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
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| 0472 |
Innermost Asia : vol.1 |
| 極奥アジア : vol.1 |
引用情報
OCR読み取り結果
Wang Tao-
shih's
' restora-
tions '.
As these observations have since been recorded in Serindia,²³ it remains for me only to add
here some brief remarks on the changes which a rapid inspection enabled me to notice in the general
condition of the cave-temples. Near the northern end of their main group, where Wang Tao-shih
in his capacity as restorer had throughout been particularly active, there were many walls covered
with fresh plaster, hiding remains of old mural paintings, as well as abundance of new and hideous
statuary in stucco, to betoken the progress of his pious efforts. Less depressing evidence of his
zeal was to be seen towards the middle of the same group of caves. Here much additional work
had been done in clearing the approaches to the cellas of the lowest row, which had previously
become partially blocked by the accumulation of drift-sand and by the gradual rise of the ground
level outside. Here, too, some fifty shrines in the upper rows, which formerly could be reached
only by means of rickety wooden ladders or still more rickety galleries, had been rendered easily
accessible by the simple but destructive expedient of cutting passages from one cave-shrine to
another right through the rock-wall separating them. Mural paintings in the way of the openings
on either side had been ruthlessly destroyed in the process.²⁴
Attempts
to cut
frescoes.
But there were signs in a few places of a danger of another kind to the pictorial relics in the
caves ; for attempts had been made here and there to cut out particularly striking details of fresco
compositions, e. g. the fine head of one of the attendants flying by the side of Buddha's car in the
noble wall-painting seen in Serindia, Figs. 215, 226. Fortunately these attempts, evidently
prompted by some visitor's ' collecting ' zeal, had had to be abandoned before they could proceed
far, or induce emulation by local hands bent on obtaining antiques for sale ; for the very hard and
uneven surface presented by the conglomerate of the rock-wall must render it a far more difficult
task to remove intact the mud plaster which here bears the tempera painting than in the case of
the mural paintings found at sites of the Tārīm basin or Turfān. There the thick plaster backing
of the paintings rests against the smooth uniform surface of a wall of brickwork, wattle and
plaster, or natural clay, and it can with due care and some skill be separated from the wall without
too great risk of serious damage. It may accordingly be hoped that the mural paintings of the
' Thousand Buddhas ' will fare better than those of the cave-shrines in the Turfān and Kuchā
regions, and escape exploitation by inexperienced hands, whether of amateur collectors or profit-
seeking natives.
Panels from
entrance to
cella
Ch. II. a.
Of the special difficulties presented by the conglomerate surface at the back of painted plaster
I had occasion to acquire personal experience. I have already described in Serindia the great
artistic interest presented by the beautiful mural paintings which cover the walls of the small cella,
less than nine feet square, marked by me Ch. II. a and situated at the northern extremity of the
main group.²⁵ These paintings, apparently executed in true fresco, differ strikingly both in style
and technique from those noticed by me elsewhere at the ' Thousand Buddhas '. For various
reasons it appeared desirable to secure specimens of the work for expert examination, and the small
detached panels in the same technique decorating either side of the narrow entrance to the cella,
having already suffered damage through their exposed position, offered themselves as suitable for
the purpose. The experiment of their removal proved difficult. The plaster, apparently con-
taining much lime, was thin, very hard, and firmly adhered to the gravelly surface of the rock. In
spite of all our care the removal could not be carried out without numerous breaks in the panels.
As, however, these left sharp edges in the plaster pieces, there is some hope left that, when reset
by Mr. Andrews' skilful hands, the little panels will serve to convey some idea of the remarkable
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339
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463
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483
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494
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504
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515
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536
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546
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556
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566
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577
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587
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597
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607
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617
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627
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637
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647
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657
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667
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677
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684
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