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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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
is characteristically Chinese. Yet the touching pose of the
prince's faithful steed Kanthaka as it takes leave of its
master, now about to retire from the world, exactly repro-
duces that regularly adopted in the corresponding repre-
sentations of Graeco-Buddhist relievos. Next we have the
scene of the Prince preparing to have his hair cut before
retiring into the forest. Below an emaciated figure in the
traditional pose of Indian ascetics symbolizes the austerities
practised by Gautama before finding the true way to
illumination and delivery.
We find two scenes relating to the Prince's farewell to
his horse Kanthaka and his faithful groom Chandaka repre-
sented also in the top portion of another banner. In its
lowest portion we are shown in an excellently composed
scene the pursuit of the mounted messengers sent in search
of the Prince.
The frankly Chinese fashion in which these traditional
subjects of the Life Story are treated contrasts strikingly
with the fact that the figures of Buddhas and Bodhisattvas
or future Buddhas alike conform more or less closely to the
types as originally evolved in Graeco-Buddhist sculpture
and transmitted through Central-Asian art. The problem
thus raised is of distinct interest. Whatever the right ex-
planation be, we have here a curious parallel to the trans-
formation which Christian legend has undergone at the
hands of Italian or Flemish painters.
Among the pictures showing single Buddhist divinities
the representations of Gautama Buddha and those who
preceded him in gaining Enlightenment and Nirvana are,
significantly enough, very rare. Buddhist piety in China as
elsewhere appears always to have been attracted far more
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537
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550
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561
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571
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578
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