Ruins of Desert Cathay : vol.2 / 333 ページ（カラー画像）

0333	Ruins of Desert Cathay : vol.2
中国砂漠地帯の遺跡 : vol.2

0333

Ruins of Desert Cathay : vol.2

中国砂漠地帯の遺跡 : vol.2

the Khotan region, the core of the statu
formed by a rough wooden frame supp
we need brambles for the support of ex
wet clay was attached in rough dab
carved into shape with the help of w
ands, and finally richly painted over a s

of determination in design and artistic m
painfully brought home by the restora
Few statues likely to date from T'an
eel, and these only in their lower portio
eir original hands or feet. But whate
had escaped, as seen e.g. in Fig. 161, the re
of the limbs, the well-balanced pose, an
ignment of the drapery, would discou
from the stiff and clumsy addition of
or such coarse modern 'creations' as det
cts. The hideousness of the latter was m
y finding even here unmistakable traits
which the traditional style, originally reli
ddhist models, and imported through the fi
continued to exercise almost to the pres
sculptural art however great its dissociat

a general view, the preservation of ele
the Buddhist art of India and Centr
was marked in the sculptural remains of
ds, whatsoever their age, than in the corre
ial work. It was just the reverse in res
Chinese elements. Conspicuous as the l
the frescoes, I found but few sculptured
Chinese style as those reproduced in Fig
Curiously enough, the principal figure her
was Indian-owing, the great Chinese fig
to whom this temple was dedicated.
s, however, in the frescoes or, to use a mo
ons, mural paintings in temples that the
Chinese taste had open Buddhist art comp
owing most clearly asserts itself. There th
that the most valuable artistic feature of t

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