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| 0320 |
Ancient Khotan : vol.1 |
| 古代コータン : vol.1 |
引用情報
OCR読み取り結果
From the silkworms' eggs hidden in the princess's headdress had been derived the cocoons
which we see heaped up in a basket in front of the princess. Her eyes turned down upon
them, and the right arm stretched out towards them seem clearly to indicate the protection
which, according to the legend, the princess was anxious to assure, by an edict, to the silkworms
within the cocoons.
Until I had correctly realized the character of the second figure and significance of the
first's gesture as well as of the basket placed between them, the attitude of the fourth figure,
also female, and of the object in front of her seemed very puzzling. With the subject of the
panel once identified it is easy now to recognize, notwithstanding the faded colours, that the
long stretched object shown in brown is meant for the wooden framework of a loom or silk-
weaving gear such as is used to this day in Indian villages for preparing a warp of spun cotton
threads. The instrument which the fourth figure is holding in her right hand is probably identical
with the wooden implement, curiously resembling a currycomb, found in one of the ruined houses
of the Niya Site, N. xx., and shown in Plate LXXIII. It use is illustrated by the exactly similar
wooden instrument which is still used in India by cotton-spinning villagers for separating and
combing the threads while attached to the rude frames usually found fixed by the roadside.
The four-armed third figure seen seated to the left proper of the princess undoubtedly represents
a male divinity, perhaps the god presiding over the silkworms. He wears high top-boots
like another divinity which appears on the interesting panel (D. VII. 6) reproduced in Plate LXI,
but the emblems held in his hands are scarcely distinctive enough to guide us to a certain
identification ⁶.
Indications
of Persian
influence.
As regards all details in the drawing and colouring of the figures, I must refer to the
description given in the inventory list and to the illustration in Plate LXIII, where, however,
a full reproduction of all colours and delicately-shaded tints of the original could not be attempted.
Special mention may be made here of the cleverly-arranged composition of the whole scene and
the free and spirited drawing of the main figure. It is of interest to note the unmistakably
Persian type of face given to the princess in spite of her Chinese origin, as rightly maintained
by the legend. We have here a clear indication of the influence exercised at Khotan by Irānian
pictorial art, which is traceable also in other panels of Dandān-Uiliq. The curious miniature
representation of what looks like a tower with four pointed turrets or finials, faintly visible on
the left proper edge of the panel, may possibly be meant to indicate a kind of reel round which
the silk thread is wound when preparing it for the warp. The petal-shaped daubs of dark pink
which appear on the background bear manifestly the same character as the auspicious sindūra or
sandal-ointment marks with which pious Hindus have ever been fond of bedaubing objects of
worship or votive offerings.
Painted
panel, with
Bodhi-
sattvas.
Another well-preserved tablet is D. x. 3, painted on both sides (see Plate LXIV). Its interest
lies in the representation on the obverse of three seated Bodhisattvas, whose figures and attri-
butes seem to agree closely with the typical forms given to this highly popular class of divinities
by Tibetan and Mongolian Buddhism. I must leave it to experts in Northern Buddhist icono-
graphy to determine exact identifications. The two-armed figure first on the right proper
holding the Vajra in the right hand is probably meant for Vajrapāṇi. The three-headed and
four-armed third figure holding in one of its left hands a bow may in view of this attribute be
supposed to represent some form of Mañjuśrī ⁷. As Vajrapāṇi and Mañjuśrī are found very
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715
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724
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