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

From K.'s person emanate on each side three clouds, on
which stand figs. emblematic of Six Worlds as follows: on R.
above (i) Bodhisattva for World of Gods, (ii) horse for World
of Animals, (iii) demon stirring caldron for World of Demons;
on L. above (iv) four-armed deity holding up discs (of Sun
and Moon?) for World of Giants(?), (v) a man (in Chin.
dress) for World of Men, (vi) a preta for World of Tormented
Spirits. The meaning of all except (iv) and (vi) is estab-
lished by small inscr. placed beside each fig., the cartouche
of (vi) having been lost with L. edge of painting, while fig.
(iv) is redrawn without inscr. on paper patch.
Lines drawn for dedication panel on lower edge of paint-
ing, but inscr. not filled in.
Painting mediocre as work of art. 4′ × 1′ 9⅜″.

Ch. lvi. 0018. Large silk painting representing Paradise
of Amitāyus, with side-scenes showing legend of Ajātaśatru
and meditations of Queen Vaidehī, as in *Ch. 0051. In
general conception and treatment similar to *Ch. lii. 003, but
'Indian' style more apparent in certain figs. Complete at
top and sides except for border; incomplete at bottom, and
most of middle of picture lost except immediately round
central Buddha. Remainder in good condition.
The pose of presiding Buddha is the same as in Ch. v.
001. The two chief Bodhisattvas sit European fashion,
leaning their bodies forward; both wear 'Indian' type of
Bodhisattva dress, orns., and coiffure, descr. under *Ch. lv.
0014; their flesh painted bright flesh-pink shaded with
salmon. Their eyes, however, are oblique; their hair black,
and their haloes and vesicas circular. The one on L. holds
Vajra upright on his L. hand, and is obviously Vajrapāṇi; the
other prob. Mañjuśrī, the second Bva. associated in triad
strictly with Amitāyus; see Ch. lvi. 0034. He holds the
ghaṇṭā, or Vajra-topped bell.
Attendant Bodhisattvas mostly hold scarlet lotus buds, but
in Mañjuśrī group one shown with fly-whisk and another with
Pōchi. At M.'s shoulder sits youthful male fig. with Bodhi-
sattva dress and necklace, but with black hair curling closely
over his head and no top-knot or tiara.
Corner mansions built in form of rectang. courtyard with
high-roofed gateways at middle of sides, and at back corners
two high towers crowned by small shrines containing Stūpas.
Two Garuḍas playing on pipe and lute stand in court, with
duck and phoenix painted conventionally scarlet and light
blue. Small Buddhas and Bodhisattvas rise on clouds into
sky, in which float beribboned musical instruments, while
precipitous mountains are shown at the sides.
Below the dancer is lost, but orchestra of four remains,
playing on flute, mouth-organ (or syrinx), lute, and pipe. On
gangways going down into water stand a crane and a Garuḍa
carrying purple lotus at his breast and red lotus bud in his
mouth. The bottom corners, with subsidiary Buddhas and
their attendants, are also partially preserved. Very little of
lake is seen, no infants appearing in it nor trees.
Workmanship and drawing in style of *Ch. lii. 003, but not
on quite so high a level or so well preserved. Colouring
gay, enlivened by plentiful blue and copper-green on orna-
mental lotuses, haloes, canopies, and trees in addition to

fundamental colouring of crimson, dull green, white, and
black. As in Ch. lii. 003, the last used only for hair of all
secondary figs., pavilion roofs, and floor of main terrace.
Flesh of all Bodhisattvas in main group white shaded with
pink; that of Garuḍas and musicians flesh-colour. The four
varieties of tree descr. in Ch. lii. 003 also found here.
The side-scene (see *Ch. 0051) are in usual secular Chinese
style, and exceptionally numerous. They represent on R.:
(i) Former incarnation of Ajātaśatru, as a hermit, being
beaten outside his hut by dismounted horseman with stick;
(ii) former incarnation of Śākyamuni, as white rabbit, pursued
by huntsman who shoots arrow at him; (iii) Bimbisāra and
Vaidehī kneeling before Ś., who appears seated on a Padmā-
sana; (iv) Bimbisāra kneeling, Vaidehī throwing herself on
her face, before standing Buddha (Amitābha), from whose
head stream rays of light; (v) Ajātaśatru pursuing Vaidehī
with sword; Candraprabha and Jīva, with swords, in fore-
ground, ready to intervene; (vi) Ajātaśatru receiving minister
who remonstrates with him on his treatment of his mother(?);
cf. Ch. lv. 0033. iv, etc.; (vii) Vaidehī visiting Bimbisāra in
prison, and Maudgalyāyana descending on cloud in shape of
monk; (viii) Vaidehī between two warders, sentenced to
imprisonment by Ajātaśatru(?); (ix) Vaidehī led away by two
warders.
On L., meditations of Queen Vaidehī on Sukhāvatī, as
follows: (x) on Sun; lost, but its rays fall upon her;
(xi) on Water; green enclosure within chequered border;
(xii) on Water as ice(?); white enclosure with black marks
as in liii. 003. x, etc.; (xiii)? white disc within green
enclosure like xi; cf. Moon(?) in Ch. xxxiii. 003. viii, and
lv. 0033. viii; (xiv) on Ground of Sukhāvatī(?); a sq. green
enclosure divided into four; (xv) on jewelled canopy, three-
tiered; (xvi) on Rebirth in Sukhāvatī; her own soul in
guise of Chinese woman rising from lotus; cf. also Ch.
xxxiii. 003. xvi; lv. 0033. xix; (xvii) on Jewel-tree;
(xviii) on Mansions of Sukhāvatī, represented by a pavilion;
(xix) on Avalokiteśvara or Mahāsthāma; (xx) on Buddha
Amitābha or Amitāyus, standing; (xxi) on same, seated on
Padmāsana; (xxii) on Mahāsthāma or Avalokiteśvara;
(xxiii) on Rebirth in Sukhāvatī; a naked infant within
pointed nimbus rising from lotus; (xxiv) on same, mostly
destroyed.
The Queen's hair on R. is done in high loops as in *Ch.
0051, on L. in plain top-knot. Blank cartouches for inscrip-
tions, terra-cotta, yellow, and white, are placed by each scene.
5′ × 3′ 10″.

Ch. lvi. 0019. Large silk painting with Chin. inscr.,
representing Thousand-armed and Eleven-headed Avalokite-
śvara with attendant divinities. Most elaborate representation
of this subject in Collection; complete (except along bottom),
with orig. border of fawn silk, colour finely preserved.
For general design, list of similar paintings, and treatment
of central fig., cf. *Ch. 0023, and especially Ch. lvi. 0014.
But attendant deities are here more numerous, and can
mostly be identified with certainty owing to inscriptions.
They are as follows:
(i) In upper corners on each side group of five small