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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| 0043 |
Serindia : vol.3 |
| セリンディア : vol.3 |
引用情報
OCR読み取り結果
tunnel connecting the antechapels had been driven through the rock, obviously at a later date as
proved by the broken wall-paintings.⁵ The uniformity with which this disposition is repeated in
all shrines points to execution upon a definite plan and at no great distance of time, and with this
the uniform style of their decoration seems in full accord.⁶
Throughout these cave-temples the walls bear paintings in tempera closely resembling in style Subjects of
those of Ch'ien-fo-tung. The walls of the porches ordinarily display on the one side rows of men mural
dressed in dark-red robes with wide-brimmed black hats, and on the other processions of ladies paintings.
wearing rich wide-sleeved dresses and that elaborate coiffure with flowers, bands, and pendants
around bulb-shaped caps which the examination of the paintings brought away from Ch'ien-fo-tung
has allowed us definitely to associate with the fashion prevailing in the Tun-huang region during
the tenth century. There can be no doubt that these figures carrying offerings, which also recur
on the side walls of the entrances to the cellas, just like the corresponding types seen on the walls
of some of the Ch'ien-fo-tung shrines, are intended to represent donors and donatrices. The
walls of the cellas and antechapels are decorated either with processions of large, richly robed
Bodhisattvas moving under ornate canopies⁷ or with a variety of panels, showing familiar scenes
from Buddhist Heavens;⁸ Buddhas enthroned among rows of Bodhisattvas;⁹ large representations
of Mañjuśrī and Samantabhadra on their traditional Vāhanas, etc.¹⁰ A comparison of the photo-
graphs illustrating a few specimens of these decorative themes with the reproductions of corre-
sponding mural paintings at Ch'ien-fo-tung will suffice to bear out the very close resemblance in style
already referred to. The same is the case also with the representation of the curious 'wind scene'
legend which I had occasion to describe above as seen on the wall of Ch. xvi at the 'Thousand
Buddhas', and which is found here again with identical scheme and details on the back wall of
two cellas.¹¹
The great uniformity of style and technique displayed by the frescoes in this whole series of Style and
cave-temples is striking, and suggests that all of them are more or less coeval reproductions of the technique
same prototypes. That these were to be found among the mural paintings of Ch'ien-fo-tung of mural
I could scarcely doubt at the time, with the recollection of the latter still fresh in my mind. The paintings.
execution of the paintings in this main group of Wan-fo-hsia grottoes impressed me as generally
inferior to that of the 'Thousand Buddhas'. But whether this is due to distinctly later production
or else to the employment of less skilful hands I was unable to determine. I noticed particularly
the often careless drawing of outlines, and the coarse washes which replaced them in frequent
instances suggested production by stencils. I may add here that the relative lowness of the walls—
they seemed rarely to rise much above 10 feet—and a corresponding flatness of the ceiling seemed
evidence also of more limited outlay and resources on the part of those who dedicated the
Wan-fo-hsia shrines.
I may now proceed to record a few notes about particular grottoes. In xii the left wall of the Sgraffiti in
porch has numerous sgraffiti in Chinese, Uigur, and Tibetan characters, and among them also one Chinese,
in badly faded Arabic writing. Those in Chinese, which on account of their dates I had copied by Uigur,
Chiang Ssŭ-yeh, proved to belong to the Chih-shun and Chih-chêng periods (A.D. 1330–3, 1341–68) Tibetan.
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372
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382
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392
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402
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452
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462
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472
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482
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492
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502
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512
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522
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532
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542
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553
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573
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593
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613
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633
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653
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671
672
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