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0044 Serindia : vol.3
セリンディア : vol.3
Serindia : vol.3 / 44 ページ(白黒高解像度画像)

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doi: 10.20676/00000183
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Stucco
relief
plaques.

of the last Mongol Emperor. The adjoining small grotto, XIII, had been completely renovated
with Taoist frescoes and stuccoes. But pious regard on the part of the priests had preserved and
stored away in a corner a heap of small stucco relief plaques, all from the same mould, showing
a Buddha seated in dhyāna-mudrā between Caityas.¹⁹ They were said to have been removed from
part of a wall before it was replastered. I actually found the kind of wall-decoration thus suggested
in 1914 at one of the cave-shrines of Ma-ti-ssŭ south of Kan-chou, apparently dating from Sung
times. But in view of the smallness of these plaques, only about 1¾ by 1½ inches, it seems quite
possible that they served a votive purpose.

Fresco
panels of
cella XVI.

The cella of XVI contains fresco panels of superior execution, but proved to be so badly lighted
that I could not photograph them. The two on each side-wall represented scenes of a Western
Paradise; on the back wall, to the east, fragments of the 'wind scene' survived.
Among the Chinese sgraffiti found with some in Uigur (or Mongolian?) and Tibetan on the left
wall of the entrance to the cella none apparently bear a nien-hao. The shrine XVII, as already
mentioned, contains in its cella the upper portion of the colossal seated Buddha image. The
richly gilt head showed signs of recent renovation. Fig. 247 reproduces the wall-decoration of
the left (or north-western) side of the antechapel. The large and spirited painting of Mañjuśri on
the lion attended by two Bodhisattvas has its pendant in a panel with Samantabhadra on the
opposite side.

Sculptures
and mural
paintings of
shrine XVIII.

The shrine XVIII is the largest in the whole series, and on this account some details may be
mentioned. The cella, 38 feet by 32, contains a central pillar spared from the rock and measuring
20 feet 4 inches by 18 feet at its base. A niche on each of its four sides holds a large seated
Buddha statue, mostly restored, as seen in Fig. 248. The two Bodhisattva figures in stucco once
flanking it are destroyed, but two others are painted on either side of the niche, and two disciples
in monks' robes appear within it close to the large well-painted flame vesica of the Master. The
decoration of the cella walls comprises eight panels, each having a Buddha enthroned between two
Bodhisattvas in the centre of five rows of small haloed figures, seated. Variety is introduced by
different colours of robes and background (dark purple and light green). The east wall and the
corners are occupied by panels that display large figures of richly adorned Bodhisattvas with
varying attributes, among them Maitreya. Similar Bodhisattva figures carrying fruit and flowers
decorate the side-walls, over 7 feet long, of the passage leading from the cella into the antechapel.
They appear also, life-size, in procession on the longer walls of the antechapel, as seen in Fig. 246.
The narrow sides of the antechapel, which measures 29 by 10⅝ feet, are decorated each with
a panel showing a purple-skinned Buddha seated above an altar in the middle of four rows of
seated Bodhisattvas (Fig. 246 on left). The altar in front of the Buddha (Fig. 259) is covered
with a valance and table-cloth in rich colours, and bears a large covered dish between two elegantly
shaped jugs. The latter, painted in terra-cotta colour like the dish, very closely resemble in their
graceful design the old brass 'Aptābas' still known in the Tarim Basin and manufactured mainly
at Khotan until about the middle of the last century. The black outlines over the terra-cotta
ground of the jugs and dish, which the photograph fails to bring out, seemed to me intended to
reproduce a kind of open work similar to that which is a characteristic of that fine old Khotan
brasswork. Finally, the walls of the porch, 20⅝ feet deep and 9 feet 4 inches wide, display
processions of donors of the type already described.