,,the ,,thousand ,,buddhas ,,ancient ,,buddhist ,,paintings ,,from ,,the ,,cave-,,temples ,,of ,,tun-,,huang ,,on ,,the ,,western ,,frontier ,,of ,,china ,,recovered ,,and ,,described ,,by ,,aurel ,,stein1 ,k4,c4,i4,e4 ,,with ,,an ,,introductory ,,essay ,,by ,,laurence ,,binyon ,,published ,,under ,,the ,,orders ,,of ,h4,m4 ,,secretary ,,of ,,state ,,for ,,india ,,and ,,with ,,the ,,co-,,operation ,,of ,,the ,,trustees ,,of ,,the ,,british ,,museum ,,text ,,london ,,bernard ,,quaritch1 ,ltd4 #aiba ,,printed ,,in ,,england ,,at ,,the ,,oxford ,,university ,,press ,,by ,,frederick ,,hall ,,to ,,the ,,memory ,,of ,,raphael ,,petrucci ,,to ,,whose ,,devotion ,,to ,,far-,,eastern ,,art ,,the ,,study ,,of ,,these ,,paintings ,,owes ,,most ,,this ,,album ,,which ,,he ,,had ,,helped ,,to ,,plan ,,is ,,dedicated ,,in ,,admiration1 ,,affection1 ,,and ,,sorrow ,,table ,,of ,,contents ,,page ,,preface ix ,,the ,,tun-,,huang ,,paintings ,,and ,,their ,,place ,,in ,,buddhist ,,art ,an ,introductory ,essay by ,laurence ,binyon #a-aj ,,descriptive ,,account ,,of ,,pictures by ,sir ,aurel ,stein #aa-fc ,i1 ,,ii4 ,the ,paradise of ,bhaiajyaguru #aa ,,iii4 ,a celestial assemblage #ac ,,iv1 ,v4 ,processions of ,majur and ,samantabhadra #ad ,,vi4 ,details from a painting of a ,buddhist ,heaven #ae ,,vii4 ,the ,paradise of kyamuni #af ,,viii4 ,amitbha's ,paradise #ah ,,ix4 ,legendary scenes from a painting of ,maitreya's ,paradise #ai ,x4 ,amitbha with attendants #bj ,,xi4 ,a ,paradise of ,amitbha #ba ,,xii4 ,scenes from ,gautama ,buddha's ,life #bc ,,xiii4 ,scenes from the ,buddha legend #be ,,xiv4 ,images of ,buddhas and ,bodhisattvas #bf ,,xv4 ,two forms of ,avalokitevara #bh ,,xvi4 ,four forms of ,avalokitevara #bi ,,xvii4 ,avalokitevara in ,glory #cj ,,xviii4 ,avalokitevara standing1 with willow spray #ca ,,xix4 ,two ,avalokitevaras with the willow #cb ,,xx4 ,avalokitevara with flame-wreathed halo #cc ,,xxi4 ,avalokitevara standing #cc ,,xxii4 ,two ,avalokitevara paintings with donors #cd ,,xxiii4 ,six-armed ,avalokitevara with attendant ,bodhisattvas #ce ,,xxiv4 ,two paper paintings of ,avalokitevara #cf ,,xxv4 ,two paintings of ,kitigarbha #cg ,,xxvi4 ,vairavaa's ,progress #ci ,,xxvii4 ,virpka and ,majur #dj ,,xxviii4 ,bust of a ,lokapla #db ,,xxix4 ,two ,dharmaplas and a ,bodhisattva #dc ,,xxx4 ,side-scenes and details from a ,buddhist ,paradise painting #dd ,,xxxi4 ,a ,tibetan painting of ,tr #de ,,xxxii4 ,paper pictures of a ,bodhisattva1 saint1 and monk #dg ,,xxxiii4 ,paper pictures of hermit and horse-dragon #dg ,,xxxiv1 ,,xxxv4 ,embroidery picture of kyamuni on the ,vulture ,peak #dh ,,xxxvi4 ,bhaiajyaguru's ,paradise #ej ,,xxxvii4 ,banners with scenes from the ,buddha legend #ea ,,xxxviii4 ,buddha ,tejaprabha and ,avalokitevara as guide of souls #ec ,,xxxix4 ,kitigarbha with the ,infernal ,judges #ed ,,xl4 ,kitigarbha as ,patron of ,travellers #ee ,,xli4 ,avalokitevara and two other ,bodhisattvas #ef ,,xlii4 ,avalokitevara1 thousand-armed1 with attendant divinities #eg ,,xliii4 ,avalokitevara with ,lokapla attendants #eh ,,xliv4 ,fragment of standing ,avalokitevara #ei ,,xlv4 ,vairavaa crossing the ocean #ei ,,xlvi4 ,fragment with child on demon's hand #fa ,,xlvii4 ,three ,lokapla banners #fa ,,xlviii4 ,fragment with figure of demonic warrior #fc ,,index #fd ,,preface ,the purpose of this publication is to place before students interested in ,eastern art reproductions of select specimens from among the great collection of ancient ,buddhist paintings which in the course of the explorations of my second ,central-,asian journey1 carried out in #aijf-h under the orders of the ,government of ,india1 ,i had the good fortune to recover from a walled-up chapel at the #8,caves of the ,thousand ,buddhas' near ,tun-huang4 ,the essential facts concerning their discovery will be found summarized in ,mr4 ,laurence ,binyon's ,introductory ,essay4 ,those who may wish for details of the circumstances attending it1 and for some account of the local conditions which explain the preservation of these relics of ancient ,buddhist art in the distant region where the westernmost ,marches of true ,china adjoin the great deserts of innermost ,asia1 will find them in my personal narrative of that expedition4#a ,they have been recorded still more fully in ,serindia1 the final report on the results of my explorations1 recently issued from the ,oxford ,university ,press4#b ,in ,mr4 ,binyon's ,introductory ,essay there will be found a lucid exposition1 by the hand of a competent expert1 of the reasons which invest those paintings with special interest for the study of ,buddhist art as transplanted from ,india through ,central ,asia to the ,far ,east1 and with great importance1 too1 for the history of ,chinese art in general4 ,there light is thrown also on the manifold problems raised by the variety of art influences from the ,west1 the ,south1 and the ,east which are reflected in different groups of these paintings and which some of them show in striking intermixture4 ,but throughout it is ,buddhist inspiration and legend1 as propagated by the ,mahyna system of ,buddhism in ,central and ,eastern ,asia1 which furnish the themes of these paintings and determine the presentation of individual figures and scenes in them4 ,for the proper appreciation of their art some knowledge of the traditional elements in subjects and treatment is indispensably needed4 ,it has hence been my aim in the descriptive text referring to each ,plate to supply such iconographic information as the non-specialist student may need for the comprehension of the subject and details1 and as the present state of our researches permits to be safely offered4 ,in the same descriptive notes ,i have endeavoured to record information also as to the state of preservation1 character of workmanship1 colouring1 and similar points in each painting4 ,having thus briefly indicated the object and scope of this publication1 it still remains for me to give some account of the labours which had to precede it1 and to record my grateful acknowledgement of the manifold help which alone rendered the realization of this long-cherished plan possible in the end4 ,in ,mr4 ,binyon's ,introductory ,essay reference has been made to the protracted and delicate operations which were needed at the ,british ,museum before the hundreds of paintings1 most of them on fine silk1 which had lain1 often crumpled up into tight little packets1 for centuries under the crushing weight of masses of manuscript bundles1 could all be safely opened out1 cleaned1 and made accessible for examination4 ,the far-reaching artistic interest of these pictures had already greatly impressed me when ,i first beheld them in their original place of deposit4 ,but only as the work of preservation progressed did it become possible fully to realize the wealth and variety of all these materials1 the novel problems they raised1 and the extent and difficulties of the labours which their detailed study and interpretation would need4 ,the mixture of influences already referred to revealed itself plainly in features directly derived from ,graeco-,buddhist art and in marks of the change it had undergone on its passage through ,central ,asia or ,tibet4 ,but the preponderance of ,chinese taste and style was all the same unmistakable from the first4 ,on the iconographic side1 too1 it soon became clear that the varied imagery displayed by the paintings1 though based on ,indian conceptions and forms1 bore the impress of important changes undergone on its transition to ,china and after its adoption there4 ,the chief hope of guidance for the interpretation of this ,pantheon lay manifestly in comparison with the artistic creations of the later ,mahyna ,buddhism of the ,far ,east1 especially of ,japan1 and in the ,chinese inscriptions displayed by many of the silk paintings4 ,it was obvious hence that for this part of my collection a collaborator was needed who with knowledge of ,buddhist iconography would combine the qualifications of a ,sinologue as well as familiarity with ,far-,eastern art in general4 ,through ,mr4 ,binyon's friendly intercession ,i was able in the autumn of #aiaa and towards the close of my stay in ,england to secure this collaborator1 and one exceptionally qualified1 in the person of ,m4 ,raphael ,petrucci4 ,already distinguished in more than one field of research1 ,m4 ,petrucci combined enthusiastic devotion to ,far-,eastern art as a critic1 connoisseur1 and collector1 with ,sinologue studies begun under such a master as ,m4 ,chavannes4 ,a series of important publications on the art of ,china and ,japan bears eloquent testimony to his eminent fitness for what was bound to prove a difficult task4 ,during the following two years ,m4 ,petrucci devoted protracted labours to the study of our paintings and their inscriptions4 ,the results were to be embodied in an extensive ,appendix to ,serindia1 probably requiring a separate volume4 ,in #aiac he supplied me with the draft of his introductory chapter dealing with the votive inscriptions of our paintings1 and after my start that year for a third ,central-,asian expedition he discussed in a separate essay those elaborate compositions or #8,maalas' which form the subject of some of the largest and artistically most interesting of our paintings4#c ,in addition to the above ,m4 ,petrucci had collected a great mass of ,chinese textual materials for the identification of ,jtaka scenes1 individual divinities1 c41 represented in the paintings1 when the invasion of ,belgium cut him off from his home at ,brussels and all his materials4 ,under the conditions created by the world war he was unable to resume his task in earnest4 ,but he found occasion even then1 in the midst of voluntarily undertaken medical duties under the ,belgian ,red ,cross1 to revisit our ,collection1 to assist with his expert advice in the cataloguing of the ,tun-huang paintings1 and to publish in the ,annales of the ,muse ,guimet a short but very instructive and stimulating confrence on them4#d ,when returning in ,may #aiaf from my third ,central-,asian expedition1 ,i found ,m4 ,petrucci at ,paris1 still full of vigour and eagerly bent upon carrying through his task4 ,when a few weeks afterwards ,i was able to inform him of the fortunate chance which1 as will be explained presently1 had offered to make select specimens of our ,tun-huang paintings accessible in adequate reproductions to a wider circle of students of ,far-,eastern art1 he most willingly undertook to contribute the main portion of the text which was to accompany them4 ,but some months later he began to suffer from an internal ailment1 and though in the autumn of #aiaf he was still strong enough to take a very helpful share in the selection of the paintings to be reproduced in ,the ,thousand ,buddhas1 his condition became serious enough to necessitate a grave operation in ,february #aiag4 ,this he overcame with apparent success1 only to succumb a week later to diphtheritis contracted in the hospital4 ,deprived thus by a cruel blow of ,fate of a most valued collaborator and friend1 we must rest content with dedicating to his memory this publication in which he was to have borne a principal share4 ,in accordance with the plan sanctioned in #aiaa by the ,secretary of ,state for ,india1 the ,detailed ,report on the results of my second ,central-,asian expedition was to include also a systematic survey and full descriptive list of all the art relics brought away from the ,caves of the ,thousand ,buddhas4 ,with this object in view ,i had taken care1 at the same time when enlisting ,m4 ,petrucci's collaboration1 to use as many plates of ,serindia as the claims of abundant #8finds' from other sites would allow1 for the reproduction of characteristic specimens among the different classes of paintings1 drawings1 and wood-cuts recovered in the walled-up chapel4#e ,but it was clear from the first that the limitations imposed by the number and size of the ,serindia plates1 and even more perhaps by the cost of colour reproduction1 would not allow adequate justice being done to the artistic1 as distinguished from the iconographic and archaeological1 value of the paintings4 ,it was equally easy to foresee that1 however numerous the small-scale reproductions in the plates of ,serindia might be1 and however thorough the description and analysis of the new materials in its text1 the very character1 bulk1 and correspondingly high price of that detailed report would prevent it from making those paintings sufficiently accessible to students interested mainly in their art4 ,for these and cognate reasons ,i had been anxious from the outset to arrange for a separate publication like the present4 ,but the attempts made in this direction before my return to duty in ,india at the close of #aiaa failed from want of needful means1 and subsequently distance and absorbing exertions in the field1 as implied by my third ,central-,asian expedition 7#aiac-af71 precluded their effective renewal4 ,that auspices proved more favourable on my return from that journey was due mainly to the generous interest which a far-sighted statesman1 the ,right ,honourable ,mr4 ,austen ,chamberlain1 then ,h4,m4 ,secretary of ,state for ,india1 was pleased to show in the plan4 ,his appreciation of the importance of these pictorial treasures and of the need of securing an adequate record of them before their impending division between the ,british ,museum and ,delhi was largely instrumental in inducing the authorities of the ,india ,office1 with the ready co-operation of the ,trustees of the ,british ,museum1 to sanction the present publication at a cost not exceeding #a1ijj4 ,regard for the special difficulties then prevailing owing to the war is an additional reason for ,mr4 ,chamberlain's timely help being remembered by me with profound gratitude4 ,the execution of the plates1 both by three-colour and half-tone process1 was entrusted to ,messrs4 ,henry ,stone ,son1 of ,banbury1 whose establishment1 under the expert direction of ,mr4 ,j4 ,a4 ,milne1 ,c4,b4,e41 had already proved its special fitness for such work by producing the colour plates for my ,desert ,cathay and ,serindia4#f ,i feel all the more grateful for the great skill and care bestowed by them upon the truthful rendering of the paintings1 and for the success achieved1 because ,i learned to know the considerable technical difficulties which had to be faced1 particularly in the case of the colour plates4 ,after my return to ,india in the autumn of #aiag ,mr4 ,binyon kindly charged himself in my place with all the arrangements which were needed in connexion with the reproduction work4 ,it was under the constant and ever-watchful supervision of ,mr4 ,laurence ,binyon that the exacting labours needed for the safe treatment and future preservation of the ,ch#8ien-fo-tung paintings1 and extending over a period of close on seven years1 had been effected in the ,prints and ,drawings ,department of the ,british ,museum4 ,to his unfailing knowledge and care all students of these remains of ,buddhist art owe gratitude for the ease with which they can now be examined4 ,but to those whom the present publication is intended to reach he has rendered a service equally great by contributing to it his ,introductory ,essay1 ,the expert guidance it affords as regards the evolution of ,buddhist pictorial art in the ,far ,east and with regard to a variety of kindred questions helps appreciably to reduce the loss which ,the ,thousand ,buddhas has suffered through ,m4 ,petrucci's untimely death1 and for that help ,i feel deeply beholden4 ,that lamented event left me with a heavier obligation than ,i had anticipated in regard to the text both of this publication and of the corresponding portion of ,serindia4 ,in meeting this obligation ,i realize fully the limitations of my competence4 ,though familiar with the iconography of ,graeco-,buddhist art and of such remains of ,buddhist art in ,central ,asia as ,i had the good fortune to bring to light myself1 ,i had never found leisure for a systematic study of the religious art of the ,far ,east or ,tibet4 ,there was enough in the archaeology of the sites ,i had explored through the whole length of the ,trm ,basin and along the westernmost ,marches of ,china and in the geography and history of those wide regions fully to occupy my attention4 ,in addition1 my want of ,sinologue qualifications made itself sadly felt4 ,fortunately ,i had taken special care to secure a sufficiently detailed description of all pictorial remains during the years of my renewed absence in ,central ,asia and those immediately following4 ,this ,descriptive ,list1 now comprised in ,serindia1#g was prepared mainly by the hand of ,miss ,f4 ,m4 ,g4 ,lorimer1 whose painstaking scholarly work as assistant at my ,british ,museum collection has proved throughout a very valuable help4 ,besides ,m4 ,petrucci's interpretations there was embodied in it also much useful information received on artistic points from my friend and chief assistant ,mr4 ,f4 ,h4 ,andrews1 and on ,chinese inscriptions from ,dr4 ,l4 ,giles and ,mr4 ,a4 ,d4 ,waley of the ,british ,museum1 as well as many helpful iconographic explanations kindly furnished by two ,japanese experts1 ,professor ,taki and ,mr4 ,yabuki4 ,this ,descriptive ,list made it possible for me to provide in ,serindia a systematic review of all our pictorial relics from ,tun-huang1#h and this in turn has greatly facilitated the preparation of the descriptive text for the present publication4 ,for details which could not find mention in it reference to the chapters of ,serindia already quoted will prove useful4 ,it only remains for me to add my grateful acknowledgements for the care which my friends ,mr4 ,f4 ,h4 ,andrews1 ,mr4 ,l4 ,binyon1 and ,mr4 ,c4 ,e4 ,freeman have been kind enough to bestow1 whether on plates or on print1 and to express the wish that the reception accorded to ,the ,thousand ,buddhas both in the ,west and the ,east may justify the hope which prompted the sacrifice incurred for their sake at a time of great strain and stress4 ,,aurel ,,stein4 ,camp1 ,mohand ,marg1 ,kashmir4 ,june #b1 #aiba4 #a ,see ,ruins of ,desert ,cathay 7,macmillan ,co41 ,london1 #aiab71 ii4 pp4 #bj-ca1 #afc-bcd4 #b ,see ,serindia ,detailed ,report on explorations in ,central ,asia and ,westernmost ,china1 carried out and described under the orders of ,h4,m4 ,indian ,government by ,aurel ,stein1 ,k4,c4,i4,e41 ,indian ,archaeological ,survey 7,clarendon ,press1 ,oxford1 #aiba1 vols4 i-v1 ,royal #dto71 pp4 #gia-hbe4 #c ,these contributions have since been printed in ,appendix ,e of ,serindia1 pp4 #acib-dbh1 after having been carefully prepared for publication by ,m4 ,chavannes1 with the assistance of common friends1 ,,mm4 ,foucher and ,sylvain ,lvi4 #d ,see ,petrucci1 ,les peintures bouddhiques de ,touen-houang1 ,mission ,stein 7,annales du ,muse ,guimet1 ,bibliothque de vulgarisation1 xli1 #aiaf1 pp4 #aae-dj74 #e ,see ,plates ,,lvi-,,civ in ,serindia1 vol4 iv4 #f ,seven of those in the latter work have1 with the kind permission of the ,delegates of the ,clarendon ,press1 been used also here4 #g ,see ,serindia1 ,chapter ,,xxv1 section ii1 pp4 #icg-ajhh4 #h ,see ,serindia1 ,chapter ,,xxiii1 sections i-ix1 pp4 #hca-id4 ,,the ,,tun-,,huang ,,paintings ,,and ,,their ,,place ,,in ,,buddhist ,,art ,,an ,,introductory ,,essay ,,by ,,laurence ,,binyon ,i ,the paintings and drawings here reproduced are a selection from the mass of precious material discovered by ,sir ,aurel ,stein1 and brought away by him from #8,the ,caves of the ,thousand ,buddhas' at ,tun-huang1 on the extreme western frontier of ,china4 ,the romantic circumstances of the discovery have been fully described by ,sir ,aurel in the second volume of his ,ruins of ,desert ,cathay2 and to those pages the reader is referred4 ,but it may be well to recall briefly the main facts of the narrative4 ,in ,march #aijg ,sir ,aurel ,stein's expedition1 which had left ,kashmir in ,april of the preceding year1 arrived at ,tun-huang4 ,from ,kshgar the travellers had proceeded to ,yrkand2 thence to ,khotan1 where ,sir ,aurel on his previous journey in #aijj-a had disinterred such interesting remains of the ancient civilization once flourishing in that region2 thence eastward along the southern skirts of the great desert1 exploring various sites by the way with rich results1 till at ,tun-huang they found themselves at last within the western border of the ,chinese province of ,kan-su4 ,tun-huang is a square-walled town in a prosperous oasis of the desert4 ,sir ,aurel ,stein had been attracted thither by the knowledge that near the oasis were a number of sacred grottos known as #8,the ,caves of the ,thousand ,buddhas'1 filled with ancient ,buddhist frescoes and sculptures4#a ,but after arriving at ,tun-huang1 he also heard1 through a ,muhammadan trader1 rumours of something still more exciting to the archaeologist--a hidden deposit of manuscripts which had been accidentally discovered a few years previously in one of the caves4 ,in a barren valley to the south-east of the town1 above a narrow strip of irrigated soil1 with rows of elms and poplars1 there is a cliff of conglomerate rock1 which is honeycombed with hundreds of cavities4 ,these have been hollowed out to serve as ,buddhist shrines1 still frequented by pious worshippers2 and the walls of the cellas are covered with old frescoes4 ,it was in one of the larger shrines that the deposit of manuscripts had been discovered by the ,taoist monk in charge of certain grottos4 ,the monk had collected money from the faithful1 and had undertaken to restore this particular shrine to its former splendour2 a laborious work1 since the drifting of the sand and falls of crumbling rock had here1 as in many other cases1 blocked the entrance of the cave1 and the sand and debris had to be cleared away before the actual work of the restorer could begin4 ,while the men engaged on this labour were at work1 they had noticed a crack in the frescoed wall of the passage between temple and antechapel4 ,an opening was found2 and this led to a recess hollowed out of the rock behind the stuccoed wall4 ,the room thus disclosed proved to be completely filled with rolls of manuscript4 ,specimens had been sent to the ,viceroy of the ,province1 but no steps had been taken to remove them2 and in fact when ,sir ,aurel ,stein first arrived at the ,caves he found that the deposit was carefully locked away behind a wooden door2 and when1 after leaving ,tun-huang for a month's journey of exploration1 he returned in ,may1 a brick wall had been added to protect the hidden treasure4 ,the reader must go to ,ruins of ,desert ,cathay for the full account of the stages by which the ,taoist priest who guarded the shrines was induced first to show some specimens1 and finally to let ,sir ,aurel carry off a goodly hoard of the manuscripts and most of the pictorial remains4 ,the cave had been said to contain only ,,mss42 and bundles of ,,mss4 were there in immense quantities2 but on opening one of the bundles ,sir ,aurel was delighted to find that it contained paintings on silk4 ,the paintings were all1 or nearly all1 crumpled up4 ,it seems as if they had been hurriedly thrust away in the vault on some sudden alarm1 probably of a barbarian raid4 ,and1 in fact1 on one of the pictures is a votive inscription praying to ,kuan-yin for protection against the ,tartars and the ,tibetans4 ,the position of ,tun-huang on the westernmost frontier of ,china1 at the intersection of the great trade-route across ,asia1 from east to west1 with the high road between ,mongolia in the north and ,tibet in the south1 naturally exposed it to incursions and invasions4 ,internal evidence of dated documents seems to show that the treasure1 or at any rate the great bulk of it1 was hidden away soon after the close of the tenth century ,a4,d4 ,to complete the story1 we must add that ,m4 ,pelliot1 the distinguished savant and traveller1 paid a visit a year later to the ,caves and was allowed to carry off what remained of the paintings and a large selection from the hoard of manuscripts4 ,these are now in the ,bibliothque ,nationale and in the ,louvre4 ,what was left of ,chinese manuscripts was subsequently transmitted by official order to ,peking2 much being #8lost' on the way4 ,not till the paintings were