Serindia : vol.3 / 443 ページ（白黒高解像度画像）

0443	Serindia : vol.3
セリンディア : vol.3

Paper painting, Ch. 00377
(See above, pp. 993 sq., and Thousand Buddhas, Plate XXXII)

The space below the figure of the deity is divided into three fields by two perpendicular lines, each of which contains writing in tolerably good dbu-can Tibetan. The words in the space on the left side begin with the ligature st, which has been struck out by a perpendicular line drawn through it, and then proceeds: Bla ma p'ygs kyi mgon po stein. This means literally: 'the Lord of the upper region (is) on top', and apparently refers to the well-known Indian division of space into ten regions. The 'top' in the cosmic system is the zenith, in Sanskrit termed brāhmi dik, and 'the Lord of the upper region' is its tutelary deity, who is usually identified with the lower Brahma.¹ Accordingly it would seem that the two medallions in the picture were intended to bear the symbols of the sun and the moon, which in Indian astronomy are imagined to be always revolving in the upper region, their setting and rising being only apparent. The figure in the right-hand medallion shows the same type as usually appears as the attribute of the sun; that in the left medallion, if it was ever drawn, has been obliterated, but we may conjecture that it was meant to be the symbol of the moon.

Immediately below these words are the syllables gi haṃ t'sags t'ams c'ad (sic). This is obscure; possibly gi haṃ has some connexion with the fabulous gi-waṅ (see Jäschke and Sarat Chandra Das, s.v.), which is also called gi-han.

In the central space are the syllables k'a so brgyad. It would be most natural to translate this as 'thirty-eight k'a', taking so brgyad together as 'thirty-eight' and leaving k'a uncertain, as it may have several meanings besides its primary one of 'mouth'. But it is also possible to join k'a so, with the meaning of 'mouth and teeth' (see Jäschke, p. 36), so that it may be translated 'eight mouths of teeth'. In either case the reference, like that of the preceding sentence, is to some obscure and unimportant detail in the attributes of the deity.

In the right-hand space is written, in somewhat larger characters, the subscription of the artist:—
T'e god za leg° mos bris.
'T'e-god-za the good man (sādhu) made the drawing.'

Drawing on silk, Ch. xxii. 0015
(See above, p. 1023)

The Tibetan inscription runs round the central panel, not in concentric circles, but in a spiral, which begins in the inside and ends at the outer edge. The characters are fairly well shaped dbu-can, and on the whole resemble those of the MS. of the Śālistamba-sūtra found in the First Expedition (see Ancient Khotan, vol. i. p. 548 ff., vol. ii. plate CXVII). The archaic drag or final d does not occur; but the letter ཨ is regularly written with a small ear on the right side, and myi is used instead of the modern mi. The vowel i is written in three ways, viz. the ordinary modern manner, a variety of this with a double curve, and a form like the ordinary modern vowel but turned in the reverse direction (see Ancient Khotan, vol. i. p. 549); this last form is certainly used by preference in certain connexions, e.g. in Sanskrit words such as amrita (for amṛta), himale, hilokini, though even here the use is not uniform, and I have denoted it by a double dot over the letter.²

The text is as follows:—
Om ³ ॥ bcom ldan °das ma °p'ags pa spyan ras gzigs dbaṅ la p'yag °t'sal lo ॥ bcom ldan °das ma °p'ags pa so sor °braṅ ba c'en mo la p'yag °t'sal lo ॥ °p'ags pai t'ugs rjei byi[n] gyi rlabs kyis ॥ an lha skyes la bsruṅ ziṅ byin gyis brlab [t]u gsol ᪈ bcom ldan °das ma glaṅ po c'ei lha staes ³ kyis gzigs ma t'ams cad du kun nas

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