On Ancient Central-Asian Tracks : vol.1 / 225 ページ（カラー画像）

0225	On Ancient Central-Asian Tracks : vol.1
中央アジア踏査記 : vol.1

0225

On Ancient Central-Asian Tracks : vol.1

中央アジア踏査記 : vol.1

d, being broken further on, did not allow us
s of the story. But fresco fragments surviving
on the northern hemicycle proved that
expressed the hermit life led by the prince
their retirement into the jungle, and foll
return to their royal home with which the

frieze and dado were clearly painted by t
that while in the frieze the painter was m
ing the conventional representations whic
an art had long before adapted for that p
he was led free by the quasi-secular cha
to take from his inspiration from the conv
the Roman Orient. This impression ha
a support from what a short inscription in K
on the thigh of the white elephant has b
led to us about the painter of the fresco. I
to Victor Boyer, A.S., the distinguished Fren
a valued collaborator on all my Kharoshthi
with the name of the painter as Tita or
doubt as to the words indicating the am
of the payment he received for his work.
is about the name, and as 'Tita' is a form
accounted for etymologically in any Indiar
groups, I feel no hesitation about recogniz
it as being which the Roman name Titus would b
come in Sanskrit and Prakrit.
This would feel no surprise to find the nam T
to be so popular use during the early centur
throughout the Roman Orient, borne by a paint
the calling had carried as far out to the

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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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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