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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カラー画像サムネイル -
目次 -
ページ番号 -
書誌情報（メタデータ） -
キャプション -
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白黒高解像度画像 -
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グラフィック -
| 0328 |
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
plied in the schematic fashion dear to Buddhist piety, bore
the unmistakable impress of Indian models transmitted
through Central-Asian Buddhism. Hieratic tradition had
preserved for these Buddhas, Bodhisattvas and saintly
attendants the type of face, pose and drapery originally
developed by Graeco-Buddhist art, whatever modifications
Chinese taste had introduced in technique of treatment and
colouring.
In spite of this strong conservative tendency there were
different phases of development to be distinguished among
these wall paintings. There were plentiful archaeological
indications to suggest that those in most of the larger shrines
belonged to the times of the T'ang dynasty, from the
seventh to the tenth century, when the sacred site, like the
Tun-huang oasis itself, had enjoyed prolonged spells of
prosperity. Since a fine stone inscription of T'ang times
which M. Chavannes had published before from an
estampage mentions the first consecration of the site in
A.D. 366, remains of shrines even earlier than the T'ang
might also be looked for. The search for such would not
have been possible for me without Sinologue training and
expert knowledge of Chinese secular art. On the other hand,
it was easy to recognize fresco work later in style but still
skilful and vigorous on the walls of antechapels and passages.
These were necessarily much exposed to decay and damage,
and restorations such as later inscriptions mention under
the Mongol dynasty had here manifestly been frequent.
During the centuries that followed the downfall of the
T'ang dynasty until the establishment of paramount Mon-
gol power, these marches of China proper, then no longer
within the 'Great Wall', had been exposed to barbarian
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578
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