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| 0046 |
Wall Paintings from Ancient Shrines in Central Asia : vol.1 |
| 中央アジアの古代寺院の壁画 : vol.1 |
引用情報
OCR読み取り結果
brows are moderately arched and well separated; and although the mouth is very
firm, the division between the lips being a straight line, the hardness is modified by
the curved red lines of the lips and the dimples at the corners of the mouth. The
arrangement of the hair, partly broken away, is that of a boy, and although the
rippling lock in front of the ear is rather effeminate in its length, the fashion was
affected by men, as several examples here reproduced testify. The combination of
the boy's hair with the effeminate love-lock, may signify asexuality.
The winged figure rising from a festoon is often found in Gandhāra sculptures,
and wings as an indication of the divine or super-human are of early incidence all
over the West, Middle East, Egypt, Persia, and China. The conception does not
seem to have extended to India excepting in the north-west, where it was probably
introduced from the West, but even here did not persist beyond the Gandhāra or
Kuṣan period; nor did it continue in Chinese art.
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159
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170
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