Ancient Khotan : vol.1 / 576 ページ（白黒高解像度画像）

0576	Ancient Khotan : vol.1
古代コータン : vol.1

arm or indications of it (R. lv, lvii, lix, lxi, lxiii, lxvi; see Pl. XVII. a, b, c) seem likewise to
suggest this attitude. Of the size in which the statue R. i was modelled, the measurement of
5 ft. 3 in. from the level of the feet to the bent elbow, which also marks approximately the
waist, may afford an indication ². The feet rested on a very flat semicircular base of plaster
about 3 ft. wide, which on its edges showed traces of having been decorated with lotus-petals
in low relief. The robe, judging from surviving traces of colour, appears to have been painted
white originally; but almost the whole of the paint had peeled off and thus the surface
showed the uniform red colour of the clay.

Drapery
after Graeco-
Buddhist
models. The most remarkable feature in R. i and its replicas, which we note with minor modifications
also in the rest of the Rawak statuary, is the treatment of the drapery. This is almost as
Grecian as in the standing Buddha figures of Gandhāra sculpture, and betrays its derivation
from the latter in every detail. In order to realize this remarkable agreement, it is sufficient
to compare our statues, e. g., with the relief representations of Gautama Buddha from Takht-i-Bahi
quoted below, or indeed with any of the finer Gandhāra figures showing Buddha standing in
the Abhaya posture ³. The robe, which covered both shoulders, is laid round the body so as
clearly to show its contours. The folds, which are marked with boldly projecting edges, are
gracefully disposed and hang in a natural way from the limbs that catch their lines. The shape
of the body beneath the robe is in these statues of the inner south-west wall, as well as in the
colossal images of the inner south-east face, displayed in a more pronounced fashion than in
the Gandhāra sculptures referred to. But the identical arrangement of the drapery is in no
way affected thereby. A comparison of the folds gathered over the outstretched left arm (see
R. v, ix), or falling from the bent right forearm, both in our statues and in the Gandhāra
examples will illustrate this. The 'wonderful tenacity' with which 'the ancient Chinese and
Japanese Buddha-figures have preserved the "draping" of the Gandhāra figures in a peculiar
way', as duly emphasized by Dr. Grünwedel ⁴, can no longer surprise us when we see how
faithfully old Khotan art in this as in many other respects reproduced its Gandhāra models.

Small
statue,
R. ii. Next to R. i. on the right proper we have a small statue, R. ii (see Figs. 61, 69), which was
found intact and measured 4 ft. 2 in. to the top of the head. The latter soon became insecure
through the force of the winds, and had to be taken off. Though its interior had become
hollow owing to the rotting of the wood frame, this head has survived its subsequent transport
to London very well, as seen from its reproduction in Plate LXXXII. It measures 10 in.
from the chin to the small top-knob, and retains, besides plenty of the original whitewash,
traces of black for the eyelashes and of a red ṭikā. Much of the whitewash also adhered to
the drapery. The latter, by its curious arrangement in several vertical bands of conventional
wave lines, strikingly contrasts with the Grecian drapery of the neighbouring colossal statues.
The same treatment appears in the lower garment of the Bodhisattva figures R. iv and in

Wave lines
of drapery. R. viii. It strongly recalls the wave lines of the drapery folds seen in a typical Chinese
representation of Udayana's Buddha statue referred to in the preceding note, and the explanatory

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