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

two rays of feathers only indicated ; outer long feathers,
yellowish-buff with red line on upper edge of each feather ;
inner petal-shaped feathers white or pale buff. Background
shows marked traces of pale blue ; all work rather careless ;
well preserved. 2′ 3″ × 1′ 3¾″. Pl. XII.

M. III. viii. Fresco panel from 'angel' dado (second arc
of circle). Fig. inclined slightly to L. with head ¾ to R.,
upward tilt very pronounced. Face contours delicately
round ; eyebrows moderately arched and well separated ;
mouth very firm, division between lips being a straight
line, the hardness of which is modified by curved red lines
of lips and dimples at corners of mouth. Hair partly
broken away on top ; rippling ringlet in front of ear on L.
Robe indicated by plain band of vermilion, extending in
downward curve from shoulder to shoulder, and not out-
lined at its upper edge. Wings have three rays of feathers :
outer, long feathers, yellow with upper portion of each
feather red ; middle, prob. white ; inner, white.
Curved outline of lunette and colour from lower part of
field effaced ; but latter above is pale blue, and border was
apparently white with red outlines. Upper L. corner
broken away ; all work very bold and colours excellently
preserved. 1′ 9″ × 1′ 5¾″. Pl. XI.

M. III. ix. Fresco panel from 'angel' dado. Fig. strongly
inclined to R. and shoulders slightly oblique, R. shoulder
being higher than L. ; neck directed to R. and head nearly
upright, but in general inclination following that of neck.
Gaze, directed to L., counterbalances R. inclination of fig.,
and gives an extraordinarily vivacious character to the
whole. Eyes have ingenuous expression, and eyebrows
slope upwards towards outer corners.
Robe in light red outline only, showing folds across
breast, and down from shoulders. Wings have three rays
of feathers : outer, long feathers, orig. vermilion, now mostly
lost ; middle and inner, white or pale buff. Background
blue, mostly lost ; traces of red outline to lunette as in
M. III. viii. Well preserved generally, but with surface cracks.
2′ × 1′ 5″. Pl. XII.

M. III. 002. Fresco panel fallen in front of M. III. iv–v.
In centre is male fig. probably meant for Gautama, seated
¾ to R. with feet on footstool ; throne has black ground
orn. with lattice-work of dark green lines with red spots in
the lozenges ; feet close together, R. pointing directly
forward, L. at right angles to it. Lower garment of dark
pink drapes hips to ankles ; buff stole passes over L.
shoulder hanging down to lap, and on R. side behind
shoulder to ground, leaving all upper part of body bare.
L. arm akimbo with hand resting on thigh ; R. hand ex-
tended as though teaching ; rounded face with small
moustache, full, level eyes, aquiline nose, the curve occur-
ring high instead of forming hook near end of nose as in
'angels' ; ears were evidently normal.
On lower level to R. is smaller and similar fig. seated
¾ to L., with hands together in adoration ; wears high
conical turban, white with red rings, coming down on
forehead in close-fitting rim from which rise two lunette-
shaped upturned flaps. Opposite on L. edge of fr. appears

L. knee and arm of third seated fig., the hand upraised,
thumb, first and fourth fingers extended, two middle fingers
flexed in palm ; garment over knees bright pink.
Background to upper part of middle fig. : pale green,
prob. back of throne ; to R. fig. vermilion ; in foreground
is representation of two tanks (?) of vertical and horizontal
rail-like construction in light blue, outlined with darker
blue ; ground running between tanks, vermilion.
Flesh painted flesh pink, coarsely shaded with bright
rose pink, and with pink cheeks to both figs. ; contour
lines of flesh and of buff drapery a brownish Indian red ;
other outlines black ; hair, moustache, eyebrows, lower
line of eyelid, outline of iris, and pupil black ; iris brown.
General character Western, showing late Hellenistic influ-
ence. Colours well preserved. 2′ 9¾″ × 1′ 11″. Pl. XLIII.

M. III. 003. Fresco panel (incomplete) fallen in front of
M. III. iv–v. On L. is upper half of a Buddha, ¾ to L., R.
hand raised as in abhaya-mudrā but with thumb bent inwards
touching second joint of third finger (eighth, or Vitark,
mudrā). Dr. Venis suggests that this may symbolize Buddha ex-
pounding 'the eight-fold way' or the eight Pāramitas.
L. hand low, prob. gathering up drapery. Behind him
are six disciples, in two rows of three, one above the other ;
the nearest to him in upper row holding a yak-tail fan in
raised R. hand ; to R. again of disciples appears naked R.
arm which grasps handful of white buds or flowers,
apparently in act of throwing. As background to arm
appears part of dark conical (?) mass of black, covered
with red and white flowers and poppy-like leaves in
greenish grey ; and on extreme L. is similar mass of black
on which are scattered well-drawn leaves in greyish blue ;
both are intended to represent trees (cf. Figs. 136–8).
Background elsewhere vermilion, turning to pale buff
between Buddha and disciples (paint probably lost) ; along
top runs black band.
Buddha wears dark purple-brown robe, covering both
shoulders ; outlined black and lined with buff, which shows
at turnover on L. shoulder. Head of Western, slightly
Semitic type, with high straight forehead and somewhat
domed top ; large well-opened straight-set eyes, partially
covered by eyelids ; nose aquiline ; short upper lip ; small
curved mouth ; softly rounded cheeks and chin ; ears are
elongated and pierced, and there is small moustache and
rippling lock before ear ; eyebrows nearly meet over nose ;
L. strongly arched ; hair in curves along forehead, receding
at temples ; uṣṇīṣa partly lost ; all hair black.
Flesh pale buff, flat on face, but with grey shading on
arm ; contour lines rapidly drawn with broad brush in
light red, and emphasized with lines of reddish-brown
wherever a true outline is in question or strong outline
of feature is required ; elsewhere (along sides of nose, line
of jaw against neck and of forehead under the rounded
ball of chin and for wrinkles in neck) the light red only
is used, giving effect of rough shading but producing
required effect at a slight distance. Eyes look slightly
downwards under eyelid, and are painted like those of
'angels' with white on eyeballs, brown on irises, and black