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 -
| 0401 |
Serindia : vol.3 |
| セリンディア : vol.3 |
引用情報
OCR読み取り結果
sensitive expressiveness, matches the wonderful complex harmonies of the design. A small Avalokiteśvara with
willow-spray (Thousand Buddhas, Pl. XX) is gem-like in its vivid orange and jade-green, burning from a sombre
background. Two fragments of an immense arched composition (Thousand Buddhas, Pl. IV) have a splendid
breadth and vigour allied to a deep religious sentiment, reminding us of early Italian frescoes. The little picture
of Vaiśravaṇa crossing the Ocean (Pl. LXXII) is on the other hand in a miniature style, rich in fluid rhythms
and glowing in colour. Such paintings as these make us feel how glorious must have been the Buddhist art of
T'ang in the hands of its mightiest masters ; while of its secular art also, as we have seen, the Tun-huang pictures
give us precious glimpses.
Finally, we must notice the light which the collection throws on the mysterious art of Tibet. Among the
paintings is one, painted on linen in distemper (Thousand Buddhas, Pl. XXXI), which is of the well-defined type
familiar to us from examples brought from Tibet itself. As Tibetan power was dominant in the Tun-huang region
from the middle of the eighth to the middle of the ninth century, we may suppose it to belong to that period :
in that case it would certainly be one of the oldest, if not the oldest Tibetan painting known to us. Whether
any of the other pictures represents the Tibetan style in a phase not yet matured and fixed we cannot say.
There are, however, also a few outline drawings on paper (Thousand Buddhas, Pl. XXXII) ; and these add to
our examples of early Tibetan art.
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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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