brought to ,london could any real examination of them be made4 ,each packet had to be carefully opened1 and the brittle1 dusty silk1 sometimes in a hundred fragments1 opened out1 cleaned1 and1 where necessary1 pieced together4 ,this was done at the ,british ,museum2 and it was a labour of years for the staff of mounters attached to the ,print ,room4 ,the paintings were carefully cleaned1 and the colours were found in most cases to have lost little of their pristine depth and brightness2 though where a certain verdigris green was used1 it has tended to eat away the silk on which it was laid1 a whole figure in some cases having thus disappeared and left only its surrounding outline4 ,any attempt at restoration or retouching has been scrupulously avoided2 but when a painting which is in fragments has been laid down on silk of a neutral tone1 and mounted1 the eye is easily carried over the gaps1 and the main design reappears4 ,several of the paintings still retain their original borders1 usually of a dull mulberry-purple silk4 ,the small banners1 of which a great quantity were found1 had all originally a pediment-shaped head-piece1 and long silk streamers with a wooden weight at the bottom to steady the banner as it hung4 ,these banners are mostly painted on both sides4 ,the delicate work of mounting and cleaning was done by ,mr4 ,s4 ,w4 ,littlejohn1 ,chief ,mounter in the ,department of ,prints and ,drawings1 assisted in later stages by ,mr4 ,y4 ,urushibara1 a ,japanese artist and craftsman4 ,meanwhile the large embroidery picture 7,pl4 ,,xxxiv7 had been skilfully stitched on to a new backing of canvas by ,miss ,e4 ,a4 ,winter of the ,royal ,school of ,art ,needlework4 ,a selection of the most important pictures1 drawings1 and woodcuts formed part of an exhibition of treasures of all sorts brought back by ,sir ,aurel ,stein from his second expedition and set out in the long lower gallery of the new wing of the ,british ,museum opened by ,h4,m4 the ,king in ,may #aiad4 ,the outbreak of the ,war so soon after1 and the subsequent closing of the ,museum1 unfortunately prevented the exhibition from becoming adequately known to the public4 ,in #aiag ,mr4 ,littlejohn1 who had received a commission in the ,r4,g4,a41 was killed in action4 ,during his last months at the ,museum he had been preparing a note on the origin of the system of mounting pictures as kakemono1 to use the convenient ,japanese term4 ,those familiar with ,japanese pictures know that kakemono are paintings mounted on silk1 with borders of brocade above and below the design1 and with two narrow strips of silk hanging down from above4 ,these have been explained as intended to keep away birds1 or evil spirits2 but neither theory has ever seemed satisfactory2 and in the streamers of the ,tun-huang banners1 as ,mr4 ,littlejohn perceived1 was a much more plausible explanation of their origin4 ,they are a survival4 ,and other details in the ,japanese 7originally ,chinese7 system of mounting could be explained1 he suggested1 by a reference to this forgotten origin4 ,,ii ,the pictorial treasures brought away from ,tun-huang by ,sir ,aurel1 and now divided between the ,indian ,government and the ,british ,museum1 consist of votive paintings 7mostly on silk1 though a certain number are on paper7 of various sizes1 some being as much as six or seven feet high2 of a long series of small banners on silk and larger banners on linen2 of one or two magnificent specimens of embroidery1 the finest of which is reproduced 7,pls4 ,,xxxiv and ,,xxxv72 of outline drawings1 and of woodcuts4 ,the present publication is intended to illustrate the specimens which have most importance for the study of ,eastern art4 ,the paintings and drawings1 with a few unimportant exceptions1 are all of ,buddhist inspiration4 ,at first sight the limitation of scope and the repetition of similar themes may give an impression of monotony4 ,closer study reveals a remarkable variety4 ,this variety is due to differences of style1 which are accounted for partly by the different dates1 still more by the different localities at which they were produced1 partly by the very varying degrees of skill in the painters who produced them4 ,being all found in one place1 the paintings might be supposed to be all the product of a single local school4 ,but this is certainly not the case1 as a brief examination shows at once4 ,there are specimens 7of little account as art7 which are purely ,indian in style and probably ,nepalese2 there are examples of the well-defined ,tibetan type of ,buddhist picture2 there are paintings which are entirely ,chinese2 and there are1 lastly1 a number which contain ,indian1 ,chinese1 and possibly ,tibetan elements in varying proportions1 but are in an intermediate style and may safely be held to be the product of local schools of ,chinese ,turkestn1 and of the region which1 on the east1 joins it to ,china proper4 ,until a few years ago1 scarcely anything was known in ,europe of ,buddhist painting beyond the famous frescoes of ,aja in ,india and ,buddhist paintings by ,japanese masters1 of which the frescoes in the ,horiuji ,temple at ,nara are among the oldest and most celebrated4 ,it was known that the ,japanese modelled their work closely on ,chinese tradition2 and a few ,chinese ,buddhist paintings of early periods are preserved in ,japan2 but while an extensive series of ancient ,japanese ,butsu-y exists1 corresponding specimens from ,china are very rare indeed4 ,and if the early ,buddhist art of ,china was little known1 still less was known of the intermediate links in the tradition which passed on from ,india to ,china through ,turkestn4 ,but now1 through successive explorations and discoveries1 the story of ,buddhist art and the phases of its progress eastwards through ,asia are fairly plain and familiar4 ,and some of the most illuminating and important documents have been supplied by the discoveries of ,sir ,aurel ,stein4 ,in the paintings with which we are dealing1 the ,indian element is obviously very strong1 just as #8,the ,caves of the ,thousand ,buddhas'1 where they were found1 were hollowed out of the cliff in obedience to immemorial ,indian tradition3 we are reminded at once of the frescoed caves of ,aja4 ,but there are other elements besides the ,indian1 as we shall see4 ,how did ,buddhism penetrate into ,central ,asia8 ,from ,india proper it travelled by way of the extreme north-west frontier1 the valley of ,peshawar1 then known as the kingdom of ,gandhra2 thence to the countries lying north1 and so eastwards by the great trade-route across the desert to ,china4 ,gandhra is the first stage of this long journey3 and it was in ,gandhra that the ,buddhist art of the ,further ,east1 as we know it1 was first formulated4 ,the now well-known sculptures of ,gandhra1 a fine series of which may be seen in the ,british ,museum1 date from about the first century of our era to about the sixth4 ,they represent a late ,hellenistic tradition put to the service of the ,indian religion4 ,it was in ,gandhra that the types of ,buddhist art became fixed4 ,it was there that the type of kyamuni himself was first invented1 or rather adapted from the ideal forms of ,hellenistic sculpture4 ,for some centuries after the ,buddha's death1 ,indian artists had always refrained from representing the image of the ,lord4 ,the ,hellenistic element1 apparent in poses1 in drapery1 in decorative motifs like the acanthus-ornament1 tends to become submerged in the later phases of the art1 though something of it still persists recognizably in the ,buddhist art of remote ,japan1 even to-day4 ,at a desert site of ,khotan1 the little kingdom lying at the southern edge of the ,taklamakn ,desert1 beyond the mountains on the north-eastern frontier of ,ladkh and ,kashmir1 ,sir ,aurel ,stein found on his first expedition 7#aijj-a7 the remains of settlements abandoned to the encroaching sand about the third century ,a4,d4 ,among these remains were heaps of letters and documents written in early ,indian script and language on wooden tablets1 tied with string and sealed2 and in most cases the seal was a ,greek seal1 engraved with a figure of ,athene1 ,heracles1 or other deity4 ,again1 at ,mrn1 a site near ,lop-nr and much further east1 ,sir ,aurel1 on his second expedition1 discovered ,buddhist shrines adorned with frescoes of about the fourth century ,a4,d4 painted in the style of late classical tradition4 ,fascinating as are these traces of ,greece and the ,west in the midst of the ,asian deserts1 the influence of ,hellenism was not profound or formative4 ,india was the main influence on the culture of the cities once flourishing along the chain of oases in the deserts west of ,china1 ,buddhism the great civilizing factor1 and ,gandhra the source from which the local schools of art drew their inspiration4 ,gandhra art was itself not without some admixture from ,persian sources2 and ,iranian motives of decoration are found in these desert sites1 as they are found in ,china itself1 just as some of the ,tun-huang manuscripts are written in the ,iranian dialect called ,sogdian4 ,the art of ,turkestn is full of mixed influences1 the reflection of its civilization4 ,and what of ,china8 ,for during the second century ,b4,c4 and the two centuries following ,china pursued a policy of political and military expansion westward1 with a view to opening up trade-routes1 consolidating her frontiers and protecting them from the ravages of the ,huns and other tribes2 and ,eastern ,turkestn became a ,chinese protectorate4 ,though afterwards ,china's hold became weakened and her power receded1 in the seventh century ,a4,d41 under an ,emperor of the great ,t#8ang dynasty1 the whole region came again under ,chinese government1 and the ,empire's political sphere of influence was extended as far as the borders of ,persia and the shores of the ,caspian4 ,but ,chinese influence seems to have been confined mainly to administration1 and to have affected but little the culture of the people1 though traces of it are discernible in their arts and industries1 ever more marked as we go further east4 ,this way passed the old great high road between east and west1 by which the ,chinese silks were carried overland to ,antioch and the ,roman ,empire4 ,it was a highway for commerce1 but also for ideas and religions4 ,and the early centuries of our era were marked by an extraordinary ferment of mystical beliefs both in east and west4 ,while ,christianity and ,mithraism were contending for supremacy in the ,roman ,empire1 ,buddhism was making its victorious progress eastwards4 ,but it was no longer the simple ethical doctrine preached by ,gautama4 ,mahyna ,buddhism1 as the later development of ,buddhism is called--the ,great ,vehicle1 as opposed to the ,hnayna1 or ,small ,vehicle1 of the original doctrine--was first formulated about the first century ,a4,d4 ,it was no longer the salvation of the individual which was the aim of the devout1 but the salvation of the whole world1 towards which the ,bodhisattvas strive unceasingly out of their boundless love for every sentient being4 ,the ,bodhisattvas in this new phase of ,buddhism became more and more the object of popular worship4 ,they are either men who1 having won the right to enter ,buddhahood1 refuse that peace for the sake of suffering mankind1 or else celestial beings who assume a human form4 ,of this last order of beings is ,avalokitevara1 whom the ,chinese know as ,kuan-yin1 and the ,japanese as ,kwannon2 the favourite object of adoration in ,mahyna ,buddhism4 ,he appears in art both in male and female form4 ,in later art the female form is almost universal1 but in the ,tun-huang paintings the male form is predominant4 ,avalokitevara is the spiritual son of ,amitbha1 the impersonal ,buddha1 the ,light of the ,enlightened2 and ,amitbha is said to have created a ,paradise in the ,west1 where souls who believe in him may be born and rest for a long age1 or in popular belief for ever4 kyamuni1 we note1 has no longer the supreme position1 though sometimes he is painted as reigning over a ,paradise1 or1 as in the large embroidery-picture 7,pl4 ,,xxxiv71 standing on the ,vulture ,peak1 the scene of his last teaching4 ,as ,avalokitevara is incarnate ,pity1 so1 among other great ,bodhisattvas1 ,majur embodies the ,spirit of ,wisdom1 ,samantabhadra stands for the power of the ,church1 ,kitigarbha is the breaker of the powers of ,hell and the illuminator of its darkness4 ,bhaiajyarja is the lord of medicine2 and ,maitreya is the ,buddha that is to come4 ,besides the ,buddhas and ,bodhisattvas1 the ,lokaplas or ,demon ,kings who guard each one of the ,four ,quarters of the ,world are frequent figures in art4 ,these are survivals of primitive demon-worship adopted into ,buddhism4 ,the subjects of the ,tun-huang paintings are1 then1 single figures of ,bodhisattvas1 especially of ,avalokitevara1 or of the ,lokaplas2 small pictures of scenes from ,gautama's life1 or the ,jtakas1 stories of his lives in previous incarnations2 and representations of the ,western ,paradise4 ,this last subject is sometimes highly elaborated1 with an immense number of figures of the blest grouped in pavilions and terraces built about a lotus lake4 ,flowers are rained through the air1 and celestial beings dance and sing for the delight of the souls dwelling in the ,happy ,land of ,amitbha's creation4 ,all this carries us far indeed from the ,four ,noble ,truths and the ,eightfold ,path--the simple doctrine in which kyamuni taught the means of ,salvation here on earth4 ,much of this later ,buddhism was doubtless an accretion from other faiths with which it came in contact on its progress through ,asia4 ,amitbha may be a borrowing from the worship of ,mithras2 and certain of the ,bodhisattvas may have been originally deified heroes of lands into which ,buddhism made its way4 ,in ,eastern ,turkestn1 ,manichaeism1 the religion founded by the ,persian ,mani in the third century ,a4,d41 found a home2 and at ,turfn--one of the oases which have been explored--,manichaeans1 ,buddhists1 and ,christians were living peaceably side by side4 ,for the study of religion1 then1 the art found in the various sites on the borders of the ,taklamakn and ,lop deserts is of extraordinary interest4 ,but1 as art1 it is of a local and provincial type1 and though often of considerable merit1 it nowhere rises beyond a certain level4 ,,iii ,but at ,tun-huang we are within the frontiers of ,china proper2 and ,chinese art during the ,t#8ang period1 seventh to tenth century ,a4,d41 was at its grandest height of power4 ,the extraordinary interest of these paintings is that1 though a great number of them are1 as we might expect1 obviously provincial productions 7e4g4 ,pls4 ,,xxiv and ,,xxvi71 others belong to the central tradition of ,chinese ,buddhist painting2 and as scarcely any such paintings of the ,t#8ang period are known to exist1 the importance of this group1 for the study of ,chinese art1 can hardly be overestimated4 ,how do we know that these paintings belong to that central tradition8 ,we know it from the early ,buddhist paintings of ,japan1 of which noble masterpieces 7some perhaps actually ,chinese7 are preserved in the ,japanese temples4 ,even if we did not know that the early ,japanese painters founded their style entirely on the ,t#8ang masters1 the ,tun-huang pictures1 sometimes so singularly close to the ,japanese ,buddhist art of the same period1 would prove it4 ,plate ,,iii reproduces rather more than the left-hand half of a large painting1 which itself seems to be only the upper portion of a still larger composition4 ,the original offers extreme difficulties to photography2 and though the reproduction is more successful than might have been anticipated1 it is necessary to study the original to appreciate the delicacy of the drawing1 especially of the faces of the ,bodhisattvas4 ,the serene grandeur of the design is enhanced by a pervasion of grace in the delineation of every form4 ,here1 surely1 is the hand of a master4 ,rivalling this in beauty is the large painting of which a portion is reproduced on ,plate ,i1 and another portion on ,plate ,,ii4 ,here there is a similar delicate expressiveness of drawing1 combined with a glowing animation of varied colour4 ,the picture is full of exquisite detail4 ,note the life and charm1 for instance1 in the figure seated with her back to us in the window of the high pavilion in the upper right-hand portion1 next the border 7,pl4 ,i74 ,here again is a master of individual temperament4 ,in both of these pictures the artist has been able to control his complex material and multitude of forms into a wonderful harmony1 without any restlessness or confusion2 and we are taken into an atmosphere of strange peace1 which yet seems filled with buoyant motion and with floating strains of music4 ,none of the other pictures is1 as art1 quite on this level1 the tendency being for the quality of the workmanship to be inadequate to the conception and design4 ,the two grand fragments illustrated on ,plates ,,iv and ,v2 the ,avalokitevara 7,pl4 ,,xx72 the ,vairavaa crossing the ocean 7,pl4 ,,xlv7 are perhaps nearest4 ,and next would come such examples as the ,avalokitevara in ,glory 7,pl4 ,,xvii7 and other representations of the same ,bodhisattva 7,pls4 ,,xviii1 ,,xix1 ,,xxi71 and some of the ,paradise pictures1 and banners2 but as we gradually descend the scale1 an insensitive execution contrasts more and more with the dignity and grandeur of the design4 ,these were not great painters1 but they belonged to a great school4 ,in such a picture as the ,two ,forms of ,avalokitevara 7,pl4 ,,xv7 we feel that if only the rather inanimate workmanship corresponded to the grandeur of the design1 we should be in presence of a masterpiece4 ,we have a hint at least of what majesty the ,t'ang masters must have been capable4 ,this group of paintings gives to the collection found at ,tun-huang an artistic importance quite beyond that of any of the groups of works of art discovered by various expeditions in ,turkestn2 and it is worth while to examine them a little more closely4 ,the flooding wave of ,indian religion and ,indian art1 after traversing a region of inferior cultures1 meets in ,china for the first time an established art of original power and native genius4 ,the ,indian religion1 in spite of vicissitudes and rebuffs1 takes a firm hold on the ,chinese4 ,buddhist paintings are demanded of the great masters4 ,of what character is the resulting art8 ,we are unable to say what the earliest treatment of ,buddhist themes by ,chinese artists was like4 ,buddhist images were introduced from ,india as early as the first century ,a4,d41 and were eagerly sought for and studied in succeeding times4 ,plate ,,xiv--the original of which is1 so far as we know1 unique--is of singular interest2 for it consists of a group of drawings after ,indian ,buddhist statues--just such as the great pilgrim of the seventh century1 ,hsan-tsang1 might have brought back from his long journeyings among the sacred sites of ,india4 ,in the fourth century the famous painter ,ku ,k#8ai-chih painted1 we know1 many ,buddhist subjects1 but neither the #8,admonitions' in the ,british ,museum1 nor the ,l-shen ,fu in the ,freer ,collection1 shows any trace of ,buddhist or ,indian influence2 on the contrary1 they show the purely native style of ,china in its integrity4 ,that purely native style is found in the paintings we are examining1 but not as a rule in the treatment of the main subjects4 ,many of the large pictures of ,paradise have borders on either side1 divided into compartments1 in which are painted scenes from the ,jtakas or stories of the former lives of ,buddha4 ,one is reminded of the predella pictures of an ,italian altar-piece4 ,plate ,i affords a good example1 showing part of the right-hand border of the picture4 ,and here the figures1 the dresses1 the landscape1 the style of drawing1 the spacing1 are all ,chinese4 ,were it not for the subject-matter1 no one would dream of suggesting any influence from ,india4 ,in the small banners1 these ,jtaka episodes form sometimes the entire subject1 three or more scenes being usually painted one above the other4 ,examples are reproduced on ,plate ,,xii1 ,plate ,,xiii1 and ,plate ,,xxxvii4 ,on these banners we find scenes from the legend of kyamuni in his last life on earth2 his conception by his mother1 his birth in the ,lumbin garden1 his first steps1 his athletic feats as a boy2 his first meeting with death and sickness2 his flight from the palace at midnight4 ,even here everything is ,chinese3 types1 costume1 architecture1 pictorial conventions2 it is only after ,gautama has taken up his mission and begun to teach that he is represented in ,indian guise1 according to the traditions derived from ,gandhra4 ,how comes it1 then1 that in portraying the ,buddhas and ,bodhisattvas1 the saints and ,lokaplas or ,demon ,kings1 the ,chinese painters follow so closely the ,indian formula8 ,we may suppose that just as fifteenth-century painters in ,italy and the ,netherlands1 in representing ,gospel scenes1 portrayed ,christ and his disciples dressed in a conventional1 supposedly ,oriental garb1 but painted secular persons and spectators in the costume of their own time and place1 so it was with these ,chinese artists4 ,and perhaps this is sufficient explanation4 ,yet1 when we remark what fidelity to ,gandhran models was observed1 once the ,chinese artists had come to know them2 when we remember that the ,jtaka scenes were frequent subjects of the school of ,gandhra and were of course treated in the same style as the ,bodhisattvas2 and when we consider that ,buddha himself1 in his youth1 is portrayed in these banner paintings as a ,chinese boy in ,chinese dress1 we may be tempted by another hypothesis4 ,we may suppose that when the ,buddha-legends were first illustrated by ,chinese painters they were known by written and oral tradition only1 and that the painters1 having no models to fall back upon1 painted the chosen scenes in their own way and according to their own lights2 and this style1 this treatment1 once fixed1 remained4 ,it might be that the tradition thus formed 7which1 be it noticed1 is continued in ,japanese art throughout7 represents an earlier phase of ,buddhism1 when the ,buddha-legend was more prominent in the mouths of missionaries than the worship of the ,bodhisattvas4 ,but all this is conjecture1 and the simpler explanation may be the right one4 ,at any rate1 what we have to note is the fact that ,chinese painting had already developed a powerful genius of its own1 and1 however much it borrowed1 was able to fuse its borrowings in its own style4 ,but before dealing with this question of the fusion of ,indian subject-matter in ,chinese style1 let us complete what there is to say about the purely ,chinese features in the ,tun-huang paintings4 ,besides the illustrations of ,jtaka-legends1 there are at the foot of many of the pictures portraits of their donors4 ,these are most valuable documents for the student of ,chinese painting2 for they give us portraits of people actually living at a certain date1 they show us what costume they wore--thereby often helping us to determine the approximate date of undated pictures--and they afford more than a hint of the prevalent style of drawing in secular art4 ,every one who has studied the earlier art of ,china knows how difficult it is to find a really trustworthy starting-point for dating pictures and arriving at a sound conception of the style of a given period4 ,we have usually only an ancient tradition1 at the best1 of date and authorship4 ,but here we have dated work1 from which we can start4 ,among the paintings reproduced is one1 #8,four ,forms of ,avalokitevara' 7,pl4 ,,xvi71 which bears a date corresponding to the year ,a4,d4 #hfd4 ,this is the earliest date found on any of the paintings4 ,others bear dates of the late ninth and early tenth centuries4 ,comparing the picture reproduced on ,plate ,,xvi with other pictures which are not dated1 we can have little hesitation in assigning the great majority of the paintings to the second half of the ,tang dynasty 7seventh to tenth centuries7 and towards its close1 though it would be rash to attempt any minute determination of dates1 for reasons already given4 ,we know nothing certain of ,chinese painting