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On Ancient Central-Asian Tracks : vol.1 |
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XVII) which can definitely be dated as belonging to the
first quarter of the eighth century. This silk picture, un-
fortunately fragmentary, shows various secular scenes, and
the coiffures and costumes of the ladies in them correspond
very closely to those of the lady representing the soul in our
painting. Instead of being later, the fashion depicted belongs
to the earlier T'ang period.
Among the large pictures showing Avalokitesvara grouped
with attendant divinities, the silk painting very rich in
colours, seen in Fig. 101, deserves prominent notice. It
illustrates a mixed style of painting in which Chinese work-
manship is combined with elements contributed by Indian
prototypes, Iranian and Central-Asian influences and
Tibetan taste. We see here Avalokitesvara with a thousand
arms seated within a central disc, and outside it a number
of attendant divinities symmetrically grouped. The halo
around the Bodhisattva, who is shown with a single head
but multiple arms, is formed by a multitude of hands. The
palm of each of these is marked with an open eye to symbol-
ize that Avalokitesvara is omnipresent with watchful eye
and ready hand, able and willing to save all his worshippers
at the same time.
In the upper half of the background we see discs enclosing
the haloed Bodhisattvas of Sun and Moon, while below
them rather stiff blossoms and sprays descend through the
light blue sky. The lower half of the background contains
beautifully drawn figures, conventionally designated as
those of the 'Sage' and the 'Nymph of Virtue', both seated
on lotuses and in adoring attitudes. Below them again there
stride in violent movement two demonic figures, with fiery
hair and grotesque features. Their close kinship to the
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491
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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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