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

characteristic also of the representation of chargers in Sassanian relievos.⁶⁵ Passing reference
may be made here also to the appearance of decorative motifs unmistakably borrowed from
textiles of 'Sassanian' style on the Lokapāla's dress and that of his horse.

In front of Vaiśravaṇa march two Yakṣas clad in what seems to be meant for mail
armour and carrying red pennons. Behind him are seen moving other demon followers,
all grotesque in appearance, and two with animal jaws, &c. They carry a large flag decorated
with a peculiar check and vandyke pattern and a miniature Stūpa, both emblems associated
with Vaiśravaṇa also in the picture of Plate XLV, as well as a battle-axe and bow and arrows.
In the foreground are shown in violent movement three goblins of savage look carrying jars
and vases and apparently quarrelling with the Yakṣas. As one of them attacks the latter with
a branch of coral or 'Nāga tree' in his hand, they may represent the Nāgas from whom
according to the legend Vaiśravaṇa won his treasure. The flaming jewels and square-holed
coins scattered in the foreground seem to have the same symbolic bearing.

At the rear stand two human figures in Chinese secular costume, the man with a mitre-
like head-dress and a roll in his hands, the fair-faced lady with hands joined in adoration
and her hair done in the elaborate tenth-century fashion. Whether they are meant for the
donors of the picture seems uncertain. The whole host is swept along on a cloud from
Vaiśravaṇa's mansion, represented by a Chinese pavilion in the left top corner, and moves
across the sea, which is bounded in the background by a mountain range (Mount Meru) and
in the foreground by cliffs. Infants, ducks, a shark-jawed monster's head, and a nymph
float here in the water between scarlet lotuses, while on the cliffs there appears a stag. Flowers
are scattered in the air above.

The workmanship, while well finished throughout, shows an ease and boldness which
befits the subject. The simplicity of the colour scheme, which is almost entirely confined
to yellow, scarlet, and white on greenish-brown tints of the background, helps the eye to take
in the rapidity of the movement represented.

PLATE XXVII

VIRŪPĀKṢA AND MAÑJUŚRĪ

The silk banner reproduced on the right, on the scale of three-fifths (Ch. 0040), presents
a fine example of the banners showing Virūpākṣa, the Guardian of the West. Next to Vai-
śravaṇa he is the most frequently portrayed of Lokapālas in our paintings, always clearly
recognizable by his particular emblem, the sword. Like the rest of the 'Four Great
Kings' shown in the banners Virūpākṣa stands on the back of a crouching demon serving
as his 'cognizance' (vāhana) and representing the Yakṣas over whom he rules. A small
curling cloud above his haloed head marks the whole as a vision. Both ends of the banner
are broken and its accessories lost, but otherwise it is almost intact.

The figure, displaying force and dignity combined, belongs to a class of Lokapāla
representations among our paintings which, from certain peculiarities in the style of treatment
and in detail, may be distinguished as 'Chinese' from another suggesting closer affinity to
a Central-Asian prototype. Representatives of both classes are seen in Plate XLVII. But
the general character of the figures and their warrior costume is essentially the same through-
out. This suggests, in accord with other indications, that the type, though no doubt originally
derived from the West, had undergone thorough adaptation to Chinese art feeling and was fully
established long before the probable period when these banners were painted.⁶⁶

Our painting well illustrates certain characteristics of the former group in the three-
quarter profile of the Lokapāla's figure and the sweeping curve of pose, with the body thrown