before ,tang times1 except the painting in the ,british ,museum1 #8,admonitions of the ,instructress in the ,palace'1 and the #8,l-shen ,fu' in the ,freer ,collection1 both ascribed to ,ku ,k#8ai-chih4 ,whether either of these be allowed to be an original of the fourth century or not1 there can be no doubt that they represent the style of that period in its main characteristics3 they show a great mastery of expressive drawing of the human figure1 an extraordinary command of finely modulated1 sinuous line1 a love of it both for its own sake and as expressive of movement1 and a quite primitive and rudimentary treatment of landscape4 ,the paintings we are now considering afford no adequate material for comparison2 but one thing is at once noticeable1 and that is the altered ideal of the human form2 in place of the tall1 slender proportions of ,ku ,k#8ai-chih1 ,t#8ang art substitutes shorter and more massive proportions4 ,an ideal of power has superseded an ideal of grace4 ,hints of the treatment of landscape1 primitive by comparison with the mature ,sung art1 but decidedly more advanced than ,ku ,k#8ai-chih's1 are also of much interest4 ,among the ,tun-huang paintings there is at least one 7,pl4 ,,xxxviii7 which seems to be in an earlier style than the rest4 ,this painting of ,buddha attended by divinities of the ,planets comes nearer to the style we find in ,ku ,k#8ai-chih1 both in its finer1 drier line1 in its proportions of the figure1 its generally more primitive aspect1 and its comparative freedom from ,indian influence4 ,the bannered chariot may be compared with the chariot in the ,ku ,k#8ai-chih picture in the ,freer ,collection4 ,and yet this picture is dated with a year corresponding to ,a4,d4 #hig1 actually later than the #8,four ,forms of ,avalokitevara'4 ,similarly a woodcut1 dated ,a4,d4 #idg1 is much ruder and more primitive-looking than another dated ,a4,d4 #hfh4 ,these facts and comparisons warn us of the danger of attempting to assign dates too confidently4 ,it may well be that the paintings which are actually the earliest have the least primitive aspect4 ,another example which has an archaic air is the small picture of ,kitigarbha enthroned1 on blue silk 7,pl4 ,,xxxix72 but here1 too1 we may doubt whether the primitive features may not be due to provincial style preserving old tradition rather than to actual antiquity4 ,at the same time it must be remembered that dates going as far back as the fifth century ,a4,d4 are found among the manuscripts heaped in the ,caves of the ,thousand ,buddhas2 there is no reason therefore why some of the paintings should not be considerably older than the earliest dated specimen4 ,one or two paintings in the collection seem to have been added to the hidden store at a later date4 ,such is the painting reproduced on ,plate ,,xxxviii of ,avalokitevara conducting a soul4 ,this is exceptionally well preserved1 and both the style and the costume of the woman point to a date more recent than late ,t#8ang4 ,it is a painting of great beauty4 ,we may now return to the question of the way in which ,indian subject-matter was fused in ,chinese style4 ,as we have seen1 the narrative-pictures1 depicting episodes from the ,jtakas1 were originally painted in a purely native manner1 the whole theme being bodily translated into ,chinese terms2 and this tradition persisted1 and even in ,japan the ,buddha legend is given a ,chinese dress4 ,but with the devotional pictures it was different4 ,as early as the fifth century1 ,chinese artists1 as we know from the sculptures at ,yn-kang1 were copying the ,gandhra types of the ,bodhisattvas1 though1 as ,m4 ,petrucci has observed1 the ,gandhra tradition appears at ,yn-kang #8 l'tat de dbris1 comme une chose finissante'4 ,we may suppose that the copying of ,gandhra models went on for a time side by side with the complete translation of ,indian story into ,chinese formula4 ,but by degrees the ,chinese genius asserted itself2 and probably the advent of ,wu ,tao-tz and a few other men of genius gave a fresh character to the ,buddhist art of ,t#8ang4 ,the ,chinese genius is strong just where the ,indian genius is weak4 ,the bent of the ,indian artist is to pour out his emotions and imaginings in a torrent1 shaping them to form and colour as they come2 he delights in exuberance and a fine excess2 he cannot bear to leave a corner of his space unfilled4 ,if we compare the ,aja frescoes with the best of the ,tun-huang paintings1 say with that partly reproduced on ,plate ,,iii1 we feel a different instinct at work4 ,the ,indian painters draw their figures and animals with an admirably expressive power and sense of life2 they have freshness of vision1 and spontaneous vigour1 and directness of emotion4 ,and it is part of their spontaneousness that in grouping figures together they accept the accidental appearances of form1 with a result that is often restless to the eye4 ,in the ,tun-huang painting we feel that the artist obeys an instinct which controls the complex lines of many grouped figures into a continuous reposeful harmony2 a subtle relation between form and form and between group and group is set up2 these relations rather than delineation of objects engross the painter4 ,there is a sense of movement in the passage of the great ,bodhisattva on his pacing elephant1 preceded and attended by blessed beings1 but it is as if they moved to music2 and the sinuous streaming of the cloud on which a cluster of happy souls is borne enhances this effect of serene and rhythmic motion4 ,this subtle unifying instinct of design inheres in the ,chinese genius4 ,look1 again1 at the small paintings of ,jtaka scenes at the side of ,plate ,i1 and note even there the use of spacing4 ,in contrast with ,indian artists1 the ,chinese understand to the full the power of suggestion and the value of reticence4 ,they know how to foil forms in movement with forms in repose1 rich detail with empty space1 so as to stir in the spectator the intensest appreciation of each particular element4 ,space is not1 in ,chinese painting1 something left over and unfilled2 it is a positive power and an integral factor in design4 ,in the typical classics of ,chinese art these special powers in the control of ordered1 fluent line1 and in mastery of spacing1 are magnificently displayed4 ,but even in these ,tun-huang pictures1 where the subject-matter1 the imagery1 and the canons of ideal form are taken over from ,india1 we feel how all this is being fused in the fire of a different genius4 ,and in such a picture as the large ,paradise 7,pls4 ,i and ,,ii7 how potently this genius is at work1 controlling all these many groups of crowded figures1 and this built-up composition1 with all its various colours1 in the spell of a single mood of immaterial felicity and peace6 ,,iv ,it has been mentioned that a series of ,nepalese paintings of ,bodhisattvas were found at ,tun-huang4 ,these are precious documents1 because of the extreme rarity of ,indian paintings of so early a period2 but as their artistic interest is but slight1 they have not been chosen for illustration4 ,plate ,,xxxi reproduces a ,tibetan painting4 ,the territory of ,tun-huang was conquered by the ,tibetans in the middle of the eighth century ,a4,d41 and till the middle of the ninth century the ,tibetan power was dominant4 ,quantities of ,tibetan ,buddhist writings were found in the cave3 and among the paintings this one1 certainly1 is entirely ,tibetan in style4 7,two ,tibetan drawings are reproduced on ,pl4 ,,xxxii47 ,it is of the same type as the numerous pictures brought from ,tibet itself in recent years1 collections of which are in the ,british ,museum1 and in other museums of ,europe and ,america4 ,with regard to these pictures the question of date has always been a matter of conjecture4 ,many are darkened by incense-smoke1 which in a few years can give an appearance of impressive antiquity4 ,the probability is that the ,tun-huang specimen dates from about the tenth century1 and1 if so1 it is likely to be the oldest of its kind now in existence1 or at the least one of the oldest4 ,it is painted in distemper on linen1 a technique favoured by the ,tibetan artists4 ,but how did this ,tibetan art grow up8 ,what is the indigenous element in it8 ,buddhism was only introduced into the country in the seventh century1 and whether ,tibet had any art to speak of before its introduction we do not know4 ,in ,tibetan ,buddhism the ,tantra system of magic and witchcraft1 and the worship of demons 7supposed to be converted by ,buddha and to be vassals under his sovereignty71 play a dominant part2 and in the paintings the forms are often monstrous and horrible1 the colouring sombrely splendid4 ,but the harmonies of fluid1 sinuous line1 for which they are even more remarkable1 seem to be an element borrowed from ,chinese art and carried to excess in ,tibet4 ,if we compare for a moment this painting with1 for instance1 the one reproduced on ,plate ,,xlii1 we see how much this element counts for4 ,and on the whole it seems likeliest to suppose that ,tibetan painting is rather an offshoot of ,chinese art1 developed in a certain direction1 and so acquiring a special character1 than a native growth4 ,but of this we cannot be certain4 ,plate ,,xlii illustrates1 much reduced1 an imposing example of the kind of painting in a mixed style which flourished in ,eastern ,turkestn4 ,note how the flowers dropping through the air suggest none of that sense of the fragility of flowers1 and of their light floating on the air1 which the ,chinese artist knows instinctively how to give3 they are heavy and motionless4 ,there is a certain rigidity and solidity in the whole picture2 and the effect of solidity is consciously aimed at by the system of modelling the central figure in two tones of colour4 ,this system is carried yet further in ,plate ,x1 where high lights on nose and forehead 7blackened through oxidization in some places7 have been added in white4 ,compare also ,plate ,,xi1 illustrating a very large painting of similar character1 full of the most interesting detail 7note the babies enclosed within the lotus-buds1 souls of the blessed about to be born into ,paradise74 ,these pictures are painted in what ,sir ,aurel ,stein calls #8the fresco style'1 because they repeat on silk the manner of the fresco paintings of ,tun-huang4 ,in all these pictures the ,chinese element is present but not dominant2 and the system of modelling in two tones of colour comes1 we cannot doubt1 from the west4 ,it is true that it was sometimes copied by the ,chinese in their ,buddhist paintings1 as we know from early ,japanese examples following ,chinese prototypes3 but the ,chinese of ,t#8ang times were intensely interested in the western countries2 they liked to introduce figures of people from those regions into their pictures2 and1 as we know1 a painter from ,khotan settled in ,china in the eighth century and had great success there4 ,but the desire to suggest mass and roundness by means of modelling in painting was against the instincts of the ,chinese and ,japanese2 it occurs only in certain ,buddhist pictures1 the survival of a borrowing from the west preserved by hieratic tradition4 ,one of the finest of all the ,tun-huang pictures is not a painting but a piece of embroidery4 ,unfortunately it does not lend itself well to photography in colour2 and its quality and impressive character are merely suggested in the small ,plate 7,pl4 ,,xxxiv7 and in the detail with a group of donors 7,pl4 ,,xxxv74 ,though merely the reproduction by craftsmen of a master's work1 it shows such skill and taste in execution1 it is so fine in colour1 and so well preserved1 that it must be ranked with the very finest of the paintings as an indication of the grandeur of the ,buddhist art of ,t#8ang4 #a ,for the wall-paintings and sculptures of the cave-temples of ,tun-huang1 see now the fine reproductions in ,m4 ,paul ,pelliot's ,les ,grottes de ,touen-houang1 ,peintures et ,sculptures des poques des ,wei1 des ,t#8ang et des ,song 7,paris1 ,paul ,geuthner1 in progress74 ,,descriptive ,,account ,,of ,,pictures ,,from ,,the ,,caves ,,of ,,the ,,thousand ,,buddhas ,,at ,,tun-,,huang ,,by ,,aurel ,,stein ,,plates ,i1 ,,ii ,,the ,,paradise ,,of ,,bhai,,ajyaguru ,the first two plates reproduce portions1 on half the scale of the original1 from the right and left of a large painting on silk 7,ch4 lii4 #jjc71 remarkable for its noble design1 the delicacy of its drawing1 and its glowing colours4 ,in spite of the damage it has suffered along its sides and bottom 7see ,serindia1 ,pl4 ,,lvii7 it still measures close on seven feet in height and over five and a half feet across4 ,it represents a ,buddhist ,paradise and1 according to ,m4 ,petrucci's interpretation1 the one presided over by ,bhaiajyaguru1 the ,buddha of ,medicine1 whose cult since an early period has been widespread in ,northern ,buddhism from ,tibet to ,japan4 ,his ,heaven is placed in the ,east by sacred texts preserved in the ,chinese ,tripiaka4 ,in their descriptions as well as in our painting ,bhaiajyaguru's ,paradise shares the essential features of that still more popular abode of ,buddhist bliss1 the ,western ,paradise1 or ,sukhvat1 presided over by the ,buddha ,amitbha4 ,of this the #8,caves of the ,thousand ,buddhas' have preserved numerous representations both among the pictures recovered from the walled-up chapel 7see ,pls4 ,,vi-,,viii1 ,x-,,xi7 and among the mural paintings decorating the temples4 ,but the legendary scenes occupying the side panels of our painting and connected with ,bhaiajyaguru are different1 and so are also certain details in the arrangement and personnel of the main subject4 ,these distinctive features are found again in another somewhat less elaborate picture of ,bhaiajyaguru's ,paradise1 reproduced in ,plate ,,xxxvi4 ,his ,heaven presents itself in our picture1 as in all the large ,paradise paintings of ,tun-huang1 as a great assemblage of celestial beings1 elaborately staged on richly decorated terraces and courts which rise above a lotus lake4 ,on the sides and behind the terraces there are seen pavilions and elaborate structures of characteristically ,chinese style1 representing the heavenly mansions4 ,it is in this sumptuous setting that ,chinese ,buddhism has visualized from an early period the idea of a ,paradise where the souls of believers in the ,law may be reborn1 free from all taint1 in the buds of the lotus lake to enjoy thereafter for aeons1 or in popular belief for ever1 blissful rest and pleasures in the company of ,bodhisattvas1 ,arhats1 and other beatified personalities4 ,the scheme of the whole1 as in all representations of ,buddhist ,heavens among the ,tun-huang paintings1 is ordered on the strictly symmetrical lines of a #8,maala'1 buildings1 trees1 groups1 and even individual figures balancing each other on either side of the picture and all centring round the presiding ,buddha in the middle4 ,here we see ,bhaiajyaguru seated with folded legs and wearing a crimson mantle over a green under-robe4 ,while his right hand is raised as usual in the vitarka-mudr1 the left holds the begging bowl in his lap4 ,behind him a couple of flowering trees support a hexagonal canopy of red drapery4 ,a halo and nimbus of manifold but harmoniously blended colours surround the ,buddha's figure1 which in pose and dress and in the features of the mild pensive face bears the impress of the type first evolved in ,graeco-,buddhist art even more clearly than the figures of the surrounding ,bodhisattvas4 ,of these the two enthroned are identified by ,m4 ,petrucci with ,majur on the right and ,samantabhadra on the left4 ,above these two chief ,bodhisattvas rise six-tiered umbrellas wreathed in clouds1 about which float gracefully poised figures of ,apsaras4 ,the rich flowing garments1 which include shawl-like stoles1 and the abundant jewelled ornaments of the two are shared also by other haloed figures obviously meant for ,bodhisattvas1 who appear in attendance on the central ,buddha or in varying supple poses occupy the fore portion of the terrace4 ,the features of all are drawn with extreme delicacy and pleasing variety of expression1 the eyes being in many cases almost straight1 while the flesh is white1 with shading in tints of pink4 ,by the side of either of the enthroned ,bodhisattvas there is seen a composite group of divinities1 unhaloed and five on each side1 of types not ordinarily met with among the attendants in these ,paradise pictures4 ,three figures in each group are warrior kings1 recalling the ,lokaplas1 or ,guardians of the ,four ,regions 7see ,pls4 ,,xlv1 ,,xlvii71 by their gorgeous armour and head-dresses4 ,the features of most of them are grotesque1 and this aspect of their appearance is enhanced by the animal figures1 including a dragon1 gryphon1 phoenix1 and peacock1 which are shown rising above their shoulders or elsewhere in conjunction with them4 ,each group includes the figure of a demon closely resembling those which are usually met with in the cortge of ,lokaplas 7see ,pls4 ,,xxvi1 ,,xlv74 ,the demon on the right raises a naked infant on his hand1 just as the demon in the fragmentary painting of ,plate ,,xlvi4 ,immediately behind the enthroned ,buddha on the left is seen a youthful personage wearing what looks like a magistrate's head-dress1 while the corresponding position on the right is occupied by a warrior with three faces4 ,perhaps he represents ,brahman and the former divinity ,indra4 ,before the central ,buddha and in the middle of the picture is seen a large platform projecting from the main terrace and carrying a draped altar with sacred vessels4 ,on either side of it kneel two unhaloed figures in graceful poses holding up offerings and suggesting nymphs4 ,projecting still further into the foreground is a smaller platform1 and on it a dancer performs in rapid movement to the strains of an orchestra of eight seated musicians4 ,the dancing figure1 unmistakably that of a girl1 is dressed in a billowy orange skirt tied round the hips and a close-fitting crimson jacket reaching only to the waist and surmounted by a metal-bound plastron4 ,her head and arms are richly adorned with jewellery4 ,from behind the neck issues a long narrow stole which her hands wave as she dances4 ,the figures of the musicians1 four on each side1 resemble those of ,bodhisattvas in features and dress1 but the shawl-like stoles over the shoulders are absent4 ,those to the left play on a harp1 two lutes1 and a psaltery1 while those to the right play on clappers1 flute1 ,chinese reed-organ1 and pipe4 ,the instruments1 of which several have their ancient ,japanese counterparts among the treasures of the ,shsin collection 7see ,shsin ,catalogue1 i4 ,pls4 #ef1 #fj71 have been fully described in ,miss ,schlesinger's expert notes in ,appendix ,k to ,serindia4 ,at the head of each line of musicians there is seen in the background a small but very curious figure1 that of a fat half-naked infant violently dancing and playing1 the one to the left on a narrow-waisted drum1 the one to the right apparently on castanets4 ,judging from other ,paradise pictures we may assume that these playing infants represent newly reborn souls who in the joy of their celestial childhood have been drawn to join the happy scene of music and dancing4 ,a kind of gangway projects in front of the dancer's platform into the lotus lake1 and at its entrance stands a ,garua with widespread wings1 playing on cymbals4 ,from the lake rise trees and purple or scarlet lotus buds and flowers1 the latter supporting souls reborn4 ,two of these1 at the extreme right and left1 are sitting upright as fully developed ,bodhisattvas1 but with a languid air of newly awakened consciousness4 ,two others1 faintly visible in the foreground1 are represented as naked infants just springing to life or still curled up in sleep4 ,a rock on the left at the bottom edge of the lake is occupied by a crane2 its pendant on the right1 a peacock1 falls outside the reproduction in ,plate ,,ii4 ,the bottom corners of the ,paradise are filled by the twelve armed ,kings1 the generals of ,bhaiajyaguru1 who act as protectors of the ,law4 ,they kneel six a side upon small terraces with gangways sloping down into the lake4 ,they are treated in appearance and dress like ,lokaplas1 but carry no distinctive weapons4 ,their hands are joined in adoration or else hold sacred vessels1 jewels1 c4 ,turning to the sides of the picture1 we see the main terrace flanked by two-storied pavilions1 both of distinctively ,chinese architecture1 and close by them trees carrying rich foliage but no flowers4 ,the upper chambers of the pavilions are open and show small ,bodhisattvas sitting on railings1 pulling up reed-blinds or otherwise enjoying their leisured life4 ,the lower chambers contain only unoccupied lotus seats and appear to have just been abandoned by two subsidiary ,buddhas1 who are represented as advancing1 each with two attendant ,bodhisattvas1 on to projecting wings of the main terrace4 ,the dress of the subsidiary ,buddhas is exactly that of the presiding ,bhaiajyaguru1 of whom ,m4 ,petrucci takes them to be repetitions1 and the expression of their faces is similarly mild and pensive4 ,the marginal scenes1 of which ,plate ,i shows the better preserved ones on the right side1 have been identified by ,m4 ,petrucci as representing incidents of the legend of ,bhaiajyaguru's last incarnation as a ,bodhisattva4 ,without reference to the text of the ,chinese ,tripiaka which records this legend1 but of which the translation prepared by ,m4 ,petrucci is not at present accessible1 no interpretation of the different scenes can be attempted here4 ,judging from the inscribed cartouches1 at least five scenes are represented in the predella portion actually reproduced in our ,plate4 ,that the treatment of the figures1 the dresses1 the landscape is in purely ,chinese style is an observation uniformly applying to all side scenes to be found in #8,maala' pictures from the #8,thousand ,buddhas'1 as well as to the banners representing episodes from ,gautama ,buddha's life-story 7see ,pls4 ,,xii1 ,,xiii1 ,,xxxvii74 ,mr4 ,binyon in his ,introductory ,essay 7see above1 p4 #g7 has discussed different possible explanations of the striking assertion of ,chinese style and feeling in these scenes4 ,here it may suffice to draw attention to the skill with which the rapid movement of the animal figures appearing in our scenes is rendered1 and to the clever use1 observed elsewhere also1 which is made of hill ranges and similar landscape features for dividing the several scenes into clearly marked compartments without sacrificing the effect of the whole as a connected story4 ,a combination of special qualities renders this painting of ,bhaiajyaguru's ,paradise one of the most impressive pictures in the ,collection and proves it to be from the hand of a master4 ,as ,mr4 ,binyon happily puts it1 we see in it #8delicate expressiveness of drawing combined with a glowing animation of varied colour4444 ,the artist has been able to control his complex material and multitude of forms into a wonderful harmony1 without any restlessness or confusion2 and we are taken into an atmosphere of strange peace which yet seems filled with buoyant motion and floating strains of music4' ,,plate ,,iii ,a ,,celestial ,,assemblage ,the observations just quoted apply with equal force to the large painting on silk 7,ch4 xxxvii4 #jjd71 of which ,plate ,,iii reproduces a little more than the left-hand half on the scale of about one-half4 ,the painting itself1 which though incomplete on all sides still measures close on six feet across by five feet in height1 represents but the upper portion of a much larger composition4 ,judging from what survives of the central figure in the lower broken part 7see ,serindia1 ,pl4 ,,lix71 the picture as a whole was meant for a #8,maala' of the thousand-armed ,avalokitevara1 the ,kuan-yin of ,chinese ,buddhism4 ,but the heavy band of rhomboidal ornament which1 as seen near the lower edge of the ,plate1 passes behind the halo of this large central figure clearly marks off the divine assemblage in the upper portion from the rest as a well-defined theme by itself4 ,the ,buddha presiding over this assemblage1 whose seated figure our ,plate shows in its upper right corner1 is taken by ,m4 ,petrucci for ,bhaiajyaguru1 and the similarity in pose and accessories to the central ,buddha of the previously discussed picture seems to support this identification4 ,unfortunately the inscription in ,chinese and ,tibetan which occupies the large yellow cartouche in the centre and might have afforded safe guidance has faded into illegibility4 ,on either side of this central ,buddha is seen a ,bodhisattva1 seated with one leg pendent and with the hand nearest to the ,buddha raised1 like the right of the latter himself1 in the vitarka-mudr1 the gesture of argument4 ,in pose1 dress1 and treatment of features these two seated ,bodhisattvas bear a distinctly ,indian air1 and this would well agree with the identification proposed for them by ,m4 ,petrucci1 who on the strength of inscriptional indications in a simplified ,maala of ,bhaiajyaguru is prepared to recognize ,samantabhadra in the ,bodhisattva to the left and his usual counterpart ,majur in the corresponding seated ,bodhisattva to the right4#a ,between the presiding ,buddha and the ,bodhisattva on either side are grouped three lesser ,bodhisattvas in adoring poses and two haloed monkish disciples4 ,the heads of the latter1 one young1 the other old and emaciated1 are drawn with much expressive skill4 ,the same is the case with the faces of most of the ,bodhisattvas1 though the great difficulties which the painting offers to photography do not allow the extreme delicacy of the drawing to be fully appreciated in the reproduction4 ,while the grouping and treatment of the divine personalities so far named follow well-established lines1 a striking feature1 met with again only once among our #8,maala' paintings1 is introduced by the two processions which descend1 carried on purple clouds1 from either side towards the centre of the picture4 ,on the left our ,plate shows us the ,bodhisattva ,samantabhadra seated on a lotus which a white elephant1 his recognized vhana1 carries1 as he advances accompanied by ,bodhisattvas and preceded by heavenly musicians to meet ,majur4 ,the latter ,bodhisattva appears in the corresponding right-hand portion of the picture seated on his lion and escorted by an exactly similar cortge4 ,apart from six figures of undetermined lesser ,bodhisattvas1 some of whom carry sacred vessels1 the cortge of either comprises four youthful musicians playing on clappers1 pipe1 flute1 and mouth-organ4 ,in front of them marches a dark-coloured boy1 undoubtedly meant for an ,indian1 carrying a bronze vessel1 while another strides by the side of the chief ,bodhisattva1 leading his mount4 ,the exaggerated dark colour of these ,indians is1 like the misdrawing of the elephant's head and limbs1 significant of the painter's want of familiarity with things ,indian4 ,in the background two of the ,lokaplas1 or ,guardian-kings of the ,four ,quarters1 attend the train of each divinity4 ,about the fluttering canopy which rises above the head of each float gracefully drawn ,gandharvs 7,apsaras74 ,from the side there sweeps down a bevy of tiny ,bodhisattva figures clustered within a wreath of purple cloud1 while above it a group of picturesque hills1 drawn with true ,chinese feeling for landscape1 fills the top corner4 ,throughout the picture the workmanship is that of a master1 and the serene dignity of the composition as a whole is very happily blended with tenderness of mood and harmonious subtlety of line and colour4 ,,plates ,,iv1 ,v ,,processions ,,of ,,ma,,ju,r ,,and ,,samantabhadra ,closely allied in subject and treatment to the last described picture1 though not quite equal to it in quality of execution1 are the two grand fragments 7,ch4 xxxvii4 #jjc1 #jje7 partially illustrated by ,plates ,,iv and ,v4 ,these two large pieces of silk with curved tops once belonged respectively to the right and left sides of one arch-shaped picture4 ,the centre portion1 which is likely to have contained a seated ,buddha1 is lost4 ,but some idea of the size of the whole may be formed from the fact that the surviving right side portion 7,ch4 xxxvii4 #jjc1 ,pl4 ,,iv7 in its broken state still measures six and a half feet in height with a width of about three and a half feet1 while the dimensions of the badly broken left side are even larger4 ,the shape of the picture suggests that it was originally intended to occupy the back of a vaulted chapel recess or of the aisle of an antechapel4 ,the right portion reproduced in ,plate ,,iv 7scale one-fourth of original7 shows us ,majur1 mounted on his white lion1 advancing towards the centre1 surrounded by a host of attendant ,bodhisattvas1 ,lokaplas1 demons1 and nymphs4 ,his mount is led by an ,indian attendant and preceded by a pair of musicians4 ,the whole procession is carried on a purple cloud4 ,the figure of ,majur is seated in the same attitude as that of ,samantabhadra in ,plate ,,iii1 with one leg pendent1 but with his right hand held out palm uppermost4 ,the features of his pale-complexioned face with its peaceful expression are very delicately rendered4 ,but the ,indian model from which they are derived is reflected still more clearly in the richly draped garments of the ,bodhisattva and the forms of his abundant jewelled ornaments4 ,they are plainly borrowed in all details from ,graeco-,buddhist art transplanted into ,central ,asia4 ,the elaborate halo of ,majur deserves mention for its harmonious colouring and flame border4 ,by the side of the attendant ,bodhisattvas1 all showing peaceful features1 we note ,lokaplas with their demon followers4 ,of the former ,virhaka1 ,guardian-king of the ,south1 is recognizable by his club4 ,the demons are characterized by grotesque features and colouring of deep red4 ,the attendant divinity seen walking in the lower right corner awaits identification4 ,he wears the dress of a ,chinese dignitary 7high-waisted flowery under-robe and wide-sleeved jacket71 while coiffure and nimbus are those of a ,bodhisattva4 ,he carries a fan and is attended by two nymphs2 of the one on the right only the head survives in the extant fragment4 ,the leader of the lion has a skin of chocolate-brown colour and coarse features1 suggesting a negro type4 ,of the figures of the musicians walking in front but little is preserved on the right side of the picture4 ,but the corresponding pair on the left side1 which ,plate ,v reproduces on a scale of approximately one-half of the original1 has suffered less damage and allows us to enjoy both the spirited design and the great delicacy of drawing in these figures4 ,they march with uplifted heads1 playing on whistle-pipe and mouth-organ4 ,in the face of the flute-player on the left delighted absorption in the music is admirably expressed1 while the curving lines of the body and the floating loose garments convey a sense of rhythmic motion in complete harmony with the subject4 ,equally expressive is the drawing in the face of the musician to the right1 with its look of intent concentration4 ,the larger scale of reproduction allows us to see here the method of shading used by the painter in the treatment of the flesh4 ,the delicate colouring of the faces is well set off by the stronger but harmoniously blended tints of the large globe-shaped tassel which appears between them1 hanging from the harness of ,samantabhadra's elephant4 ,in the same way the strong black of their hair and the dark brown of the ,mahout's figure1 partially seen on the left edge of ,plate ,v1 help to give strength to the colour scheme1 in which light greens and reds prevail4 ,,plate ,,vi ,,details ,,from ,a ,,painting ,,of ,a ,,buddhist ,,heaven ,here we see the left-hand bottom portion of a ,paradise picture reproduced on the scale of two-thirds1 but without the gay colours of the original 7,ch4 liv4 #jjd74 ,this represents a ,buddhist ,heaven presided over by a ,buddha whom ,m4 ,petrucci takes to be kyamuni4#b ,in certain characteristic features of the main theme1 as well as in the side scenes1 our painting agrees closely with the ,paradise picture 7,ch4 xxxviii4 #jjd71 of which ,plate ,,vii shows a complete reproduction4 ,to the latter1 therefore1 reference may be made as regards the general arrangement of the celestial scene with its central ,buddha flanked by two principal ,bodhisattvas1 c41 and that of the marginal scenes1 which in both paintings tell the story of ,kalyakara and ,ppakara1 as contained in texts of the ,chinese ,tripiaka4 ,the portion of the painting actually shown in our ,plate represents at the top the attendant host of ,bodhisattvas1 seated or kneeling by the side of the altar which occupies a central position on the terrace4 ,a projecting part of this terrace serves as platform for the performance of the celestial dancer and carries at either front corner the figure of a ,garua playing on a musical instrument1 apparently pipe and clappers4 ,the whole of the terrace is clearly shown as of wooden construction and as raised on sloping piles above the waters of the lotus lake4 ,an unusual feature is the grouping of the divine musicians on two separate terraces in the bottom corners4 ,they are six on each side and play on harp1 lute1 syrinx and ,chinese mouth-organ1 whistle-pipe1 and clappers4 ,behind the musicians are trees with pear-shaped leaves and groups of conventional pink and white flowers4 ,from the lake rise reborn souls in the shape of infants carried on open lotuses4 ,the face and gesture of the one seen on the left below the railing of the main terrace admirably express the awakening consciousness of the newly born soul4 ,throughout the picture the workmanship is highly finished1 and the delicacy of the drawing1 especially in the features of the ,bodhisattvas1 deserves notice4 ,the prevailing colours are1 as usual1 shades of crimson and dull green2 but these are enlivened by the white of the flesh of all divine figures and the orange1 pale blue1 and purple used on stoles and haloes4 ,the legendary scenes on the sides which ,m4 ,chavannes first identified from the cartouches1 here fortunately bearing ,chinese inscriptions1#c display throughout purely ,chinese style in the dress and attitudes of figures1 c4 ,the figure of the kneeling lady in the left bottom compartment is the portrait of a donatrix and may claim special interest4 ,her costume and coiffure agree closely with those of the donatrices in two paintings bearing exact dates of the second half of the ninth century ,a4,d41#d while they show a marked difference from the far more elaborate fashion displayed by the ladies who appear in our numerous dated pictures of the tenth century4 ,i have had occasion to call attention elsewhere to the very helpful indicia which changing fashions in the dress and coiffure of donatrices1 and to a lesser extent in those of donor figures also1 supply for the chronology of the ,ch#8ien-fo-tung pictures4#e ,,plate ,,vii ,,the ,,paradise ,,of ,,kyamuni ,this painting 7,ch4 xxxviii4 #jjd71 reproduced here on the scale of two-sevenths1 is practically complete and in a very fair state of preservation1 still retaining its border of yellowish-green silk4 ,as already mentioned in the description of the preceding ,plate1 it represents the ,paradise of a ,buddha in whom ,m4 ,petrucci recognizes kyamuni1 the historical ,buddha4#f ,the ordinance of the celestial assemblage is simple1 though showing some peculiar features4 ,the presiding ,buddha1 with legs interlocked and both hands in the vitarka-mudr1 occupies a lotus seat in the centre and faces the draped altar4 ,by him we see seated two principal ,bodhisattvas1 alike in appearance and dress but with hands in different poses4 ,according to ,m4 ,petrucci's view based on the inscriptions of a much-reduced presentation of the same ,paradise 7,ch4 xxxiii4 #jja71 we may identify the ,bodhisattva on the left with kagarbha and the one on the right with ,kitigarbha4 ,between them and the ,buddha is shown on each side a small shaven disciple1 of childlike appearance with hands in adoration4 ,above the heads of the ,buddha and ,bodhisattvas are seen canopies carried by pairs of trees and encircled by big flowers1 and behind them appears the pavilion with boldly upturned eaves which represents the celestial mansion1 the habitation of blessed souls4 ,in the air above and carried on clouds float the small figures of four ,buddhas amidst a sprinkling of orange flowers4 ,on the main terrace in front of the triad we see a dancer performing in spirited movement4 ,its rhythmic rapidity is happily conveyed by the graceful scroll-lines of the scarf she waves freely in her hands4 ,on either side four ,bodhisattvas occupy lotus seats with hands folded in adoration4 ,pairs of musicians sit in front of them1 playing on a reed-organ1 lute1 psaltery1 and clappers4 ,gangways lead down from the terrace to the lotus lake4 ,its bottom corners are occupied by ,garua figures1 half human half bird1 standing on rocks and displaying plumy semi-floral tails1 with hands folded in adoration4 ,most of the foreground is filled by a large isolated terrace carrying in the centre a subsidiary ,buddha1 an arrangement which is peculiar4 ,on his right is seated a small ,bodhisattva adoring1 while to his left the corresponding place is taken by a haloed disciple with shaven head and hands in the same pose4 ,he wears monkish robes with the addition of a necklace1 and thus presents the appearance peculiar in our paintings to ,kitigarbha1 as seen in ,plates ,,xxv1 ,,xxxix1 ,,xl4 ,this distinctly supports the view of ,m4 ,petrucci1 who takes the group below for a repetition of the principal triad and accordingly identifies the ,bodhisattva to the left with kagarbha and the ,buddha with kyamuni4 ,the appearance of the ,buddha is very unusual2 for the crimson robe lined with white1 which covers him closely to the neck1 shows the red disc of the ,sun painted on the left shoulder1 the white disc of the ,moon 7with the tree of immortality7 on the right shoulder1 and ,mount ,meru on the front of the body1 flanked by a man's figure on either side4#g ,the marginal scenes of the painting1 eleven in all1 are taken1 as mentioned above1 from the legend of ,kalyakara and ,ppakara4 ,their detailed interpretations were to have been furnished in the volume which ,m4 ,chavannes was preparing on a selection of our paintings for publication in the ,mmoires concernant l',asie orientale with the help of materials left behind by ,m4 ,petrucci4#h ,in the absence of such guidance it must suffice here to point out the purely ,chinese style of all details in these scenes1 including the curving hill ranges and pine-clad cliffs which serve to separate them4 ,a broad band resembling a tessellated pavement divides the main picture and side scenes from a panel below1 which shows the donors kneeling on either side of what was the space left for a dedicatory inscription completely effaced or1 perhaps1 never written4 ,on the right kneels a row of six men wearing loose belted coats of different colours1 while on the left we see in front a bald-headed aged figure which may be meant either for a monk or a nun2 behind it a lady alone1 and in the third rank three others of more youthful appearance4 ,behind these again are three boys with their hair done in round tufts above the temples4 ,here1 too1 the costumes are of interest as affording indications as to the approximate date of the painting4 ,among the men's we may note that1 whereas three wear black hats with wide side-flaps such as are found regularly on the heads of donors in our tenth-century pictures1 the other three wear the black lobed and tailed caps which are common in the side scenes and the banners representing legendary incidents of ,gautama ,buddha's life 7see ,pls4 ,,xii1 ,,xiii1 ,,xxxvii74 ,of the costumes in these representations ,i have1 as ,i believe1 shown that they go back to a period distinctly earlier than the bulk of our pictures from the #8,thousand ,buddhas'4#i ,the chronological observation regarding our painting 7,ch4 xxxviii4 #jjd7 is borne out still more clearly by the fashion which the donatrices display4 ,the elaborate head-dress worn by the ladies in all tenth-century pictures is conspicuously absent1 and the hair is done plain in a flat round topknot or in a large backward-waving crest just as in the donatrix figures of the picture dated ,a4,d4 #hfd and reproduced in ,plate ,,xvi4 ,good and refined as the drawing is1 especially in the faces and hands of ,bodhisattvas and donatrices1 we meet elsewhere with details which have not been highly finished4 ,as in other paintings of this class1 the prevailing colour is crimson on dull light green1 with orange on the ,bodhisattvas' robes and the tiles of the terrace1 turquoise blue on the altar-cloth1 c4 ,,plate ,,viii ,,amit,,bha',s ,,paradise ,the painting 7,ch4 lviii4 #jjaa71 which this ,plate reproduces on the scale of two-fifths1 is a good specimen of a fairly numerous group of pictures which represent ,amitbha's #8,western ,paradise'1 or ,sukhvat1 as it is named in ,sanskrit4 ,it has lost the side scenes and its extreme top and bottom1 but is otherwise well preserved4 ,though not as large as some representations of this1 the most popular of ,buddhist ,heavens1 nor quite as sumptuous in its pageantry1 our painting yet well illustrates all the typical features of the series4 ,the uniformity with which the general scheme is observed in these ,sukhvat pictures of our ,collection1 more than a dozen in all1 points to prolonged evolution before even the oldest of them was painted4 ,on the principal terrace we see the presiding ,buddha1 ,amitbha1 seated with his hand raised in the vitarha-mudr4 ,the ,bodhisattvas seated on both sides1 ,avalokitevara to the right and ,mahsthma to the left1 make up the triad typical of ,amitbha's ,paradise as determined by inscribed representations and familiar from an early period also to ,buddhism in ,japan4 ,between them and in front1 by the side of the altar1 appears seated a host of lesser ,bodhisattvas4 ,the altar carries vessels with offerings and is draped with a valance decorated with triangular tabs and streamers2 it is of interest as exactly corresponding to the large silk valances ,i recovered from the walled-up chapel4#aj ,in the background above1 partly screened by the elaborate canopies of the triad1 are seen the celestial mansions in the shape of pavilions and towers of purely ,chinese style4 ,a portion of the terrace projecting in front of the altar is occupied by a dancer and six musicians1 to whose strains she performs4 ,here1 too1 the dancer's rhythmic movement is emphasized by the sinuous lines of the stole which she waves in her hands and by bands fluttering upwards from her head-dress4 ,mouth-organ1 clappers1 psaltery1 flute1 and two differently shaped lutes are the musical instruments played on4 ,at the foot of the gangway descending to the water of the lotus lake is shown a figure suggesting a seated ,bodhisattva as seen from the back4 ,the lotus seat and the curling drapery of a stole are clearly recognizable4 ,the bent arms seem to support some offering1 perhaps like an ,indian #8,dl'1 as traces of red flowers and of leaves can be made out in the original4 ,lotus flowers and rocks appear rising above the water4 ,in the centre of the foreground is a black-tiled platform1 on which are assembled a ,garua1 peacock1 crane1 and some smaller bird resembling a duck but partly effaced4 ,on either side of this platform there rises from the water a terrace bearing a subsidiary representation of ,amitbha's triad4 ,the pose of the ,buddha is the same as in the main group above1 but both the ,bodhisattvas by his side are here shown with hands joined in adoration4 ,this repetition of the divine triad in the bottom corners is very frequent in the pictures of ,amitbha's ,paradise4 ,the representation of a newly born soul seated on a lotus and floating up the gangway which leads to each of these subsidiary groups is a pleasing addition to this conventional arrangement4 ,the workmanship of the painting is throughout careful and well finished4 ,from a background of dull green crimson1 orange-yellow and white stand out as the prevailing colours4 ,the last is largely used on the decorated haloes and #8,padmsanas'1 or lotus seats1 as well as for the flesh of all attendant figures4 ,the absence of black and blue is marked in the general colour scheme4 ,,plate ,,ix ,,legendary ,,scenes ,,from ,a ,,painting ,,of ,,maitreya',s ,,paradise ,the scenes reproduced here1 on half the scale of the original1 are taken from the top and bottom portions of a large and well-preserved silk painting 7,ch4 lviii4 #jja7 of ,maitreya's ,paradise4 ,for a reproduction of the whole picture and for its special points of iconographic interest1 as the only representation in our ,collection of that famous ,tuita ,heaven in which the future ,buddha of the present world period is supposed to reside1 a reference to ,serindia must suffice here4#aa ,the ,chinese inscriptions which render the attribution of this ,paradise to ,maitreya certain 7even though the ,bodhisattva appears in it as a ,buddha1 a status which he is yet to attain7 are taken from the text of the ,maitreya-vykaraa-stra and accompany legendary scenes shown in the top corners and along the bottom of the painting4 ,these scenes1 as seen in our ,plate1 are not formally separated from the ,paradise proper1 but merge into it at the bottom and are above only divided from it by a range of pine-clad mountains4 ,the inscriptions and the legendary scenes to which they refer were to have been interpreted in ,,mm4 ,petrucci and ,chavannes' separate volume in the ,mmoires concernant l',asie orientale4#ab ,the materials prepared for it by those lamented collaborators are not at present accessible to me1 and in the absence of textual guidance the descriptive notes on the scenes must here be brief4 ,in the scene above on the right we see three men in ,chinese magisterial costume seated along a table on a terrace1 while before them two men stand right and left of a large disc1 provided with a tripod 787 and suggesting a metal mirror into which a third smaller figure appears to gaze4 ,to the left1 between two inscribed cartouches1 are shown three men seated behind a table1 the centre one being on a lotus seat4 ,their head-dress is the same black hat with broad flaps sticking out sideways which is worn by the three seated figures to the right and which1 as stated above1 is always found in the representations of donors on our tenth-century paintings4#ac ,still further to the left is depicted a husbandman in lobed and tailed cap1 driving a plough before which are harnessed a dark bull or cow and a smaller whitish animal of the bovine species1 apparently reluctant to move on4 ,in the left corner scene we see a personage in official dress seated on a small platform or throne before the gate of what seems to represent a walled palace4 ,to the left of him a demon-like figure is shown striding1 while on the right he is being approached by a group comprising a ,buddha and two smaller figures of monkish disciples4 ,a little to the right of this group stands a layman in adoring pose2 above the whole there appears a dragon-like monster descending on a cloud4 ,in the background to the right within the arched opening of a reed hut is seen a pair1 apparently man and wife1 seated on a low platform before which stands erect a lady wearing the wide-sleeved dress and the elaborate coiffure familiar from the donatrices of our tenth-century pictures4#ad ,if the significance and interrelation of the top scenes at present escapes us we have less difficulty about the general interpretation of those at the bottom of the picture4 ,on the right and left the scenes placed below the flanking terraces of the ,paradise manifestly show conversions to the ,buddhist ,law4 ,on the right is seen a personage elaborately dressed and obviously of high rank1 who is seated upright on a square platform1 with feet on a footstool1 undergoing tonsure by a monk4 ,four men in secular costume1 holding rolls of paper in their hands1 stand behind him4 ,three others attend in front1 one of them holding a wide dish to receive the cut hair and a second carrying a vase4 ,in the background stands a groom holding three elaborately caparisoned horses4 ,their figures are well drawn with elegant small heads1 broad shapely breasts1 and slim legs4 ,two are white and one red4 ,their type closely recalls