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

head (facing spectator) of Kṣitigarbha as monk; lips and
robe crimson, shaven head and chin light blue; same type
as Ch. xxi. 0013; for other representations, see *Ch. i. 003.
7″ (incomplete) × 7″.

Ch. xl. 007. Paper painting showing Thousand-armed
Avalokiteśvara (Kuan-yin) standing on lotus; ascetic with
staff and nymph offering flowers seated upon smaller lotuses
on either side. In upper corners red lotus sprays. Avalok.
has only one head, and wears 'Indian' type of Bodhisattva
dress as in Ch. 00125. Thousand hands form halo reaching
to knees, and hold usual emblems as in Ch. lvi. 0014, etc.
and one rather unusual, the writing-brush. Hands at breast
hold blue lotuses, not pink.
Nymph has her hair done in two loops like Queen Vaidehi's
in *Ch. 0051; ascetic leans back holding up R. hand in
gesture of salutation. Execution coarse; colouring only
orange-red, dark blue, light yellow, and green, red and yellow
being used for Avalok.'s face and body. 1′ 4″ × 11⅜″.
Pl. XCI.

Ch. xl. 008. Silk painting representing Six-armed
Avalokiteśvara (Kuan-yin), seated, with side-scenes and
donors. Complete and in perfect condition; with border
and suspension loops of coarse linen (now removed).
Avalok. sits on pink and scarlet-tipped lotus with legs
interlocked. His upper hands hold up discs of Sun and
Moon, Sun in R. hand showing three-legged bird, Moon
containing only tree; middle hands in vitarka-mudrā on
either side of breast; lower hands on knees, R. holding
rosary, L. flask. In front is small altar. He has only one
head, crowned with massive tiara, on front of which is
Dhyāni-buddha.
His person, jewellery, robes, and hair treated as in *Ch.
00102, etc., but halo and vesica painted in plain concentric
rings of white, orange, and pale green; canopy consists of
branch of pink and white lotuses and scarlet star-shaped
flowers with brownish-green leaves. In upper corners are
resp. outspread lotus and lotus bud; down either side come
scenes of miracle representing Calamities from which Avalok.
saves his worshippers.
These correspond wholly in style and partly in subject to
series of scenes on R. side of large 'Mandalas' of Dhaisjya-
buddha, *Ch. lii. 003 and liii. 002; and also to side-scenes
in Ch. lvii. 001; cf. inscr. in *Ch. lii. 003. Here scenes
accompanied only by blank cartouches. They are, from
above down:—On R. (i) Man, naked except for loin-cloth
and with his hands tied behind back, held by two others,
while fourth brandishing sword is about to cut off his head.
(ii) Two men fleeing with their arms over their heads,
while thunder-cloud in sky showers black drops on them.
(iii) Man standing calmly with hands upon his breast, in
midst of pyramid of flame into which another appears to
have pushed him.
On L., (iv) Man being pushed by another over precipice;
but half-way down it he is seen again seated composedly on
cloud with his hands on his breast.
(v) Man, naked except for loin-cloth, kneeling in little hut

with cangue round neck, while in front of him lie wooden
pillory-like instruments for fettering hands and feet.
(vi) Man standing as in (iii), surrounded by snake, scorpion,
and tiger.
Scenes, where necessary, divided from each other by
mountain ranges, and drawing of figs. animated and expres-
sive. Avalok. himself very carefully drawn, and painting well-
finished throughout. Colouring well preserved and rather
unusual, consisting only of terra-cotta red (on Avalok.'s skirt,
scarf, and head ribbons, flowers of canopy, and coats and
flames in side-scenes), harsh light yellow (on jewellery and
blank cartouches for inscr.), white shaded with very light pink
(on lotuses and Avalok.'s flesh), and very dark brownish olive
(on Avalok.'s stole, altar-cloth, and leaves of canopy). No
blues, purples, or bright greens or pinks are used; silk itself
of specially dark greenish-brown.
Lower end of painting occupied by donors, who kneel on
either side of blank yellow panel for dedicatory inscr.: two
men on R., woman and child on L. Foremost man holds
censer; others have their hands in adoration with lotus bud-
censer; figs. in excellent condition, and good examples of
costumes described in *Ch. 00102. But women's head-dress
consists only of central framework and pins, without flowers
or leaves, and is painted red and white. Little boy standing
behind her has same dress and coiffure as boys in Ch. lvii.
004; tunic here of flowered pink and white.
2′ 9″ × 2′ 0⅛″. Thousand Buddhas, Pl. XXII.

Ch. xl. 009. Wrongly assigned as Ch. xi. 009, q.v.

Ch. xli. 001-4. Four paper pounces like Ch. 00159,
each showing Buddha seated on Padmāsana under draped
canopy hung upon flowering trees. Haloes and vesicas
circular; in 001 and 002 orn. with borders of trefoil or petal
shapes, in 003 and 004 plain. Buddha in each has his
mantle drawn partly over R. shoulder; poses of hands various.
In 001 L. hand lies in lap, while R. placed horizontally, palm
to breast, with second and third fingers curled in to palm.
In 002 and 003, R. hand in vitarka-mudrā at breast, L. in
bhūmiśparśa-mudrā over knee. In 004 R. hand in vitarka-
mudrā at breast; L. horizontal below it, palm up and
and third fingers bent. Whole design drawn in with ink in
004, and part of halo and vesica decoration in 001-002. On
back of 004 also drawn roughly Buddha in same attitude as
one in front. All in good condition. 001 and 002, 1′ 9⅝″ ×
1′ 2⅔″; 003, 1′ 0⅜″ × 8⅜″; 004, 1′ 0⅜″ × 10⅜″.

Ch. xliii. 003. Woodcut on paper, with Chin. text,
and fig. of Amitābha Buddha. Same as Ch. 00203 (q.v.).
Good condition. 10⅜″ × 6⅔″.

Ch. xliii. 004. Woodcut on paper, with Skr. and
Chin. text containing Buddhist charm. Date given by inscr.
A.D. 980.
In middle, within small circle, is seated Bodhisattva, eight-
armed, holding emblems (extra emblem on L. side as if for
ninth arm, evidently mistake). Round circle are printed
nineteen concentric rings of Buddhist liturgical Skr., prob.
containing charm but too corrupt to be decipherable, and