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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カラー画像サムネイル -
目次 -
ページ番号 -
書誌情報（メタデータ） -
キャプション -
カラー画像 -
白黒高解像度画像 -
見開きページ -
グラフィック -
| 0279 |
Ruins of Desert Cathay : vol.2 |
| 中国砂漠地帯の遺跡 : vol.2 |
引用情報
OCR読み取り結果
under Sir Sidney Colvin's kind supervision, only about
two-thirds of these precious packets have been dealt
with.
The work has been attended by many surprises.
From some of the least promising convolutes, when the
crinkled and brittle silk resumed its original suppleness,
there have emerged wholly unsuspected pieces of fine
paintings, complete or fragmentary. Portions missing in
some large compositions have been discovered in quite a
different conglomeration. No exact estimate as to the
total number of individual pictures can, therefore, be given
at present; but it is probable that it will exceed three
hundred. Still more difficult does it appear to estimate
the extent of labour that will be needed for the permanent
preservation of all these paintings. For the present we
have to be content to strengthen the silk banners by
getting them mounted on a fine gauze with large meshes,
and subsequently fixed under sheets of glass, while the
large compositions have been temporarily backed with thin
sheets of Japanese paper, and thus made capable of being
rolled in the traditional fashion of the Far East.
The primary task of recovery and safeguarding is still
far from being completed. But the materials already
available are sufficient to allow us to form an adequate
idea of the general character and art value of these paint-
ings. Their detailed study and interpretation was bound
to offer puzzles, no less than points of novel interest.
It was evident from the first that these relics from the
'Thousand Buddhas' of Tun-huang were separated by
considerable intervals, both in time and space, from almost
all hitherto known representations of Buddhist pictorial
art. The great majority of these pictures and the corre-
sponding frescoes of the caves undoubtedly belong to the
T'ang period (7th to 9th century A.D.), from which scarcely
any genuine specimens of Buddhist religious painting have
survived in China or Japan. There were marks, too,
of a distinct local influence which the art of these paint-
ings must have undergone for a prolonged period, in
spite of its close dependence on the models originally
supplied by Indian and Central-Asian Buddhism. So I
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581
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629
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642
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657
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683
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696
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709
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723
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736
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749
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760
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771
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783
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793
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803
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813
814
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