the present ,badakhsh breed of ,western ,turkestn1 a favourite region for ,china's horse imports since early times2 it is exactly represented also among the numerous clay figures of horses which in #aiae ,i excavated in plenty from ,turfn graves of the ,t#8ang period4 ,the saddles1 high-pommeled at back and front1 and covered with long saddle-cloths1 are met with there also4 ,for the ornamentation of headstall1 breast-band1 and crupper1 reference to a painted panel from ,dandn-oilik showing a horseman and also of the ,t#8ang period is instructive4#ae ,the scene on the left forms an exact pendant to the one just described4 ,here a lady similarly placed and attired is having her head shaved by a monk4 ,among the attendants behind her two ladies have their hair done in topknots with two high loops1 whereas two others1 evidently girls1 wear it in a bunch on either side of the head with a short lock hanging from each4 ,behind appear bearers of the hexagonal palanquin with pagoda roof1 of which a small portion is included in the reproduction4 ,the central scene shows the adorning of a ,stpa or ,buddhist relic tower and presents points of distinct antiquarian interest4 ,its shape is cylindrical1 with a low flat dome and a square base below4 ,a three-tiered umbrella1 hung with streamers and metal ornaments1 surmounts it4 ,below workmen are seen engaged in arranging the draperies4 ,two long tables are laden with flasks1 bowls1 and other offerings1 while bundles of manuscript rolls are placed at either side2 they are all likely to represent votive gifts made at the time of consecration4 ,,plate ,x ,,amit,,bha ,,with ,,attendants ,the painting 7,ch4 liii4 #jja7 which this ,plate successfully reproduces in colours1 on the scale of three-eighths of the original1 is a good representative of the small but interesting class of what may be designated as simplified ,paradise pictures4 ,we see in it ,amitbha enthroned on a lotus between ,avalokitevara and ,mahsthma1 with two lesser ,bodhisattvas in front and a row of well-individualized disciples behind4 ,no lake is represented2 but a comparison with the painting represented in the next ,plate1 ,,xi1 with which ours shares a number of marked peculiarities in composition1 style1 colour1 and treatment1 suffices to show that a representation of ,amitbha's ,heaven is intended4 ,amitbha is seated with legs interlocked and his right hand raised in the usual vitarka-mudr4 ,his flesh is yellow shaded with red which has changed to a curious iridescent mauve2 his hair a bright blue4 ,his mantle1 vivid crimson1 is wrapped round both shoulders1 its drapery reproducing all details of the arrangement which ,graeco-,buddhist sculpture had borrowed from ,hellenistic art and handed over to be stereotyped with hieratic convention in the ,buddha figures of ,central ,asia and the ,far ,east4 ,the lotus1 his seat1 is raised on a high stepped pedestal and has its pink petals covered all over with beautiful floral scrolls in white1 blue1 and black4 ,similar rich scroll-work adorns the base of the pedestal and reappears on the canopy which hangs above the ,buddha's head1 raised on two trees4 ,their stems are treated like jewelled poles1 and their large star-shaped leaves are arranged in whorls enclosing conical clusters of red fruit4 ,an ,apsaras sweeps down on either side1 scattering flowers2 her floating garments and the gracefully curling clouds which support her express rapidity of movement4 ,avalokitevara and ,mahsthma occupy well-designed1 if less ornate1 lotus seats1 the former raising a flaming jewel in his left hand and the latter an alms-bowl4 ,among the multicoloured jewellery with which they are bedecked1 the ,dhyni-buddha set in front of the tiara may be mentioned4 ,below them are seated two lesser ,bodhisattvas1 in similarly rich dress and adornment1 the one1 in profile1 holding a red lotus1 the other1 in three-quarters profile1 a flask4 ,their foreshortened elliptical haloes in green and the transparent light blue stoles deserve notice4 ,a particularly interesting element is introduced into the celestial company by the six disciples ranged behind the triad1 three a side in ascending tier4 ,they all have the shaven heads of monks and plump solid features2 but their alert faces are well individualized and the expression markedly varies1 from the jovial smile of the second figure on the right to the serious and even severe look of the last on the left4 ,it is specially regrettable here that1 as in so many of our paintings1 the cartouches above the different divine figures have not been filled in4 ,the red lotus bud carried by the last disciple on the left and the priest's staff in the hand of the corresponding figure on the right do not help to identify them1 nor do the crossbars on their mantles4 ,the haloes of all these figures1 including those of the triad1 are only outlined in narrow rings of red and white1 the interior being shown as practically transparent--not a usual treatment4 ,below ,amitbha's lotus seat1 and partly covering the front of its pedestal1 is the panel for the dedicatory inscription1 in the form of a stone slab with a low arched top1 carried on the back of a tortoise4 ,unfortunately the dedication was never inscribed1 and we are thus left without means for exactly dating this interesting picture4 ,but very valuable help in this direction is afforded by what remains of the figures of the donors in the bottom corners4 ,that of the man on the right is lost1 except for the top of his cap4 ,but that of the wife kneeling on the left is complete and a figure of great charm4 ,it is manifestly a portrait1 painted with considerable skill1 and was deservedly chosen by ,m4 ,petrucci for full-size reproduction in the ,vignette of the present publication4 ,the lady kneels on a mat1 her hands holding a long-stemmed red flower4 ,the pose and face admirably express pious devotion4 ,the delicate treatment of the features distinctly recalls that of female heads in a silk painting1 unfortunately very fragmentary1 which ,i recovered in #aiae from a seventh-century ,chinese tomb at ,turfn4 ,the lady's costume1 with its pleated skirt high under the arms1 small bodice with long narrow sleeves1 and little crossover shawl1 as well as her hair plainly done in a small knot on the neck1 represent a fashion distinctly older than that to be seen in the donatrices' figures of our earliest dated picture 7see ,pl4 ,,xvi7 of ,a4,d4 #hfd4 ,we find the same indications of an early date in the dresses and coiffures worn by the donors and donatrices in the silk painting ,ch4 xlvii4 #jja 7,pl4 ,,xi71 which shares many peculiarities of our picture1 and also in the undoubtedly ancient embroidery picture shown in ,plates ,,xxxiv1 ,,xxxv4#af ,this chronological observation lends special interest to a notable point of technique1 the use of #8high lights' to bring out the modelling of the flesh1 in addition to ordinary colour shading4 ,this is very conspicuous in the faces of the monkish disciples1 and equally striking also in most of the figures in ,plate ,,xi1 but it cannot be traced elsewhere among our ,ch#8ien-fo-tung paintings4 ,the western origin of this system of modelling has been duly emphasized by ,mr4 ,binyon4#ag ,,plate ,,xi ,a ,,paradise ,,of ,,amit,,bha ,in this large and on the whole fairly preserved silk painting 7,ch4 xlvii4 #jja71 reproduced on the scale of one-fourth1 we have a ,sukhvat scheme fully developed on lines which1 while closely resembling those of the picture last discussed1 differ from those of the usual ,buddhist ,paradise type4 ,it shows us ,amitbha and his two chief ,bodhisattvas seated on lotus thrones rising from the ,sukhvat lake1 and on the terrace forming the foreground various celestial beings characteristic of ,paradise scenes4 ,amitbha1 closely draped1 raises his right hand in the vitarka-mudr1 while his left1 mostly destroyed1 is held against the breast4 ,his flesh is yellow1 as usual1 his hair grey with outlines and close curls indicated in black as if copied from statuary4 ,on either side of him is an elaborately decorated pillar with a flaming jewel at the top4 ,two trees with leaves as already described in ,plate ,x rise behind him and support a canopy ornamented with rich floral scrolls4 ,two ,apsaras sweep down on either side of it1 just as seen in ,plate ,x and the embroidery picture1 ,plate ,,xxxiv4 ,similar trees carrying many-tiered canopies rise over ,avalokitevara seated on the left and ,mahsthma on the right4 ,two attendant ,bodhisattvas1 in equally rich attire as theirs1 stand by their sides with hands in varying poses4 ,the flower-spotted materials of the ,bodhisattvas' robes and the graceful figure of the attendant to ,avalokitevara's right may be noted4 ,at the back of the triad a wall of many-coloured marble blocks bounds the lake4 ,in the air above descend ,buddhas seated on clouds2 cleverly drawn figures of naked infants1 representing reborn souls1 float with outspread stoles1 while beribboned musical instruments symbolize harmonies pervading space4 ,on the lake swim ducks1 emblems of happiness1 and oval lotus buds rise enveloping infant souls4 ,inscriptions beside the lotuses describe the rank taken by the soul in its new life4 ,there is no altar before the ,buddha1 as in other ,paradise scenes1 no dancer or musicians1 no celestial mansions4 ,but a sacred vessel is borne on a lotus from the water before ,amitbha and small ,bodhisattvas kneel on either side4 ,in front of them again1 on a wooden platform1 are grouped a two-headed ,garua1 a phoenix1 duck1 crane1 and peacock4 ,on the terrace which fills the whole foreground are seated ,bodhisattvas four a side and well spaced4 ,by the rail in front are two half-naked infants1 no doubt newly born souls1 one advancing slowly1 the other dancing or running4 ,both hold flowers or berries and have1 like the infants in the sky1 their heads shaved except for a two-lobed tuft of hair over the forehead and one over each ear4#ah ,between them and the ,bodhisattvas are shown large flaming jewels on lotuses4 ,in the middle by the side of a slab1 arched at the top and intended for a dedicatory inscription but left blank1 are shown the small figures of the donors4 ,on the right kneel two men with long belted coats and small lobed and tailed caps4 ,their attire bears close resemblance to the quasi-archaic dress in the ,jtaka scenes as presented by our banners1 and also to that in certain relievos of the early ,buddhist cave shrines of ,yn-kang and ,lung-mn4#ai ,the costume and coiffure of the lady kneeling on the left agree exactly with those of the donatrix seen in the preceding ,plate and the ,vignette4 ,as regards the chronological evidence which these details of attire afford1 ,i may refer to my remarks on that ,plate4#bj ,with the picture reproduced in ,plate ,x our painting shares also a number of other characteristic peculiarities1 such as the use of #8high lights' for the modelling of the flesh2 the unobtrusiveness of the haloes1 which are transparent and often shown only in outlines2 the flower patterns spotting the materials of the robes1 c4 ,on the other hand1 striking differences of composition1 such as the total absence of the celestial mansions in the background and the ample spacing of the figures1 make it clear that we have here preserved a specimen of a ,sukhvat scheme developed independently of the orthodox type which prevails among our ,ch#8ien-fo-tung paintings1 whether on silk or mural1 and which has become stereotyped in ,japan4 ,there is a general absence of vivid colours in our picture4 ,dull green1 with grey and black for the tiled terrace in front1 prevails in the background1 and dull green1 light pink or red1 and greenish grey in the colouring of figures and accessories4 ,this quiet and coolness of colouring and a certain emptiness of the background give an effect of air and space which such crowded compositions as the ,paradise seen in ,plates ,i1 ,,ii lack4 ,the drawing is free and rapid but rather rough in detail4 ,,plate ,,xii ,,scenes ,,from ,,gautama ,,buddha',s ,,life ,this and the following ,plate1 together with ,plate ,,xxxvii1 illustrate a group of paintings well represented among the silk banners of the ,collection and of special iconographic and artistic interest4 ,painted like the rest of the silk banners on both sides of a fine gauze-like fabric1 they show scenes taken from the legendary life of ,gautama ,buddha or closely connected with it4 ,the usual length of the banners 7exclusive of the triangular top and other accessories7 does not appear to have much exceeded twenty-five inches1 and their width1 as seen from the specimens which ,plate ,,xii reproduces full size1 is restricted4 ,as a necessary result of the narrow shape of the banners1 we find the succession of scenes always arranged one above the other and in the completely preserved ones limited to four4#ba ,this group of paintings is as well defined in style as it is in range of subjects and external arrangement4 ,everything in the scenes connected with the physical types of the actors1 their costumes and movements1 as well as the setting1 whether architecture or landscape1 appears here #8translated bodily into ,chinese'1 to use ,mr4 ,binyon's graphic phrase4 ,the traditional subjects of the historical ,buddha's life-story have in fact1 as ,m4 ,foucher has with equal pregnancy put it1 #8undergone the same disguising transformation which ,christian legend has under the hands of the ,italian or ,flemish painters'4#bb ,it contrasts strikingly with this1 that the figures of ,buddhas and ,bodhisattvas1 in our banners and large paintings alike1 show close conformity in physical appearance and dress to the hieratic types derived from the ,graeco-,buddhist art of ,gandhra4 ,for possible explanations of the very interesting problem thus raised reference to ,mr4 ,binyon's #8,introductory ,essay' will suffice here4 ,notwithstanding their frankly ,chinese style1 the banners with scenes from ,gautama ,buddha's ,life show considerable diversity of composition and treatment4 ,we note these variations all the more easily because the banners range themselves into small groups1 one alone not affording sufficient room for a representation of even the most important incidents of the ,life4 ,two banners of such a group1 each with only two scenes preserved out of the four which the original1 no doubt1 once comprised1 are shown in ,plate ,,xii on the left and right4 ,both banners have the same decorated borders along the sides and between the several scenes1 and both have cartouches1 here fortunately filled with ,chinese inscriptions naming the subjects represented4 ,the banner on the left 7,ch4 lv4 #jjaf7 shows us two of the famous #8,four ,encounters' which bring before ,prince ,gautama's eyes the three evils of earthly life--old age1 illness1 and death1 and the means to escape them by renunciation4 ,we find them all represented already in the fifth-century relievos of ,yn-kang1 while strangely enough they have not yet been found among the ,gandhra sculptures4#bc ,above we see the prince riding out of the green-tiled gateway of the battlemented courtyard wall of his father's palace4 ,over it is shown a pavilion with red timber framework and greenish-blue roof4 ,the red-maned well-drawn horse represents the ,kahaka of the legend4 ,a courtier in flowing robes with a high black cap attends him on foot4 ,before him under a tree is shown the bent figure of the old man leaning upon a stick and wearing on his head a black hood4 ,another man1 who stands by his side and evidently supports him1 has the black lobed and tailed cap to which reference has been made above as the head-dress worn by the donors of our oldest ,tun-huang paintings4 ,it is that of all common personages in our ,jtaka scenes4 ,the high conical head-dress of the courtier is found also in the above-quoted relievo panels of ,yn-kang4#bd ,prince ,gautama himself in the scenes of both our banners here wears a head-ornament resembling a white lotus4 ,in the scene below we see the prince riding with bent head from the same palace gateway4 ,here it is shown on the right1 and its interior timber frame clearly displayed4 ,the courtier by his side1 attired as above1 approaches with compassionate expression the group on the left4 ,here under a tree is seen sitting upon the ground the sick man1 supported by a friend in a red dress1 while another in green offers him drink in a bowl4 ,the emaciation of his body and of his arms spread upon his knees is shown with realistic skill4 ,in the companion banner on the right 7,ch4 xlix4 #jjf7 the lower scene1 composed in exactly the same style1 represents ,prince ,gautama as a child discoursing on his anterior lives to civil and military officers1 as the accompanying inscription tells us4 ,the future ,buddha sits on a verandah of the palace1 holding out his arms evidently in the act of reciting his ,jtaka tales4 ,in front of him kneels a man1 in black cap and orange belted coat1 holding a manuscript roll4 ,on the ground below stands a bearded personage wearing the dress of a civilian dignitary2 he also carries a roll in his hands1 which are covered by the wide sleeves of his robe4 ,two persons stand behind the prince outside the verandah4 ,one in the dress of an attendant carries in his arms a round receptacle filled with small objects no longer recognizable4 ,the other1 wearing a tall round black cap1 a brown mantle1 and white under-robe1 grasps with his right hand what from the gesture seems to be the hilt of a sword1 and may hence be taken as representing the military element in the royal entourage4 ,the seated figure of ,buddha seen in the upper panel illustrates what has been said above about the close adherence to the models derived from ,gandhra art in the delineation of divine figures which stand outside ,gautama's life-story before his attainment of ,buddhahood4 ,this representation of the ,buddha in our banner reflects ,indian hieratic tradition in every detail4 ,he is shown seated on a large scarlet lotus1 with the left hand raised in the attitude of #8protection' 7abhaya-mudr74#be ,a crimson under-robe1 with light blue lining1 covers legs and right shoulder1 while a brown mantle lined with light green is thrown over the bare left4 ,the finely drawn face1 with arched black brows and level eyes1 shows no trace of ,chinese influence4 ,throughout the drawing is firm and clear in the smallest details and the workmanship very delicate4 ,the banner reproduced in the middle 7,ch4 #jjga7 has survived only in badly broken fragments1 but even thus claims attention for several qualities4 ,though of the topmost scene little else remains but the figure of the seated ,prince ,gautama1 it can1 on the strength of other closely corresponding scenes1 be safely recognized as representing the farewell in the forest from his horse ,kahaka and its groom ,chandaka1#bf after the prince's flight from his father's palace4 ,lower down we are shown in an excellently composed scene the pursuit of the mounted messengers sent by his father uddhodana to search after him in the forest4 ,the group of five horsemen with heads turned towards each other as if baffled as to the track to follow are plunging behind a forested hill to the left4 ,the drawing of men and horses is very spirited and the movement of both vividly expressed4 ,in the bottom scene we may recognize with some probability a representation of the ,first ,sermon in the ,deer ,park of ,benares4 kyamuni1 in ,buddha robes1 with halo and vesica and gilded flesh1 is seated on a lotus upon a chased throne4 ,over him hangs a draped canopy supported by a pair of red-flowering star-leaved trees just as ,paradise pictures show them4 ,of three monks standing behind the throne the shaven heads are visible4 ,in front kneel the audience--three men with high topknots and gay party-coloured jackets and long under-robes4 ,with their faces raised towards the ,enlightened ,one they seem to listen intently to his teaching4 ,throughout the colouring is ornate and carefully applied in illuminating style4 ,,plate ,,xiii ,,scenes ,,from ,,the ,,buddha ,,legend ,the banner reproduced on the right 7,ch4 xx4 #jjh7 on a scale almost full size belongs to a well-defined series of banners1 all of the same style and workmanship1 illustrating scenes from the story of ,gautama ,buddha4#bg ,the scenes are all simple in design and divided from each other by low hill ranges4 ,their number in our banner is only three1 as shown also by the three cartouches1 all left blank4 ,the top scene shows ,king uddhodana seated on the verandah of his palace and giving instructions to the mounted messenger to be dispatched in search of ,prince ,gautama after his flight from the palace4 ,the figure1 short and squat1 of the messenger is characteristic of the whole series2 that of the horse1 compact and heavy in build1 suggests a type like that of the present ,mongol pony4 ,in the next scene we see the messenger engaged on his quest1 carrying a red pennon and galloping to the left4 ,the rapid movement of the horse1 here bay with red spots and white mane and tail1 is effectively rendered4 ,the scene below represents the messenger returning and reporting to the king the futility of his search4 uddhodana is seen as before seated on the palace verandah while two musicians outside beguile him with flute and pipe4 ,further down in the foreground are shown an enclosure1 containing a lotus tank and a bamboo tree1 and outside its entrance a small hexagonal structure with an oblong yellow object within4 ,higher up kneels a white-coated man playing on clappers4 ,the significance of the objects in the foreground is not clear4 ,the drawing1 though rough1 shows vigour1 and the general effect is bold and in the more active scenes full of character4 ,on the left of this banner is reproduced1 on half-scale1 what remains of the left-hand portion of an interesting but unfortunately much-damaged large painting on silk 7,ch4 #jjei74 ,the colour of the original is remarkably strong and the subject unusual4 ,it represented1 when complete1 the figure of kyamuni standing erect in the grotto of the ,vulture ,peak 7,gdhraka71 famous in the story of the ,buddha1 and by his side ,jtaka scenes of a type not met with elsewhere among our paintings and so far unidentified4 ,though only the right shoulder and arm of the ,buddha figure survive1 there can be no doubt about its iconographic character4 ,the rocks1 dark blue and brown1 which appear piled behind and above1 with the vulture perched on the top1 would render this quite certain4 ,the identification is fully confirmed by the pose of the ,buddha4 ,the arm hanging stiffly downwards at full length and slightly away from the body1 with fingers also stretched straight down1 is seen again in the central ,buddha of the great embroidery picture of ,plate ,,xxxiv and in the figure undoubtedly representing kyamuni on ,gdhraka1 which the painting shown in ,plate ,,xiv reproduces among other ,indian statues of ,buddha4 ,the representation in the embroidery picture is recalled also by the deep yellow colour of the flesh in our painting as well as by the shape and certain details in the canopy4 ,the elongated vesica1 cobalt blue in its border1 and the light green and vermilion nimbus are both edged with flames and cloud scrolls in vermilion and dark blue4 ,more true to nature than the vulture on the top is the flight of wild geese and ducks shown above4 ,a disciple with shaven head1 probably riputra1 stands by the side of kyamuni and turns towards him4 ,he shows an unconventional type of features drawn with much vigour4 ,the head is long and high at the back1 with well-defined #8corners' there and over the forehead4 ,the large nose1 bushy eyebrows1 and long pointed chin give a strongly marked character to the head4 ,it is set off by a circular halo of brilliant vermilion4 ,the costume1 too1 is peculiar2 it consists of an under-robe of vermilion and light green1 black shoes upturned at the toes1 and a large mantle of mottled dark green1 blue1 and red1 which covers both shoulders and arms4 ,the legendary scenes which appear on the side of the painting are preserved in a very fragmentary condition and still await interpretation4 ,but that they are connected with a statue representing kyamuni on the ,vulture ,peak seems clear4 ,in the