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

The caves are represented like arbours, with arched
entrances suggesting built stone-work in their trimness, and
are framed by jutting rocks on which grow broad-leaved
plants and pine-trees. They are painted light sepia
smeared with red and heavily scored with black; interiors
are greyish-blue. Outside each cave (except the bottom
one on L.) is a red tripod table supporting a folding white
table-top; on this again (outside top cave on L.) is a flask.
It has an ovoid body with flat base, long neck, and sq.
mouth.

Outside this cave and the one next it are pools (?) of
green water, covered with broad-leaved plants and sur-
rounded by circular white stone-work. At R. end of each
line of caves appears a stream, painted in greyish blue,
flowing in a cascade to the ground level. On further bank
rises a tree, almost effaced in upper scene but complete in
lower. It has a broad flat top painted solid green with
four circular flowers or fruits, red with yellow borders; on
the lower branch hangs a grey cloth, perhaps a votive
offering. Of tree above only part of stem remains, and
ends of cloth. Between the two caves immediately to L.
are ends of similar drapery hanging beside a gigantic
pine-cone; but all this upper corner is much destroyed.

Beneath the pine-cone is seen the head of a mountain
sheep of Ovis Ammon or Poli type, browsing off rock
plants, and on the crags of the cave below (last on R. of
bottom row) is perched a goat or deer similarly engaged.
This animal is painted in sepia with white breast, tail, and
hind-quarters, and he has black horns set rather wide at
base and curving outwards, then slightly recurving towards
tips.

Condition good.
Panels: H. (when complete) 2′ 4″; width (5) 1′ 7½″,
(6) 9″, (7) 1′ 4½″, (9) 1′ 9″. Length of series 7′. Pls. CXXIV
and (5–6) CXXIV.

Mi. xiii. 10. Fresco panel, incomplete, from west pas-
sage of temple, showing group of Buddhist disciples.
They stand in two rows, six above and four below, and all
are turned to L. with their hands in attitude of worship.
The lower row are on a smaller scale than the upper;
their feet and lower legs lost.

All are arrayed in light yellow or yellow-green robes,
swathed closely round their persons, an edge drawn over
the R. shoulder, and the loose end thrown back over
L. Their robes are figured with repeating spots of
rosette, palmette, or Chinese weeping-willow branch de-
signs, executed roughly in red on the yellow and in grey
on the green. Some have also a maroon scarf across
the breast. The upper row show vermilion under-robes
just covering their ankles. Beneath appear their feet shod
in black slippers orn. with a row of white dots round the
opening. From closed finger-tips of each monk in upper
row issues a three-leaved spray which breaks monotonous
row of pale heads on maroon background.

The figs. are erect and somewhat stiffly set; they have
broad shoulders and slim waists. Their upper half, includ-
ing the heads, is very well drawn; but in upper row this
part of the fig. is much too large for the legs. The
smaller figs. are better proportioned. The heads show
a marked difference in type from those of the preceding
frescoes (1)–(9). They are long and flat-crowned, with
Grecian noses, moderately oblique eyes, and short ears.
The line of forehead and cheek, and also of back of head,
as seen in ¾ profile, is very straight; the chin broad and
round and the mouth very small. The eyebrows are
in only one case represented by single arched line; in the
rest they are emphasised by four or five additional lines
almost straight, but sloping upwards. A single line is
drawn round the base of the neck. The hair is black and
close-cut. In the figs. in upper line drooping moustaches
and a small imperial are washed in in dull blue, while
under-surface of chin is also so coloured. The flesh
is painted a uniform pale flesh-colour of rather greyish
tone; there is no shading, and no colour added for lips or
the whites of eyes.

The drawing of the heads is exceptionally good and
clean. A certain variety of expression is attained by
slight variations in angle of eyes, direction of gaze, tilt
of head, etc., while the third fig. in each line turns to
his companion behind, breaking uniformity of pose in
group. All outlines are black, and a band of white bounds
the panel at upper edge.

The material is coarse clay; as in the preceding
frescoes; the painting, in tempera, is by a lighter and more
skilful hand. It is better finished, the drawing more care-
ful and the colouring less crude and hasty. Except for
some extensive cracks, surface well preserved.
H. 2′ 2″, width 2′ 7″. Pl. CXXIV.

Mi. xiii. 11–12. Pair of fresco panels from west wall of
building behind temple cells (for position, see Pl. 53).
The style and technique are those of the preceding series
(1)–(9), and the colours the same with the addition of
vermilion and a dull blue. The upper part of (12) is lost,
but at bottom are seen the yellow band and red stone
blocks as in (5)–(9). The background again is of maroon,
sprinkled with yellow trefoils and large falling blossoms,
red, dark green, and yellow.

In (11), which in position corresponds to (1), only two
figs. kneeling one above the other, ¾ to R., with hands
in adoration. The upper is a monk, in short green robe
lined with yellow, kneeling on a yellow Padmāsana, his
knees bare. Head of same type as that of former monks;
but it has become effaced and been very badly redrawn;
eyes and eyebrows lowered, while nose is shortened.
Traces of orig. features remain. Below is a haloed Bodhi-
sattva with dull blue stole and pink halo; dress and
fig. as in Mi. xiii. 1–2, head uplifted. Below him is
a stone-edged tank (?), similar to the one seen in (12).
(Cf. water-pools in 5–9.) The coping is of grey arched
stones, with carmine border, and the water green.

(12) is incomplete. The centre of interest lay evi-
dently on R. of portion preserved, as the attention of
most of figs. is directed that way. The subject cannot
be identified. One small group on L. seems, however,