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
『東洋文庫所蔵』貴重書デジタルアーカイブ

worshippers.⁴⁶ On the right above we see a man, naked except for a loin-cloth, threatened
with having his head cut off. Lower down two men are fleeing with their arms over their
heads, while a thunder-cloud in the sky, represented like a monstrous Nāga, showers black
drops on them. Below a man stands calmly in a pyramid of flame into which another
behind appears to have pushed him. On the left above a man is being pushed by another
over a precipice ; but half-way down he is seen again composedly seated on a cloud. The
next scene shows a man kneeling in an arched recess with his head in a cangue, while in
front of him are wooden instruments for fettering feet and hands. At the bottom stands
a man looking calm although surrounded by a snake, scorpion, and an animal apparently
meant for a tiger.

In the bottom portion of the painting are shown the donors, on either side of a car-
touche intended for a dedicatory inscription. Their figures are drawn with much care
and offer good examples of costumes belonging to the tenth century. Of the men on the
right the one in front holds a censer and the other a lotus bud between his hands joined
in adoration. On the left kneels a lady in a wide big-sleeved robe ; her hair is held by
a central framework and big pins, painted in pink and white, but lacks the usual flowers
and leaves. Behind her stands a boy in long white trousers and a flowered pink and white
tunic, with his hair parted and ornamented on the top by a big bow.

PLATE XXIII

SIX-ARMED AVALOKITEŚVARA WITH ATTENDANT BODHISATTVAS

The large silk painting (Ch. xxvi. 001) of which this Plate is a half-size reproduction
was in its original condition a very fine composition, but has suffered much damage. The
lower end has been destroyed by fire, the right edge is lost, and several large holes show where
dark green paint has corroded the silk. Much of the colouring is gone ; yet in spite of all
these vicissitudes enough remains to prove the refined design of the whole and the sureness
of the drawing.

The picture shows a six-armed Avalokiteśvara seated on a large white lotus in the
attitude known as that of 'royal ease', with the right knee raised and the head inclined over
the right shoulder. This characteristically 'Indian' pose corresponds to the slim-waisted body
and the dress of 'Indian' Bodhisattva type. It is only in figures of the latter that we find
the flower-ornamented caps over the knees here seen. The upper hands with gracefully
curved fingers are raised towards the head ; of the middle ones the right is raised before the
breast in the vitarka-mudrā, while the left is held below palm up ; the lower hands hang
down below the knees. No emblems are displayed, except the Dhyāni-buddha in the front
of the tiara, which appears as a high solid cone of chased bronze.

The ornamentation of the circular halo and nimbus is very elaborate and effective.
Vandyke and flower patterns fill the former, waving rays the nimbus. One continuous
flame border outlines the free edges of both, while a broad band of white surrounds them and
encloses the whole figure in a circle of light. A string of small flowers seen in profile defines
the outer edge of this circle.

Above it is seen a canopy set with flaming jewels. On either side of this appears a small
Bodhisattva seated on a lotus which grows on a twining stem. Two corresponding figures
occupying the bottom corners are all but destroyed.

In the colouring different shades of red and green prevailed, together with white ; but
the last, as well as the yellow on Avalokiteśvara's flesh, has been rubbed off in most places.