background of the top scene there appears a statue of a ,buddha in the same pose as the central figure1 with the right arm stretched down stiffly4 ,to the left1 in front of a building 7temple871 stands a shaven priest1 pointing out the statue with his raised arm to passers-by below4 ,in the foreground is seen a man in brown coat and top boots riding a mule with its legs hidden behind hilly ground4 ,behind him a white elephant1 with a load of yellow objects1 but rider or driver no longer visible1 proceeds in the same direction to the left4 ,on that side appear the roughly drawn figures of two men with black beards and shocks of black hair4 ,the next scene below is even more puzzling4 ,in the middle are seen a pair of colossal hands rising from the ground and enclosing a human head in red4 ,to the right four conical objects1 suggesting tents and striped horizontally1 form a row2 a large vermilion pennon is shown above one of them4 ,behind them a man on a dark grey horse is seen riding rapidly4 ,his right arm is raised as if to strike1 and two mounted attendants follow him4 ,the foreground to the left shows on a green slope a row of unexplained leaf-shaped objects1 and above this two semi-naked figures incomplete4 ,very curious is the bottom scene4 ,the ,god of ,thunder appears above on a cloud within a ring of drums which he beats in violent movement4 ,in the centre1 before a background of rocks1 is shown a large ,buddha statue within a scaffolding of vermilion poles4 ,that the statue represents kyamuni on ,gdhraka is made certain by the downstretched right arm and also by the characteristic pose of the left hand1 which gathers up the drapery in an #8ear' at the breast1 just as the figure in ,plates ,,xiv and ,,xxxiv shows it4 ,on either side of the scaffolding is perched a man1 busy with his hands at the statue's head and steadying himself with one foot at its shoulder4 ,at the back of a building on the left a man seems to give instructions to the workers1 while at the foot of the statue there squats a small figure with arms and legs outspread like the ,thunder-god's4 ,the latter's figure in fury is shown again by a small detached fragment below4 ,for a conjectural explanation of the scaffolding1 which might be connected with some miraculous translation of a sacred statue1 reference to ,serindia must suffice here4#bh ,but whatever the legend represented in our side scenes may prove to be1 we cannot fail to note the striking contrast between the stiff hieratic image and the life and vigour in the rest of the picture4 ,,plate ,,xiv ,,images ,,of ,,buddhas ,,and ,,bodhisattvas ,the large but unfortunately poorly preserved silk painting 7,ch4 xxii4 #jjbc71 of which this ,plate reproduces remains of the left-side portion1 on the scale of one-third1 presents exceptional iconographic interest4 ,it shows numerous ,buddha and ,bodhisattva images arranged in separate compartments and drawn in an ,indian style which is unmistakably derived from the ,graeco-,buddhist art of ,gandhra4 ,as first recognized by ,m4 ,petrucci from the few ,chinese inscriptions still legible in the cartouches1#bi the figures were intended to reproduce sculptured images worshipped at various sacred sites of ,india4 ,eleven of them appear in the portion of the painting as shown by the ,plate1 and seven more are traceable partly above this portion or in detached fragments4#cj ,in the case of six the characteristic poses or attributes enable us at present to identify with certainty the particular divinity which the original images were intended to represent4 ,for others definite clues have yet to be searched for4 ,the figure in the top corner on the left reproduces an image of ,gautama ,bodhisattva1 seated in the famous scene of ,mra's attack immediately preceding the ,illumination4 ,this is shown by the characteristic pose of the hand touching the rocky seat bhmispara-mudr and by the triple monster head forming a crown over the ,bodhisattva's head and symbolizing the demon army of ,mra4 ,it was in that pose that the miraculous image at the sacred site of ,bdh-,gay1 described at length by the great ,chinese pilgrim ,hsan-tsang and still traceable in numberless replicas1 presented kyamuni at the moment of ,enlightenment4 ,the identification of our figure with this far-famed image is confirmed by the ,chinese inscription placed against it which describes it as a statue in the kingdom of ,magadha4 ,in the figure now seen in the top right-hand corner we meet again with a ,bodhisattva seated in the bhmispara-mudr4 ,his robe is like that of a ,buddha and red4 ,two white crescents are shown within the nimbus1 which1 like the vesica1 is flame-edged4 ,here1 too1 a fortunate chance has preserved the accompanying inscription from effacement4 ,according to ,m4 ,petrucci it mentions as the original a silver image preserved in the kingdom of ,kapia1 which corresponds to the region of the present ,kbul4#ca ,iconographic indications define four more of the images represented4 ,the figure in the middle of the topmost row shows the statue of a ,buddha standing with the right hand raised in the pose of #8,protection' and surrounded by an elliptical vesica which is filled with rows of small ,buddhas standing in the same pose and visible from the breast upwards4 ,the whole agrees in all details1 down to the folds of the drapery1 with two colossal stucco relievo statues excavated by me in #aija on the southern corner walls of the great ,rawak ,vihra of ,khotan4#cb ,of these and similar representations on a much smaller scale in ,gandhra relievos ,m4 ,foucher has proved that they are meant to exhibit kyamuni in the act of performing the ,great ,miracle of rvast4#cc ,in another standing figure1 the one on the right of the middle row1 the introduction of a pair of gazelles or deer into the ogee top of the vesica proves that an image representing kyamuni in the ,deer ,park of ,benares1 the scene of the ,first ,sermon1 is intended4 ,the richly adorned standing figure of a ,bodhisattva in the bottom row1 holding the characteristic emblems of the lotus and flask1 is certainly an ,avalokitevara1 and the presence by his side of various small attendant figures may yet help to the exact identification of the image intended4 ,special iconographic interest attaches to the standing ,buddha figure in the right-hand bottom corner of the ,plate4 ,its hieratic pose of peculiar stiffness1 the treatment of the drapery and what remains of the background of speckled rocks1 leave no doubt as to the identity of the figure with the image of kyamuni on the ,vulture ,peak1 which is represented in striking similarity also by the fine painting of ,plate ,,xiii previously discussed and by the embroidery picture of ,plate ,,xxxiv4 ,the vulture shown in the former makes it quite certain that the background of all three paintings represents the famous rocky hill near ,rjagha or ,rjgir in ,bihr1 where ancient tradition localized various episodes of kyamuni's later life4 ,there is no inscription to tell us where the ,indian image which all three representations were intended to reproduce was assumed to be4 ,but the absolute identity of the pose1 and the extraordinarily close resemblance of all details in the treatment of drapery1 hair1 dress1 c41 prove all three to be replicas from the same model4 ,that this was a sculpture in the ,graeco-,buddhist style is obvious at a glance4 ,the rigid adherence in details to a common original model which is proved in this particular case supports confidence in the general fidelity with which the other figures1 too1 in our painting may be assumed to reproduce the original images represented4 ,a close parallel is furnished by the miniatures in certain ,nepalese manuscripts of the eleventh century which illustrate various sacred images and shrines of ,buddhist ,india4 ,m4 ,foucher has conclusively proved that their painters1 in all that concerns essential points1 have always been at pains to reproduce faithfully the stereotyped models furnished by long-continued traditional imagery4#cd ,in what form our painter had received the types he thus conventionally reproduced is uncertain4 ,but the clearly preserved ,graeco-,buddhist style shows that they were indirectly derived from ,gandhra1 and early transmission through ,central ,asia is obviously most probable4 ,the question may be hazarded whether the votive object aimed at in the painting and its assumed prototype was not that of securing the religious merit which might have attached to an actual pilgrimage to those distant sacred sites4 ,the drawing in mere outlines with little or scarcely any colour1 similar to the technique of certain ,khotanese mural paintings1 and the perished state of whole portions of the silk seem to point to the painting being of early date4 ,,plate ,,xv ,,two ,,forms ,,of ,,avalokite,,vara ,the predominant share which the ,bodhisattvas claim in popular ,buddhist worship as developed under ,mahyna influences is illustrated by the fact that about one-half of our ,ch#8ien-fo-tung paintings are devoted to their representation1 whether singly or along with attendant divinities4 ,however large may be in devout speculation the number of different ,bodhisattvas1 popular imagination had already in the ,north-,indian home of the ,mahyna system been concentrated upon a small select group of ,bodhisattvas4 ,among them ,avalokitevara1 the ,bodhisattva of ,mercy1 occupies the foremost place1 and the frequency of his representations among our ,tun-huang paintings is just as marked as the popularity of his female manifestation1 known to the ,chinese as ,kuan-yin1 to the ,japanese as ,kwannon1 the ,goddess of ,pity1 is in modern ,buddhist worship throughout the ,far ,east4 ,the large and fairly well-preserved painting 7,ch4 xxxviii4 #jje71 reproduced on the scale of one-third in ,plate ,,xv1 presents two almost life-size figures of ,avalokitevara standing erect and facing each other4 ,their outer hands are raised in the vitarka-mudr1 while the ,bodhisattva on the left carries in the other hand a yellow flower1 and the one on the right a flask and a willow sprig4 ,these are well-known attributes of ,avalokitevara4#ce ,which of his many particular forms are intended may be determined from the inscribed cartouche above1 of which no translation is as yet available4 ,the figures1 drawn with much care and painted in a wealth of harmonious colours1 reflect a certain grandeur of design which breaks through the hieratic conventions of pose and externals4 ,except for the oblique eyes these conventions are all unmistakably ,indian in type and origin4 ,but equally clear is the change1 here seen in highly perfected technique1 which their treatment has undergone by the eyes and hands of ,chinese painters4 ,we notice their distinctive touch quite as much in the grace and dignity of the features as in the mastery of sweeping line with which the rich robes of the ,bodhisattvas are treated4 ,the features are finely drawn and delicately shaded with pink2 the ears are elongated and show hieratic convention in a particularly striking fashion4 ,the fine drawing of the shapely hands curiously contrasts with the clumsy foreshortening of the feet4 ,dress1 coiffure1 and jewellery are of the elaborate style1 often displayed by our ,bodhisattva banners2#cf but the ornamentation1 though carefully treated in detail1 is not overdone4 ,on the front of the tiaras is shown ,avalokitevara's ,dhyni-buddha1 ,amitbha4 ,from lotus buds at their sides descend rainbow-coloured tassels4 ,the garments comprise shawl-like stoles1 lined with light green1 under-robes of ,indian red1 and long skirts of orange hue4 ,a white girdle is held round the hips by a jewelled belt2 its end hangs down in front of the skirt and is tied below in a butterfly knot4 ,from a heavy gold necklet descend jewelled chains1 which are gathered together by a large circular jewel at the waist1 and then part again to loop up the skirt about the knees4 ,a jewelled anklet seems to gather the end of the under-robe above the feet1 and these in either figure are set upon a pair of open lotuses4 ,on the outer sides of the figures gracefully drawn flowers and leaves are shown as if floating down gently through the air4 ,,plate ,,xvi ,,four ,,forms ,,of ,,avalokite,,vara ,this well-preserved large silk painting 7,ch4 lv4 #jjbc71 reproduced here on a scale of two-fifths1 offers special interest4#cg ,it is the oldest exactly dated painting in the ,collection1 the dedicatory inscription below indicating the year corresponding to ,a4,d4 #hfd4 ,it also combines in a curious fashion hieratic conventions of ,indian origin1 such as prevail in the row of four ,avalokitevara figures ranged stiffly side by side in the upper half1 with the more ,chinese and more animate treatment of others in the lower half4 ,there the ,bodhisattvas ,samantabhadra and ,majur are represented in procession advancing towards each other on lotus seats carried by their respective #8,vhanas'1 the white elephant with six tusks and the lion1 and accompanied by their attendants1 just as we have already seen them in the more sumptuous compositions of ,plates ,,iii and ,,iv4 ,samantabhadra has his hands raised in the vitarka-mudr and ,majur in the pose of adoration4 ,their dress1 ornaments1 circular haloes1 c41 as well as their cortges1 here limited to two lesser ,bodhisattvas carrying three-tiered umbrellas and a dark-skinned ,indian attendant leading the divinity's mount1 all show very close agreement with the types displayed in those large paintings4 ,these conventions are shared also by the single ,bodhisattva figures in many fine silk banners of the ,collection1#ch and our dated picture proves them to have been already fully established by the middle of the ninth century4 ,in contrast to these two ,bodhisattvas1 always easily identified1 only the short ,chinese inscriptions by the side of the four ,avalokitevaras above can tell us which particular form of this most popular ,bodhisattva is to be recognized in each figure4#ci ,all are practically alike in pose and dress except for some minor differences4 ,all carry a red or red and white lotus in one hand1 and all1 except the ,avalokitevara on the extreme left1 a flask in the other4 ,the dress comprises a long reddish-pink under-robe girt round the waist and reaching to the feet2 a short tight upper skirt and a deep plastron passing over breast and shoulders4 ,on the upper arms are close-fitting sleeves1 half covered by armlets4 ,pink drapery hangs behind the shoulders and a narrow stole of green and red passes round them2 thence it winds stiffly about the arms and ripples to the ground4 ,the figure of the ,dhyni-buddha ,amitbha appears on the tiara4 ,in all the details just mentioned these ,avalokitevaras attach themselves to a class of ,bodhisattva figures1 largely represented among our banners1 which reproduce characteristic ,indian conventions in physical type1 dress1 pose1 and flesh colouring with sufficient closeness to deserve the general designation of #8,indian'4#dj ,their juxtaposition with the more #8,chinese' ,bodhisattvas in the lower half of our painting is instructive as helping to bring out the distinctions of the two types4 ,in the narrow panel below we see ranged on either side of the dedicatory inscription the donors and their ladies4 ,the ,chinese inscriptions attached to them acquaint us with their persons4#da ,on the right kneels the father attired as a monk with his three sons kneeling in secular dress behind him4 ,on the left are shown two nuns1 members of the family1 and behind them two ladies1 wives of two of the sons4 ,to the interest presented by the costumes of the secular figures ,i have had already occasion to allude4#db ,the fashion represented in the dress and coiffure of the two ladies is particularly instructive as affording indications for the approximate dating of other paintings which show donatrix figures4 ,the moderate width of the sleeves and the absence of ornaments in the head-dress distinguish this fashion of ,a4,d4 #hfd very strikingly from that presented by the donatrices in tenth-century pictures4 ,on the other hand1 we see on the men's heads the wide-brimmed black hats of the latter side by side with a stiff black cap of a manifestly earlier type4 ,,plate ,,xvii ,,avalokite,,vara ,,in ,,glory ,the large silk painting 7,ch4 lvi4 #jjai71 reproduced in this ,plate on a scale of slightly less than one-fourth of the original1 may rank among the richest of the ,collection in respect of decorative effect and colouring1 and fortunately has survived in very fair preservation4 ,it represents ,avalokitevara in his thousand-armed and eleven-headed form1 surrounded by numerous groups of divinities constituting his #8,maala'4 ,the scheme is repeated on somewhat simpler lines in another fine painting1 shown by ,plate ,,xlii4 ,elaborate as its representation is in ours1 its interpretation is facilitated by the ,chinese inscriptions attached to all the principal divine figures which appear in attendance on the great ,bodhisattva of ,mercy4 ,helped by these inscriptions ,m4 ,petrucci has been able to discuss at length the numerous and interesting questions of iconographic detail which are raised by figures in this and similar sumptuous compositions1 and to his explanations and to the full description contained in ,serindia reference may conveniently be made here4#dc ,in the centre of the painting we see ,avalokitevara's large figure surrounded by a nimbus-like disc4 ,this is formed by his outer hands making up the theoretical number of a thousand1 and each showing an open eye marked on the palm4 ,avalokitevara's thousand arms1 arranged in this fashion1 are well known1 too1 to the later ,buddhist iconography of ,india and meant to symbolize the merciful divinity's desire to save all human beings at the same time4 ,the ,bodhisattva is shown seated on a lotus and under a richly tasselled canopy4 ,his inner hands1 apart from the four in front1 hold a multiplicity of well-known sacred emblems1 including the discs of the ,sun and ,moon1 flasks of ambrosia1 conch1 willow spray1 trident1 ,vajra1 the ,wheel of the ,law1 mace1 c4 ,from the centre pair of inner hands a shaft of rainbow light streams upwards4 ,his flesh is yellow1 as usual1 shaded with pink2 his hair blue1 of the same shade as the general background4 ,of the small subsidiary heads1 two of demonic appearance are shown by the side of the ears and the rest in three tiers above the tiara4 ,among the attendant divinities we see at the top of the canopy the ,bodhisattvas of the ,sun and ,moon seated behind their five white geese and five white horses respectively4 ,in the upper corners appear on finely painted clouds the #8,buddhas of the ten quarters of the ,universe'1 arranged as all the attendant deities in symmetrical groups4 ,below them are seated pairs of ,bodhisattvas with elaborate flower-decked haloes and nimbi4 ,beneath them come on the right ,indra with three attendants1 and on the left ,brahman with two4 ,all are shown kneeling and wearing ,chinese official dress of a rich type4 ,beneath again are shown two monstrous divinities1 both unmistakably ivaitic4 ,on the right ,mahkla with three heads and six arms reclines on the back of iva's bull4 ,on the left ,mahevara1 of demonic appearance1 stands with legs apart upon a crocodile-headed snake2 his middle hands grasp pike and cords which hold two half-naked humans4 ,below the lotus seat of ,avalokitevara are seen emaciated pretas or beings in hell clutching with outstretched hands at showers of white grains 7ambrosia7 which ,avalokitevara pours on them4 ,in front of his lotus seat lies a tank in which stand two stalwart ,ngas upholding the stem of the lotus4 ,they are in human shape1 but carry above their heads a crest formed of five snake-heads1 their ancient ,indian emblem4 ,besides smaller ,nga figures of the same type the tank holds an infant soul 7now almost destroyed7 rising from a lotus4 ,the bottom corners are occupied on each side by a larger group of attendants4 ,the central figure in each case is a four-armed female divinity of beneficent aspect1 dressed like a ,bodhisattva and seated on a bird4 ,the one on the right rides on a phoenix and is followed by a ,buddha4 ,the female deity behind him is of interest1 as from the children in her arms she may be recognized as the goddess ,hrit1 whom a pious ,indian legend represents as a wicked ogress converted into a patroness of children4#dd ,the female divinity on the left is riding on a peacock1 with two attendants behind her who in the absence of attributes or inscriptions remain unidentified4 ,lower down on either side are seen standing two ,lokaplas1 ,kings of the ,quarters1 in armour1 and in each of the bottom corners a demonic ,vajrapi1 six-armed and serpent-decked1 straddling against a background of flames4 ,at the feet of each sits a smaller demon with a boar's head4 ,before the ,lokaplas and close to the edge of the tank are seated on the right an emaciated old man in ascetic garb1 and on the left a richly-robed nymph offering flowers4 ,both these figures1 described elsewhere as the #8,sage of the ,air 787' and #8,nymph of ,virtue'1 are with particular clearness seen again in ,plate ,,xlii4 ,on the iconographic side the interest of this sumptuous presentation of ,avalokitevara's #8,maala' is obvious1 were it only for the appearance in it of such ivaitic deities as ,mahkla and ,mahevara4 ,these aptly illustrate the influence which ,hindu mythology1 even in its later development1 continued to exercise on the ,buddhist ,pantheon of ,central ,asia and the ,far ,east4 ,on the artistic side attention is claimed by the skill shown in the ordinance of the whole and the drawing of individual figures4 ,but it is in particular the highly effective colour treatment which makes this picture rank with the most impressive in the ,collection4 ,,plate ,,xviii ,,avalokite,,vara ,,standing1 ,,with ,,willow ,,spray ,it is to qualities very different from those of the preceding picture that the figure of a standing ,avalokitevara 7,ch4 #jjia71 reproduced in ,plate ,,xviii in half the size of the original1 owes its special charm4 ,the silk painting has lost portions of its sides and the whole below the knees of the figure1 and the colouring throughout has much faded4 ,but the disappearance of paint helps to bring out more clearly the excellence of the design and the very delicate drawing of figure and features4 ,with workmanship showing mastery of a fully established technique in details1 the painting combines an air of individual feeling which makes its subject one of the finest single figures amongst our ,ch#8ien-fo-tung paintings4 ,avalokitevara stands facing the spectator1 with head erect but eyes downcast4 ,his pose1 with the weight thrown on the right hip and the body aslant to the left shoulder1 is characteristically ,indian4 ,the head is that of a young man and shows marked influence of ,gandhra art in its features4 ,the nose is long and straight1 the brow high1 and the eyes only slightly oblique4 ,the moderately arched eyebrows sweep in a slightly recurved line to the outer edge of the brow4 ,the thinner cheeks and more natural proportion of the features give to the face a distinct individuality which those of the conventional semi-feminine ,bodhisattvas lack4 ,the expression is meditative and remote1 the pose graceful and dignified at the same time4 ,the right hand is raised in the vitarka-mudr at the breast with a willow spray between the thumb and fingers2 the left hanging by the side holds the flask and a twining spray with pink flowers4 ,the attire and head-dress are of the conventional style associated with the ,bodhisattva type which has above been designated as #8,chinese'4 ,the ,dhyni-buddha ,amitbha is shown on the front of the tiara1 which is a simple circlet ornamented with flaming jewels and long tassels at the ears4 ,the hair done in double-leaf form appears above it4 ,instead of the under-robe a light red scarf is thrown over the breast4 ,a stole of grey and olive green1 much faded1 clings to shoulders and upper arms and is festooned across the front of the figure4 ,from the waist descends the skirt1 apparently brown4 ,in the right lower corner appear two small figures kneeling and holding lotus buds4 ,they represent evidently donors1 a boy and a girl4 ,the way in which their hair is dressed1 the boy's parted and tied in a double bunch on either side of the head and the girl's parted and tied behind1 is not usual in our paintings4 ,the plain long-sleeved robes covering the figures from neck to feet afford no clue to the dating4 ,,plate ,,xix ,,two ,,avalokite,,varas ,,with ,,the ,,willow ,,spray ,the ,bodhisattva of ,mercy presents himself again1 standing and without attendants1 in the two silk paintings which this ,plate reproduces on the scale of two-fifths of the originals4 ,in both the portion of the figure below the knees is lost4 ,the painting on the left 7,ch4 xxii4 #jjcj7 shows a good example of the ,bodhisattva type which above we have referred to as #8,chinese'1 executed with much skill and refinement4 ,avalokitevara1 facing three-fourths to the right1 raises the willow spray in his right hand1 while the left at the waist carries the flask4 ,the movement shown in the tassels of the canopy above the halo suggests that the figure was intended as walking2 it is drawn particularly soft and full4 ,the low forehead1 full cheeks1 small mouth and chin1 and oblique eyes under highly arched eyebrows are characteristic of the type4 ,the hair is black and descends in a love-lock by the ear4 ,in front of the tasselled tiara stands the ,dhyni-buddha ,amitbha with the right hand raised in the pose of #8,protection'4 ,above the skirt1 which forms an overfall at the waist1 is shown an under-robe rising only to the breasts4 ,a stole of fine dull blue forms the chief note of colour in the picture4 ,the jewellery is elaborate and plentifully studded with pale pink stones4 ,the cartouche to the right is filled with a ,chinese inscription containing a salutation to ,kuan-yin4 ,in the other painting 7,ch4 lvi4 #jjaf7 ,avalokitevara is shown facing three-fourths to the left with both arms raised from the elbows4 ,his hands here1 too1 hold willow spray and flask1 but in reversed order4 ,the upper portion of the head is lost2 what remains of the features1 including the eyes fixed in a straight gaze to the front1 shows delicate drawing4 ,the flesh is white shaded with pink4 ,over a crimson under-robe and orange-red skirt descends in ample folds a stole of olive green4 ,to the usual heavy jewellery is added a small string of beads round the neck4 ,the workmanship is clean and sure4 ,,plate ,,xx ,,avalokite,,vara ,,with ,,flame-,,wreathed ,,halo ,the fine silk painting 7,ch4 xviii4 #jjc7 reproduced here on a scale of a little over two-thirds of the original is a work of considerable artistic merit and is without a pendant in the ,collection4 ,it shows a standing ,avalokitevara painted in a style which shows affinity to the #8,indian' type of ,bodhisattva figures previously mentioned but has marked peculiarities of its own4 ,the picture is complete1 but the bare upper part of the figure painted with dull red outlines and comparatively faint pink colouring has unfortunately much faded1 while the more solid and brilliant colours of the dress and jewellery are well preserved and in consequence now absorb a disproportionate share of attention4 ,avalokitevara stands facing the spectator with his feet planted on the bright green centres of two open dark-pink lotuses4 ,his face1 turned slightly towards the right shoulder with eyes downcast1 bears an expression of serious mildness1 as if of comprehending pity4 ,the hair about the forehead is shown in pale blue1 the eyebrows light green4 ,eyelashes1 pupils of eyes1 and the dividing line of lips1 being painted in black1 stand out distinctly among the otherwise faded features4 ,both arms are raised at the elbow1 the right holding the willow spray over the shoulder1 while the left carries on the open palm a short flask of blue and pink4 ,the dress consists mainly of brilliant scarlet sprinkled with small blue trefoils and tied at the waist with a narrow blue girdle4 ,a green sash is also loosely knotted round the hips4 ,a long narrow stole of dark pink lined with green winds round the body from the left shoulder and flutters about the arms4 ,white draperies descend from behind the head and shoulders4 ,the head-dress consists of a gilded circlet with a ball over the forehead supporting the ,dhyni-buddha's figure1 and behind this of a tall cylindrical piece in dark pink and green surmounted by what may be meant for a topknot of hair but is now almost effaced4 ,the rich jewellery is set with stones of bright scarlet1 blue1 and copper green1 and hung with strings of pearls4 ,a large greenish disc wreathed with scarlet flames forms a nimbus4 ,open lotus flowers are seen floating down in the air4 ,the ,chinese inscription in the left top corner describes the painting as the gift of a son in memory of his father1 without recording the date of its dedication4 ,,plate ,,xxi ,,avalokite,,vara ,,standing ,the figure of ,avalokitevara which this ,plate shows us on the scale of one-third of the original silk painting 7,ch4 liii4 #jje71 well preserved except for the extreme top and bottom1 shares with the ,bodhisattvas of #8,indian' style characteristic features of physical type1 pose1 and dress4 ,but the air of grace and gentleness which the ,chinese painter has here infused into the formality of their conventions invests the figure with a peculiar charm and raises it well above their average level as a work of art4 ,we see ,avalokitevara standing with the slender-waisted body inclined from the left shoulder and its weight thrown on the right hip in characteristic ,indian pose4 ,but the stiffness of this attitude1 just as that of certain traditionally fixed details in the dress1 is transformed by sweeping ,chinese brush lines4 ,the figure stands slightly to the left1 with the eyes gazing down and the hands holding the usual attributes of the willow spray and the flask4 ,the face is short and round1 the mouth slightly larger than usual1 with a tiny moustache and a tuft of beard indicated below by a small curl4 ,the eyes are wide apart and almost level1 but with a finely recurved line added to the eyelids4 ,the flesh is white shaded with red4 ,over a long orange skirt1 draped in conventional folds1 the ,bodhisattva wears a short and tight over-skirt of ,indian red1 sprinkled with blue and white rosettes4 ,over it is festooned a narrow cord-like band hanging in loops and streamers by the sides4 ,the costume is completed by an olive-green girdle1 a red scarf across the breast1 and a narrow stole of dark chocolate colour descending from about the arms to the feet4 ,the richly jewelled ornaments agree in general type with those seen on the four #8,indian' ,bodhisattvas of ,plate ,,xvi1 but the ,dhyni-buddha is absent from the tiara4 ,the slate-blue outer border of the nimbus is ornamented with a ring of #8enclosed palmettes' in blue and white1 as often seen elsewhere in ,bodhisattva haloes4 ,,plate ,,xxii ,,two ,,avalokite,,vara ,,paintings ,,with ,,donors ,in both the silk paintings which this ,plate reproduces on the scale of three-sevenths1 we see ,avalokitevara represented in #8,indian' style and beside or below him the donors4 ,in the picture on the left 7,ch4 liv4 #jjf7 the figure of the standing ,bodhisattva is treated on very formal lines1 typical of the #8,indian' style already repeatedly mentioned1 and the colouring in bright crude tints solidly laid on is equally characteristic4 ,apart from the hieratic stiffness of the whole figure and pose it will suffice to call attention to such peculiar features as the narrow band descending from the head-dress to the knees and festooned in front of the body1 and the loose locks of hair which hang over the shoulders4 ,the hair is painted ultramarine1 the flesh white and shaded with vermilion4 ,the eyebrows raised disproportionately high over the almost straight eyes are1 as often elsewhere1 shown green4 ,avalokitevara stands on a large scarlet and white lotus which floats on a lake or stream4 ,behind him on green land is shown a row of tall bamboos filling the background4 ,to the left of the ,bodhisattva appears standing the figure of the nun whom one of the ,chinese inscriptions names as the donatrix1 with a date corresponding to ,a4,d4 #iaj4de ,she wears a wide-sleeved yellow under-robe with flowered band across her breast and a purplish-brown mantle4 ,her close-cropped hair is shown in ultramarine1 and her hands carry a censer4 ,opposite to her stands a boy offering a scarlet lotus on a dish2 he wears a long-skirted dark brown coat slit at the side and showing wide white trousers underneath4 ,m4 ,petrucci recognizes in him the nun's defunct younger brother1 whom the dedicatory inscription associates with her votive gift4 ,the picture on the right 7,ch4 xl4 #jjh7 is in perfect condition and represents ,avalokitevara1 six-armed and seated1 together with side scenes and donors4 ,his upper hands hold up discs emblematic of the ,sun and ,moon1 showing a three-legged bird and a tree respectively2 the middle hands are raised on either side of the breast in the vitarka-mudr1 while the lower hands with rosary and flask rest on the knees4 ,in front of him is placed a small draped altar with flasks and a covered dish4 ,the ,bodhisattva's figure1 within the limitations imposed by the conventional treatment1 is very carefully drawn and the colouring well preserved and unusual4 ,it consists mainly of terra-cotta red on the garments 7excepting the stole1 which is very dark brownish olive71 and of white shaded with light pink on the flesh4 ,a harsh yellow is used for the jewellery1 while the ground throughout is left in the dark greenish-brown of the silk4 ,down the sides are shown1 in animated and expressive drawing of purely ,chinese style1 scenes representing ,calamities from which ,avalokitevara miraculously saves his worshippers4#df ,on the right above we see a man1 naked except for a loin-cloth1 threatened with having his head cut off4 ,lower down two men are fleeing with their arms over their heads1 while a thunder-cloud in the sky1 represented like a monstrous ,nga1 showers black drops on them4 ,below a man stands calmly in a pyramid of flame into which another behind appears to have pushed him4 ,on the left above a man is being pushed by another over a precipice2 but half-way down he is seen again composedly seated on a cloud4 ,the next scene shows a man kneeling in an arched recess with his head in a cangue1 while in front of him are wooden instruments for fettering feet and hands4 ,at the bottom stands a man looking calm although surrounded by a snake1 scorpion1 and an animal apparently meant for a tiger4 ,in the bottom portion of the painting are shown the donors1 on either side of a cartouche intended for a dedicatory inscription4 ,their figures are drawn with much care and offer good examples of costumes belonging to the tenth century4 ,of the men on the right the one in front holds a censer and the other a lotus bud between his hands joined in adoration4 ,on the left kneels a lady in a wide big-sleeved robe2 her hair is held by a central framework and big pins1 painted in pink and white1 but lacks the usual flowers and leaves4 ,behind her stands a boy in long white trousers and a flowered pink and white tunic1 with his hair parted and ornamented on the top by a big bow4 ,,plate ,,xxiii ,,six-,,armed ,,avalokite,,vara ,,with ,,attendant ,,bodhisattvas ,the large silk painting 7,ch4 xxvi4 #jja7 of which this ,plate is a half-size reproduction was in its original condition a very fine composition1 but has suffered much damage4 ,the lower end has been destroyed by fire1 the right edge is lost1 and several large holes show where dark green paint has corroded the silk4 ,much of the colouring is gone2 yet in spite of all these vicissitudes enough remains to prove the refined design of the whole and the sureness of the drawing4 ,the picture shows a six-armed ,avalokitevara seated on a large white lotus in the attitude known as that of #8royal ease'1 with the right knee raised and the head inclined over the right shoulder4 ,this characteristically #8,indian' pose corresponds to the slim-waisted body and the dress of #8,indian' ,bodhisattva type4 ,it is only in figures of the latter that we find the flower-ornamented caps over the knees here seen4 ,the upper hands with gracefully curved fingers are raised towards the head2 of the middle ones the right is raised before the breast in the vitarka-mudr1 while the left is held below palm up2 the lower hands hang down below the knees4 ,no emblems are displayed1 except the ,dhyni-buddha in the front of the tiara1 which appears as a high solid cone of chased bronze4 ,the ornamentation of the circular halo and nimbus is very elaborate and effective4 ,vandyke and flower patterns fill the former1 waving rays the nimbus4 ,one continuous flame border outlines the free edges of both1 while a broad band of white surrounds them and encloses the whole figure in a circle of light4 ,a string of small flowers seen in profile defines the outer edge of this circle4 ,above it is seen a canopy set with flaming jewels4 ,on either side of this appears a small ,bodhisattva seated on a lotus which grows on a twining stem4 ,two corresponding figures occupying the bottom corners are all but destroyed4 ,in the colouring different shades of red and green prevailed1 together with white2 but the last1 as well as the yellow on ,avalokitevara's flesh1 has been rubbed off in most places4 ,,plate ,,xxiv ,,two ,,paper ,,paintings ,,of ,,avalokite,,vara ,the two pictures reproduced here both represent ,avalokitevara and are painted on paper2 but their interest varies greatly in character4 ,the one on the right 7,ch4 i4 #jji1 scale two-thirds of original7 shows the ,bodhisattva sitting by the water on a bank under willows4 ,this representation of ,avalokitevara is found only in one other picture of our collection and claims special iconographic interest because1 as ,mr4 ,binyon points out1 according to ,far-,eastern tradition #8it was an ,emperor of the ,sung period who first in a dream saw' ,avalokitevara as he is here depicted #8and commanded the dream to be painted2 but1 no doubt1 the subject is of earlier origin'4#dg ,we shall see below that in the case of ,kitigarbha1 too1 the evidence of the ,ch#8ien-fo-tung paintings proves a certain iconographic type to have developed earlier than ,japanese tradition would lead us to assume4 ,avalokitevara1 dressed and adorned in the style of an #8,indian' ,bodhisattva1 is seated with the right foot tucked under and the left pendent1 resting on an open lotus which rises from the water4 ,his right hand holds a willow branch and his left the usual emblem of the flask4 ,the whole figure is enclosed in a large circular halo drawn in red outline4 ,a group of conventional willow trees fills the right segment of the halo and rises above it4 ,on the opposite side there appears above on a cloud the small-scale figure of a man in a ,chinese magistrate's robes and head-dress1 kneeling with hands joined in adoration4 ,two boys wearing their hair in rolls behind the neck stand at his back4 ,a draped canopy extends across the upper end of the picture4 ,at its bottom1 on the bank bordering the water1 is shown an altar4 ,flanking it on the right appears the donor1 carrying a censer and wearing the black coat and wide-brimmed hat characteristic of tenth-century male costume4 ,four cartouches distributed over the picture have remained uninscribed4 ,the drawing is careful and the execution superior notwithstanding the simplicity of the colour scheme1 restricted mainly to scarlet1 light blue1 and pale green4 ,the picture reproduced on the left 7,ch4 #jjed71 on the scale of three-fifths of the original1 has some interesting peculiarities4 ,above we see seated on a rectangular platform a ,bodhisattva who from the attendant divinities and the emblem1 a tall vase1 held by the one to his right1 may safely be assumed to represent ,avalokitevara4 ,his dress1 coiffure1 and accessories are those of ,bodhisattva figures of the type above distinguished as #8,chinese'4 ,the decoration of the platform1 which1 as the lions' heads appearing in pairs below within arched openings show1 is meant for a sihsana or #8lion's throne'1 reproduces textile patterns manifestly influenced by #8,sassanian' models4 ,the presentation of only the left half of the god's #8,maala' is an unusual feature but accounted for by the narrow shape of the painting1 no doubt intended for a banner4 ,it comprises below two ,bodhisattvas standing in adoration1 next a pair of haloed monks1 above them two ,lokaplas1 and at the top a trident-carrying demon4 ,one of the ,lokaplas is characterized by his jewelled mace as ,virhaka1 ,regent of the ,south4 ,to the right of the central deity and below the canopy three infants are shown kneeling on a cloud and playing on flute1 mouth-organ1 and clappers4 ,below them again and by the side of the large halo stands a small ,bodhisattva1 also carried on a cloud and clasping the tall vase already referred to4 ,it is stoppered and mottled blue and white1 obviously in imitation of glazed ceramic ware4 ,the lower portion of the painting is filled by a procession moving to the left and comprising a high ,chinese dignitary in the centre and his numerous retinue4 ,in this central figure1 who is attended by two men holding crossed fans over his head and is obviously the donor1 we may in all probability recognize one of those local chiefs who1 as we know from ,chinese historical notices and inscriptions1 ruled the region of ,tun-huang in the ninth and tenth centuries as hereditary governors under the suzerainty of the ,emperors4#dh ,this personage1 over a trailing white under-robe1 wears a black jacket ornamented with symbols in yellow1 of which the discs emblematic of the ,sun and the ,moon1 a pair of rampant dragons1 and the ,svastika can be made out quite clearly4 ,he alone appears as a worshipper1 and an elaborate head-dress of peculiar shape marks his high rank4 ,in his cortge we see officials wearing white under-robes and black jackets with various formal patterns of a stiff black head-dress4 ,three among them carry long swords before them1 pointed downwards1 while two hold rolls of paper4 ,one of the latter1 walking beside the chief1 is represented as a mere boy and may perhaps be a son4 ,two others in somewhat different costume1 including shirts of mail under shorter jackets1 walk a little apart4 ,the two fan-bearers are attired in short jackets and white trousers1 and on the feet of the coarsely drawn figure to the right we notice string sandals of exactly the same type as attested by plentiful specimens among my finds from the ,tun-huang ,limes4 ,there can be no doubt that the lower portion of the picture1 with its animated if rather rough drawing1 represents a scene such as old ,tun-huang must have often witnessed on ceremonial occasions4 ,it is hence specially to be regretted that the absence of any dedicatory inscription leaves us in ignorance of the date and the particular local chief represented4 ,,plate ,,xxv ,,two ,,paintings ,,of ,k,,itigarbha ,both the paintings of this ,plate represent ,kitigarbha1 ,avalokitevara's only possible rival in popularity among the ,bodhisattvas of the ,buddhist ,pantheon of the ,far ,east4 ,though well known in ,china as ,ti-tsang and in ,japan as ,jiz1 yet his early and frequent appearance among the ,ch#8ien-fo-tung paintings was something of a surprise1 considering that neither in ,indian nor in ,central-,asian ,buddhism does his figure play a prominent part4 ,among the ,bodhisattvas represented in our banners he is always clearly distinguished by the shaven head of the monk and the barred or mottled mantle1 the mendicant's garment4#di ,other paintings help to illustrate the several aspects of his character which account for his still prevailing popularity in the ,far ,east4 #8,there he is still worshipped as one of the ,eight ,great ,bodhisattvas4 ,through countless incarnations he has been working for the salvation of living beings1 and he is in especial honoured as the breaker of the powers of hell4 ,with his pilgrim's staff he strikes upon the doors of hell and opens them1 and with the lustrous pearl which he carries he illustrates its darkness4 ,he is represented as ,lord of the ,six ,worlds of ,desire1 the world of the ,devas or heavenly spirits1 of men and women1 of ,asuras or demons1 of beings in hell1 of ,pretas or devils1 and of animals2 and also as the supreme ,regent of ,hell with the ,ten ,infernal ,kings or ,magistrates under him4'#ej ,it is in this last-named character that we see ,kitigarbha represented in the large silk painting 7,ch4 #jjba7 which is reproduced on the right of ,plate ,,xxv1 on the scale of one-third4 ,the ,bodhisattva is seen seated on a rock covered with a figured cloth4 ,his right foot rests on a lotus and the left is bent across4 ,the left hand holds the mendicant's staff over his shoulder1 while the right1 resting on the knee1 supports a crystal ball4 ,over a green under-robe he wears a mantle of grey1 mottled with black1 red1 and green1 and barred with yellow4 ,the traveller's shawl1 grey ornamented with a spot pattern in yellow1 is bound round his head and falls on his shoulders4 ,of the usual ,bodhisattvas' adornment only a jewelled necklace and bracelets appear4 ,a multicoloured halo1 edged with flames1 forms the background to the figure1 while above it hangs a canopy represented by flowered sprays and strings of jewels4 ,down the two sides are ranged the ten ,infernal ,kings or ,magistrates1 seated at draped tables1 on which scrolls of judgement are spread4 ,attendants wait on them in varying attitudes1 taking instructions1 delivering reports1 holding fans1 c4 ,with the exception of a fan-holder in demon shape1 the attendants are all in secular ,chinese dress4 ,all the ,judges but one wear ,chinese magisterial costume3 long under-robes1 voluminous wide-sleeved coats of scarlet and white1 and official head-dress in a variety of shapes1 black1 yellow1 or white4 ,the topmost ,judge on the right is clad in full armour1 with helmet and a coat of mail1 fringed with tiger-skin1 and reaching down to the feet4 ,in front of ,kitigarbha is seated a white lion1 faced by a monk raising his hands in adoration to the ,bodhisattva4 ,further in the foreground we see a condemned soul1 naked except for a loin-cloth1 and wearing the cangue1 led by an ox-headed mace-carrying demon4 ,in a magic mirror he is made to see the crime for which he has been condemned--the murder of an ox4 ,a cloud above the mirror marks the scene as a dream4 ,beside the mirror stands an attendant holding brush and scroll4 ,the numerous cartouches scattered about have been left uninscribed1 or have become illegible4 ,the same is the case with those by the donors' figures at the foot of the picture4 ,foremost on either side kneels a monk holding a censer4 ,behind the one on the right stands a boy attendant holding the fungus sceptre 7ju-71 and behind him again kneels a man with the wide-brimmed black hat usual in tenth-century costume4 ,the same chronological indication is furnished by the dress and coiffure of the ladies who are shown kneeling behind the monk on the left4 ,the picture on the left of the ,plate 7,ch4 lviii4 #jjc1 reproduced on the scale of three-eighths7 is complete with its border of purple silk gauze and suspension loops1 and shows ,kitigarbha in his character of ,lord of the ,six ,worlds1 or ,gatis1 and ,patron of ,travellers4 ,he sits facing the spectator on a scarlet lotus in a pose which is the exact reverse of the one shown by ,kitigarbha in the previously described painting4 ,thus the right hand holds the mendicant's staff and the left the ball of crystal4 ,the under-robe1 shaded in red and green1 is covered by a mantle of red and black inwoven on white ground and barred with black4 ,over his head and shoulders is thrown a grey shawl ornamented with yellow spots and having a scarlet border on which large flowers in green and white are figured4 ,on a flat-topped rock in front of the ,bodhisattva1 covered with an altar-cloth1 is a large green bowl1 containing an open lotus4 ,on either side sits or kneels a ,bodhisattva in adoring attitude4 ,from either side of ,kitigarbha's red and green halo rise three waving rays of scarlet2 each of them carry small figures meant to represent the ,six ,worlds of ,desire4 ,they