXXIII). In the fr. of a Lokapâla, Ch. 0047o, the attribute is lost.
45 Cf. Foucher, L'art du Gandhefra, i. p. 358 ; Granwedel-Burgess, Buddhist Art, pp. 93 sqq.; Chavannes, Mission archéologique, i. p. 552.
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