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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カラー画像サムネイル -
目次 -
ページ番号 -
書誌情報（メタデータ） -
キャプション -
カラー画像 -
白黒高解像度画像 -
見開きページ -
グラフィック -
| 0240 |
Serindia : vol.3 |
| セリンディア : vol.3 |
引用情報
OCR読み取り結果
Painting of
four-armed
lady.
facing the spectator, with eyes straight and fully open. The dress consisted of a tight-fitting pink jacket or coat reaching up to the neck and well down over the hips. Below it there was seen in front a blue vest between the turned-back lapels of the coat, leaving but little of décolletage below the triple folds of the neck. The flat bust and low waist gave a curious Elizabethan look to the strait-laced figure. The body of the jacket and the tight long sleeves showed elaborate patterns mostly worked in small whitish dots, evidently meant for embroidery and perhaps also strings of pearls. The head displayed well-proportioned youthful features, which but for the elongated lobes of the ears had no hieratic look. Over the hair, dressed smoothly on the forehead and hanging straight down behind, and by the side of the ears there appeared a yellow diadem closely resembling that worn by the lady on the left of the Dandān-oilik panel D. x. 4 to be presently mentioned. The portion of the diadem on the left proper was broken off; for the same reason the object held up by the left upper arm and suggesting a flower could not be determined with certainty. The right upper hand carried a round or foreshortened oval object of whitish-yellow with fine lines in light pink radiating from the centre. The two lower arms were hanging down stiffly to below the hips, where the painting was mostly effaced and the hands could no longer be made out. On the right shoulder the deified lady carried four well-defined narrow and long leaves rising from what looked like a small elliptical basket; between the first and second leaf to the left there appeared a smaller oval object which might have been meant for another curled-up leaf, but might be interpreted otherwise.
Representa-
tion of 'silk
princess'.
It was in the first place the cognizance held in the upper right hand, suggesting a cocoon by its shape, and the green leaves so strangely adorning the right shoulder which made me at the time recognize in the figure a representation of the Chinese princess to whom the old Khotan legend reproduced by Hsüan-tsang ascribed the introduction of sericulture into the kingdom.¹² The renewed examination of the figure, made possible by the photographs taken before this portion of the wall collapsed, has confirmed my belief in the correctness of this identification. The painted panel D. x. 4, found in one of the Dandān-oilik shrines where it had been deposited as a votive offering,¹³ conclusively proves the popularity of the legend, and also that the princess to whom Khotan owed the introduction of its silk industry, so important to the present day, was honoured with worship. Considering the local character of this worship and the non-Indian origin of its recipient, it seems particularly appropriate that the deified lady, to whom Khotanese cultivators must have prayed for protection of their silkworm crops, should be represented by our fresco in secular costume, wholly different from the conventions of the Buddhist Pantheon, and that she should have been given her place by the side of another local divinity, the king of the sacred rats.¹⁴
Beyond the frescoes now described, the walls of the shrine Ta. i were found completely perished. To search for further structural remains, which the high ridge to the north and east may well hide,
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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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