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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| 0224 |
On Ancient Central-Asian Tracks : vol.1 |
| 中央アジア踏査記 : vol.1 |
引用情報
OCR読み取り結果
The wall, being broken farther on, did not allow me to follow
the rest of the story. But fresco fragments surviving above
the dado on the northern hemicycle proved that there had
been represented the hermit life led by the princely couple
after their retirement into the jungle, and finally their
happy return to their royal home with which the pious
story ends.
Both frieze and dado were clearly painted by the same
hand. But while in the frieze the painter was manifestly
following the conventional representation which Graeco-
Buddhist art had long before adopted for that particular
legend, he was left free by the quasi-secular character of
the dado to take there his inspiration from the contemporary
art of the Roman Orient. This impression has received
distinct support from what a short inscription in Kharoshthi
painted on the thigh of the white elephant has fortunately
revealed to us about the painter of the frescoes. As inter-
preted by Abbé Boyer, s.j., the distinguished French scholar
and a valued collaborator on all my Kharoshthi materials,
it records the name of the painter as Tita as well as the
amount of the payment he received for his work. There is
some doubt as to the words indicating the amount, but
none about the name, and as 'Tita' is a form which cannot
be accounted for etymologically in any Indian or Iranian
language, I feel no hesitation about recognizing in it the
rendering which the Roman name Titus would necessarily
receive in Sanskrit and Prakrit.
We need feel no surprise to find this name Titus, which
was in popular use during the early centuries of our era
throughout the Roman Orient, borne by a painter-decorator
whom his calling had carried so far east on the way to
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571
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578
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