National Institute of Informatics - Digital Silk Road Project
Digital Archive of Toyo Bunko Rare Books

TITLE-PAGE

PAINTED FRAGMENT, PROBABLY FROM BALAWASTE

HAR. B. shows the figure of an adorant kneeling probably between two standing Buddha figures (missing) of which the edges of the vesicas appear to right and left. His hands are folded in devotion with the thumbs sharply abducted,' and on the back of the right hand is drawn an eye, which should perhaps

more correctly be on the palm, but this being hidden the painter has adopted an

unorthodox alternative. There is deliberate disregard of accuracy in the drawing

of the necklet, carcanet, and left armlet. From behind the shoulders rise two

sharply pointed leaf-like forms, representing flames. The bands of colour forming

the nimbus and the border of the vesica on the right are without ornament, a

condition found also in Bal. 0200, plate y, Har. C., plate vi, and Har. D., plate

VII; and the thorn-like flickering white flames surrounding the dark field of the

nimbus appear also in Har. D. The figure is nearly related in racial type and

general presentation to the figures in Har. C., reproduced in plate vi. Like those,

the torso, of `leonine' proportions, and arms are nude and the dhoti covering the

legs is of richly figured material. The face with its heavy-lidded eyes, aquiline

nose, and cupid-bow lips proclaims the near relationship. Other points of

resemblance occur also in Bal. 098, plate v. The pose of both figures is nearly the

same and both wear a similar kind of ear ornament. The narrow waisted tri-

múrti deity, Bal. 0200 in this plate, is also related in style.

Sasanian stylization is evident in the ornamental enrichment of the caps worn

by the three figures in Har. B. and Har. C., and in the pattern of the fabric of the

dhoti in Har. B. —a repeating circular patera surrounded by `pearls'.2 Kha. i. E. 0047,

plate V also has ornamental details of Sasanian inspiration. Circular paterae half-

rosettes, `pearls', enclosed palmettes, and acanthus type of ornament are used in

some measure in all these examples referred to. The sites Bal., Har., and Kha. are

in or near to the Domoko oasis and the paintings appear to have come under a

common influence.

I See Introduction, p. xxvi.

2 This motive is found in many of the ancient textiles from

graves at Astána. See Stein: Innermost Asia, p. 676, plates LXIX, LXXX.