Ancient Khotan : vol.1 / 313 ページ（白黒高解像度画像）

0313	Ancient Khotan : vol.1
古代コータン : vol.1

treated at present as conjectural. Two curious points, wholly independent of it, still remain
to be noted. There is nothing, as far as I know, in Indian art to account for the appearance
of the vine-leaf which is displayed so conspicuously in front of the lady's body. Manifestly
an imitation of the post-classical fig-leaf, it presents us with an unmistakable proof of western
influence on Khotan art of the period. Have we possibly to recognize another but more distant
trace of this in the general pose of the principal figure? I am unable to adduce for this pose
any parallel from old Indian art ; but western eyes cannot fail to be struck by the curious
resemblance it presents to that of the traditional Venus of late Greek sculpture. The position
of the right hand is practically identical, while the left is raised only to such an extent as the use
of the vine-leaf would justify. Is it mere coincidence which presents us here, in a fresco of a small
Buddhist shrine, dating as we shall see from the last quarter of the eighth century, with a pendant
of a famous type of classical antiquity ; or is it possible to suppose links which would account
for the re-appearance of that type, however disguised in form and motive, in so distant a quarter
of Central Asia, and at so late a period? Only further research can give the assurance needed
for a definite answer.

The adjoining small frescoes of the east wall offer no difficulty in their interpretation. Remaining
On the right of the scene just discussed we see a seated Buddha surrounded by a medallion- frescoes.
shaped aureole, the whole measuring only about 4 inches. The dress is shown a deep red-brown
against a green background. On the left there appears above the tank, which extends frieze-like
below the remaining frescoes, a remarkably well-drawn though much effaced male figure of youthful
appearance. Seated in cross-legged fashion, and dressed in a dark blue cloak that leaves the right
shoulder bare and shows excellent drapery, it is manifestly that of a Buddhist scholar. His right
hand holds the oblong leaves of a 'Pothī,' on which his eyes are fixed in intent study. Beyond
this figure, and likewise turned to the proper right, an old man is depicted in the act of teaching.
His robe, worn in the same fashion, seems to be made up of patches of varying shades of brown,
thus curiously suggesting the orthodox śravastra of mendicant monks of all Indian sects. The
well-shaped right hand is raised in the act of teaching, with the second and third fingers stretched
out, while the palm of the left supports a closed Pothī. The two boards of thin wood between
which the leaves are placed, after a fashion still commonly observed in the case of Indian
manuscripts, are distinctly marked, and can be made out in the photograph. The cleverly-drawn
features of the old man's face bear an expression of complacent assurance in his teaching and full
abstraction in its subject. The tank below this figure showed open lotuses floating in the water,
and also two birds looking like wild geese, with necks marked dark blue and green and turned
towards the teacher.

To remove any portion of these interesting frescoes proved quite impracticable, owing to
the friable condition of the plaster. The faded state of the colours made it difficult even to secure
a photographic record. Nevertheless, I hope the enlarged reproduction of the photograph (Plate II)
will suffice to illustrate some thoroughly Indian features which these mural paintings exhibit in style
of composition and the drawing of figures. There can be little doubt that, just as in the case
of its sculpture, the original models of the pictorial art of old Khotan were derived from Gandhāra
and the immediately adjoining region. Of the paintings which once adorned the walls of Buddhist
shrines and monasteries in the Valleys of Kābul, Peshāwar or Swāt, no direct remains have
survived, and this loss invests such relics as the frescoes and the painted tablets of the Dandān-
Uiliq shrines, however distant the reflex they represent, with additional interest.

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