are on the right3 above1 a man for the ,world of ,men2 a deity supporting discs of the ,sun and ,moon1 for the ,world of the ,gods2 a ,preta amongst flames for the ,world of ,hell4 ,on the left the ,bodhisattva-like figure at the top represents the ,world of the ,asuras1 or demigods2 on the middle ray two representatives of the ,world of ,animals are recognizable in spite of the broken condition of the silk1 while below a devil with pitchfork and cauldron symbolizes the ,world of ,demons4 ,at the bottom of the picture we see represented a stone slab bearing a dedicatory inscription and on either side of it two finely drawn figures of men and ladies respectively4 ,their costume and hair-dress furnish good examples of the type characteristic or donor figures of the tenth century4 ,the inscription on the slab is dated in ,a4 ,d4 #ifc1 and according to ,m4 ,petrucci records the dedication of the painting by a certain votary who prays for deliverance from long illness4 ,he makes his offering also for the benefit of his departed parents and of two other relatives named in the cartouches by their sides4 ,,plate ,,xxvi ,,vai,,rava,a',s ,,progress ,the excellently preserved painting 7,ch4 xxxvii4 #jjb7 which this ,plate reproduces on a scale of slightly over one-half presents to us the triumphant progress of ,vairavaa1 ,guardian of the ,north and the principal of the ,lokaplas1 or ,protectors of the ,four ,regions4 ,the important position which the ,lokaplas still enjoy in popular ,buddhist worship of the ,far ,east is clearly marked by the frequency of their representation among our ,ch#8ien-fo-tung paintings4 ,this again fully agrees with the early origin of their conception as attested by ,indian art and tradition1 and with what numerous frescoes and sculptures brought to light by recent excavations in ,chinese ,turkestn show as to their popularity in ,central-,asian ,buddhism4#ea ,the foremost place among the ,lokaplas of our paintings is occupied by ,vairavaa1 the ,protector of the ,northern ,region4 ,this is fully accounted for by the early ,indian notion which identified this particular #8world-protector' with ,kubera1 the ,hindu god of wealth1 ,king of the ,yakas4 ,a further reason may be sought in the special worship which ,vairavaa as genius loci enjoyed at ,khotan1 a main seat of ,buddhism in ,eastern ,turkestn and one in close relations with ,tun-huang4#eb ,apart from the frequent appearance of his figure in our banners1 ,vairavaa's pre-eminent position is attested by the fact that1 alone among the ,protectors of the ,regions1 he is found in pictures attended by his demon host and in triumphant procession4 ,with one of these pictures1 the small ,kakemono-shaped silk painting reproduced in ,plate ,,xlv and a work of high artistic merit1 we shall concern ourselves below4 ,the other shown by our ,plate1 if not so careful in design and execution1 is yet remarkable for its spirited composition and displays points of distinct iconographic interest4 ,it represents ,vairavaa riding in full gallop across the ocean accompanied by a numerous host representing his army of ,yakas1 or demons4 ,he is seen1 as always1 in the guise of a warrior king1 and wears here a young and strongly human appearance4 ,mounted on a white horse with scarlet mane and tail1 he turns back in the saddle and with his mouth open seems to call to his followers4 ,the right hand is raised1 while the left grasps the reins4 ,the straight nose and eyes give a distinctly ,western look to his face1 and in agreement with this are the light blue iris of the eyes and the dark brown colour of the hair1 including a recurved moustache and tufts of beard and whiskers4 ,a long close-fitting coat of scale armour1#ec coloured yellow with scarlet straps and border1 reaches down below the knee4 ,a leather skirt-piece ornamented with flowers is secured round the waist and hips1 and below the coat floats out a long olive-green under-robe4 ,a high three-leaved crown covers the head2 its shape and the long streamers flying up from behind it distinctly suggest derivation from ,persian models4 ,there are more indications also of ,iranian influence in details of this and other ,lokapla pictures2 but this is not the place to discuss them4#ed ,broad streamers of flame rise from ,vairavaa's shoulders and take the place of a nimbus4 ,there are points of interest also in the accoutrement of ,vairavaa's horse4 ,its head1 which is very small in proportion to neck and body1 is protected by a frontlet of scale-armour4 ,above the head-stall is fixed a pair of black and white feathers4 ,the numerous pompon-like knobs or tassels which hang from the breast-band and crupper belong to a type of #8horse-millinery' which is well known from ,buddhist paintings of ,central ,asia and ,india and is characteristic also of the representation of chargers in ,sassanian relievos4#ee ,passing reference may be made here also to the appearance of decorative motifs unmistakably borrowed from textiles of #8,sassanian' style on the ,lokapla's dress and that of his horse4 ,in front of ,vairavaa march two ,yakas clad in what seems to be meant for mail armour and carrying red pennons4 ,behind him are seen moving other demon followers1 all grotesque in appearance1 and two with animal jaws1 c4 ,they carry a large flag decorated with a peculiar check and vandyke pattern and a miniature ,stpa1 both emblems associated with ,vairavaa also in the picture of ,plate ,,xlv1 as well as a battle-axe and bow and arrows4 ,in the foreground are shown in violent movement three goblins of savage look carrying jars and vases and apparently quarrelling with the ,yakas4 ,as one of them attacks the latter with a branch of coral or #8,nga tree' in his hand1 they may represent the ,ngas from whom according to the legend ,vairavaa won his treasure4 ,the flaming jewels and square-holed coins scattered in the foreground seem to have the same symbolic bearing4 ,at the rear stand two human figures in ,chinese secular costume1 the man with a mitre-like head-dress and a roll in his hands1 the fair-faced lady with hands joined in adoration and her hair done in the elaborate tenth-century fashion4 ,whether they are meant for the donors of the picture seems uncertain4 ,the whole host is swept along on a cloud from ,vairavaa's mansion1 represented by a ,chinese pavilion in the left top corner1 and moves across the sea1 which is bounded in the background by a mountain range 7,mount ,meru7 and in the foreground by cliffs4 ,infants1 ducks1 a shark-jawed monster's head1 and a nymph float here in the water between scarlet lotuses1 while on the cliffs there appears a stag4 ,flowers are scattered in the air above4 ,the workmanship1 while well finished throughout1 shows an ease and boldness which befits the subject4 ,the simplicity of the colour scheme1 which is almost entirely confined to yellow1 scarlet1 and white on greenish-brown tints of the background1 helps the eye to take in the rapidity of the movement represented4 ,,plate ,,xxvii ,,vir,p,k,a ,,and ,,ma,,ju,r ,the silk banner reproduced on the right1 on the scale of three-fifths 7,ch4 #jjdj71 presents a fine example of the banners showing ,virpka1 the ,guardian of the ,west4 ,next to ,vairavaa he is the most frequently portrayed of ,lokaplas in our paintings1 always clearly recognizable by his particular emblem1 the sword4 ,like the rest of the #8,four ,great ,kings' shown in the banners ,virpka stands on the back of a crouching demon serving as his #8cognizance' 7vhana7 and representing the ,yakas over whom he rules4 ,a small curling cloud above his haloed head marks the whole as a vision4 ,both ends of the banner are broken and its accessories lost1 but otherwise it is almost intact4 ,the figure1 displaying force and dignity combined1 belongs to a class of ,lokapla representations among our paintings which1 from certain peculiarities in the style of treatment and in detail1 may be distinguished as #8,chinese' from another suggesting closer affinity to a ,central-,asian prototype4 ,representatives of both classes are seen in ,plate ,,xlvii4 ,but the general character of the figures and their warrior costume is essentially the same throughout4 ,this suggests1 in accord with other indications1 that the type1 though no doubt originally derived from the ,west1 had undergone thorough adaptation to ,chinese art feeling and was fully established long before the probable period when these banners were painted4#ef ,our painting well illustrates certain characteristics of the former group in the three-quarter profile of the ,lokapla's figure and the sweeping curve of pose1 with the body thrown out to the waist2 in the freedom and movement imparted to the drawing mainly by the treatment of the flowing drapery2 and in some minor peculiarities of armour and dress4 ,though ,virpka's face is quiet1 without any distortion such as usually imparts a grotesque look to the ,lokaplas of the #8,chinese' group1 we note the oblique cut of the eyes which is peculiar to it1 as well as other ,chinese features4 ,the rich armour and dress with which the ,guardians of the ,world are always depicted and the manifold variations in their details are obviously of considerable antiquarian interest and have been fully discussed elsewhere4#eg ,the painting in our ,plate illustrates them with particular clearness4 ,virpka's head is covered by a helmet made of scale-armour and strengthened with leather bands and a wide leather brim curling up at ear-level4 ,that the scales represented on the helmet and elsewhere are meant for scales of lacquered hard leather is made highly probable by actual scale-armour remains of this kind brought to light by my excavations at sites in the ,taklamakn and ,lop deserts4#eh ,a lotus-shaped spike is fixed on the top with a recurved gold stem in front1 supporting a plume4 ,beneath the helmet comes a gorget1 apparently also of scale-armour1 descending on to the shoulders4 ,from there down to the hips the body is protected by a coat of mail1 made of round-edged scales overlapping downwards as far as the waist-belt and of oblong scales laced sideways beyond it4 ,a strong corslet1 supported by straps from the shoulders and fitted with ornamented metal discs over the breasts1 is fastened across the chest4 ,below is fixed an upper belt1 apparently of ornamented leather4 ,the lower belt1 of black leather1 carries a centrepiece in the form of an elaborate beast's mask4 ,the coat of mail is finished off at the bottom by a short pleated frill1 shown here in green1 and above the elbows by what looks like a ruff made of petal-shaped scales4 ,from within this protrudes swathed drapery of red and dark grey1 as if of sleeves4 ,from beneath the mail coat descends in rich folds a red skirt with blue border and whitish lining1 leaving the knees bare2 also the ends of a long girdle1 looped up in front1 curl about the legs4 ,these from below the knees are encased in greaves1 probably made of stiff leather like the corslet4 ,a row of metal clasps secures them in front1 while a large disc of dark purple leather set with a central gold boss covers the calf4 ,the greaves are finished off at the bottom by ankle-guards1 in the form of a stiff ruff1 apparently also of leather4 ,guards of closely corresponding shape protect the forearms4 ,the feet are shod with plain sandals held by a single toe- and heel-strap4 ,a greenish stole1 hanging round the shoulders and festooned across the front of the body1 completes the ,lokapla's rich costume4 ,the nude demon underfoot is shaded blue and has a dog-like face2 the hands on which he crouches are misshapen and a flame bundle rising from his head takes the place of hair4 ,the banner reproduced on the left 7,ch4 #jjcf1 scale seven-ninths7 represents the ,bodhisattva ,majur seated on his white lion and1 apart from the lost accessories1 is remarkably well preserved4 ,its style1 in instructive contrast to that of the ,lokapla picture just discussed1 provides a good example of the maintenance of ,indian tradition in ,chinese ,buddhist art4 ,the ,bodhisattva1 whom we have met already in several of the previously discussed paintings1#ei is seated on a scarlet lotus which a golden pedestal carried on the back of his #8,vhana' supports4 ,majur's figure is entirely ,indian in physical type1 pose1 and dress4 ,with his right leg bent across and the left pendent and resting on a small blue lotus1 he keeps his body inclined to the left proper4 ,to the right hand stretched downwards in the vara-mudr corresponds the pose of the head1 which is bent over the right shoulder and balances the slant of the body4 ,the left hand rests on the lotus-seat and holds a long-stemmed gracefully curving lotus4 ,the body has feminine contours and is painted a dull pinkish yellow4 ,the hair1 light blue in colour1 shows flat above the forehead and straggles down to the shoulder in small ringlets4 ,the face is round with small features and oblique eyes cast downwards4 ,the dress is just as characteristically ,indian4 ,it consists of a short crimson lag flowered with blue rosettes and a transparent skirt of purple gauze which drapes the legs to the ankles4 ,a fold of this crosses the body from the left shoulder4 ,round the neck is thrown a narrow stole1 green spotted with white1 which1 where it passes over the right forearm1 takes the form of a #8triple cord'1 distinctively ,hindu4 ,the rich jewellery comprises heavy bracelets and anklets1 serpentine armlets1 ear-rings1 and a double necklace from which hang green and blue lotus buds4 ,a tiara of solid gold work1 mounted with jewels1 crowns the head4 ,behind the figure appears a circular halo and behind the head a nimbus of elongated oval shape1 both of variegated rings of colour4 ,above are seen the remains of a tasselled canopy waving with the lion's advance4 ,the lion strides to the left with his head turned back and the mouth wide open as if roaring4 ,his mane is represented by conventional curls in different colours4 ,red spots are shown on breast1 jowl1 and back of legs4 ,from his breast-band and crupper hang heavy tassels and ornaments similar to those above noted on ,vairavaa's horse4 ,the attendant who leads him by a red rope is shown as usually with very dark skin1 coarse features1 and bushy black hair1 suggesting a negro4 ,his dress consists of a narrow stole and a red and blue dht-like skirt1 tucked up at the knees4 ,he wears also jewellery of a simple kind4 ,the design of the whole is harmonious and instinct with life1 notwithstanding the hieratic conventions of the subject borrowed from distant ,india1 and the workmanship is very careful4 ,,plate ,,xxviii ,,bust ,,of ,a ,,lokap,,la ,in this ,plate we see a fine fragment of a silk painting once over life-size 7,ch4 liv4 #jjc71 reproduced on the scale of five-eighths and showing the upper part of the body of a ,lokapla4 ,from the bow between his arm and body and the arrow held in his hand we can safely recognize him as ,dhtarra1 the ,guardian of the ,east4 ,the figure1 preserved only from the bearded jaws down to the hip-belt1 is standing three-fourths to the left1 with the left hand outspread at the breast and holding that ,world-,protector's special emblem1 the arrow4 ,the ,king's flesh is painted a tawny brown1 the finely drawn and slightly parted lips deep crimson4 ,the sweeping beard1 which must have given to the face a particularly strong if not fierce expression1 is black4 ,the equipment is very rich and painted in a series of vivid colours1 scarlet1 orange1 blue1 mauve1 green1 and black4 ,profuse jewel or semi-naturalistic floral ornaments1 the latter1 no doubt1 copied from textile designs1 all painted in the same bright colours1 cover the discs of the corslet1 straps1 borders1 pedestals of the jewelled shoulder bosses1 c4 ,of special interest is the representation of the armour4 ,on the shoulders and skirt it consists of oblong scales overlapping upwards1 as very often elsewhere in our paintings and also in relievos4#fj ,but on the body it is represented by small interlacing black circles1 on a white ground1 manifestly intended for chain-armour4 ,the coat of mail is finished on the top by a blue jewelled collar1 probably of hard lacquered leather like the rest of the armour1 lying back from the neck4 ,white streamers falling on the breast from behind the ears show that the ,lokapla's head bore a tiara1 not a helmet4 ,though the surviving part is only a fragment1 with edges broken all round1 enough remains to show that with its vigorous drawing1 fine workmanship1 and brilliant colouring1 the whole must have been a very effective picture4 ,,plate ,,xxix ,,two ,,dharmap,,las ,,and ,a ,,bodhisattva ,among the silk banners reproduced in this ,plate1 all on the scale of three-fifths1 the two on the sides 7,ch4 liv4 #jjb on the left and ,ch4 #jjd on the right7 show us ,dharmaplas1 or #8,protectors of the ,law'4 ,these divinities are conceived as forms of ,vajrapi in fury and are still favourite figures in the ,buddhist imagery of the ,far ,east4 ,originally derived from the ancient ,gandhra representations of the thunderbolt bearer 7,vajrapi71 they meet us already in the sixth-century relievos of the ,lung-mn grottoes in ,china4#fa ,they show there those poses and that exaggerated development of the muscles which1 together with other grotesque features1 remain characteristics of the type exhibited in a more or less conventionalized form by the ,dharmapla figures in the paintings and sculptures of ,tun-huang4 ,these figures1 as ,m4 ,foucher has justly observed1 #8already make us think of the athletic demons of ,japan'4 ,like the rest of our ,dharmapla paintings1 the two banners reproduced here are but slightly distinguished from each other in type and may hence be briefly described together4 ,they are excellently preserved and complete1 with head-piece and streamers at bottom1 which1 however1 from consideration of space are omitted in the ,plate4 ,both ,dharmaplas have the muscular body in tense attitude1 the grotesque head with its furious downward look1 and the large richly ornamented ,vajra representing the thunderbolt4 ,they stand slightly to one side with the feet planted apart on two lotuses and the head turned back over the shoulder4 ,there is a difference in the pose of the arms and hands4 ,in the banner on the left the ,dharmapla raises his right arm with the hand open threateningly above his head1 while the left hand by the side grasps the ,vajra4 ,in the other figure the right hand supports the end of the ,vajra and the left1 with fingers stiffly spread1 steadies it half-way up4 ,in either figure the head shows a grotesque face with enlarged staring eyes1 misshapen nose1 fierce moustaches1 and a beard in long straggling tufts4 ,the flesh is painted light brown4 ,the muscles and joints of body and limbs are emphasized with conventional exaggeration1 but with an effect full of vigour4 ,the muscles are drawn in strong black lines to which modelling is added by brushwork in light red or pink4 ,abundantly decked with jewellery as the figures are1 they carry but scanty dress4 ,it comprises a short skirt1 bright crimson or scarlet with slate border1 which is tied round the hips by a trailing white girdle2 also a narrow stole1 olive green with brown or pink reverse1 which winds over both forearms4 ,the sinuous lines of the drapery1 the fillet ends of the head-dress flying upwards1 the coiling clouds above the haloed heads1 all help to intensify the expression of violent effort4 ,the same end is well served by the bold lines of the drawing and the strong and clear colours used4 ,the banner in the centre 7,ch4 #jja7 is1 but for the lost accessories1 in an excellent condition1 and shows in its figure a fine example of the ,bodhisattva type which has been distinguished above under the conventional designation of #8,chinese'4 ,the ,bodhisattva1 as yet unidentified1 stands in a peculiar pose not elsewhere represented among our paintings4 ,he stands on an open lotus1 with the raised right hand holding at shoulder level a round bowl of mottled green glass with a metal rim4 ,the head is turned three-quarters towards the bowl1 while the left hand hangs down by the side4 ,as the weight of the body is carried on the right leg and the body slightly inclines from the right hip towards the left shoulder1 attention is cleverly drawn by the pose to the object which the right hand supports4 ,the face shows conventional features of the #8,chinese' ,bodhisattva type in the small slanting eyes1 heavy cheeks1 and small full mouth4 ,the down-turned corners of the mouth and the wrinkles marked below the outer ends of the nostrils impart a curious expression to the face4 ,as in all these banners1 the flesh is left the natural colour of the silk1 with delicate shading in faint pink to show the modelling of face and body4 ,the dress is the traditional ,bodhisattva attire in a particularly elaborate form4 ,a trailing skirt of pale pink1 with blue border1 drapes the figure from the waist to the feet4 ,its upper edge is held by a white girdle and gold-edged belt4 ,the end of this girdle hangs down with loops in front and the end of another behind it1 made of a rich flowered red material4 ,an under-robe of dull red appears only above the feet4 ,the upper half of the body is nude except for a band of purplish-pink drapery1 elaborate jewellery1 and a filmy blue stole which shown in delicate transparent colour descends over shoulders and arms to the ground4 ,the abundant jewellery is of a type with which we have already become familiar in paintings of ,avalokitevara and elsewhere4 ,the head-dress consists of a narrow fillet of white drapery1 ending with a narrow white band which hangs in a long loop to the knees4 ,over the forehead it carries a light gold ornament ending above in two lotus buds which spring backwards over the black hair4 ,this falls behind in heavy locks down to the elbows and forms a dark background to the bust4 ,the circular nimbus is made up of variegated rings of colour such as are seen round the heads of the ,bodhisattvas in ,plate ,,xli4 ,the elaborate canopy is of a kind we have already met with4 ,its straight-hanging tassels agree with the motionless attitude of the figure4 ,yet notwithstanding this attitude the whole picture in its highly finished style seems instinct with life4 ,,plate ,,xxx ,,side-,,scenes ,,and ,,details ,,from ,a ,,buddhist ,,paradise ,,painting ,this ,plate reproduces some side-scenes and small portions from the fine but very fragmentary remains of a large silk painting 7,ch4 #jjbaf7 representing a ,buddhist ,heaven1 probably that of ,amitbha4 ,the colours of what is preserved are in remarkably fresh condition1 and this1 together with the large scale of reproduction 7four-sevenths71 facilitates close examination of interesting details4 ,taking the side-scenes as shown in the left portion of the ,plate we may note first the fine floral border which separates the two at the top from the main picture4 ,its vermilion ground is covered with rich trailing bunches of flowers and leaves painted in a variety of vivid colours4 ,with their naturalistic style they closely recall the designs which are displayed by plentiful embroidery remains ,i recovered from the hoard of the #8,thousand ,buddhas'4#fb ,the outside border of the whole is decorated with bold groups of entwined tendrils in orange-red over dark brown1 showing in their style a curious affinity to certain of the cloud scrolls which appear on the fine textile remains of ,han times brought to light by me from ancient sites in the ,lop ,desert4#fc ,the two side-scenes above form part of a series extending along the left side of the picture and illustrating the ancient ,buddhist legend of ,ajtaatru1 the wicked son of ,king ,bimbisra4 ,chinese inscriptions accompany most of these scenes2 but the upper one of those here reproduced has lost its inscription and its identification is hence not quite certain4 ,it1 however1 appears to represent ,ajtaatru with his sword drawn menacing ,bimbisra1 who is attempting to draw his own4 ,both are wearing flowing robes such as form elsewhere in our paintings the costume of ministers4 ,the scene seems laid below the stairs leading up to the royal palace4 ,the scene below appears1 according to the but partially legible inscription1 to represent ,ajtaatru after repentance entering the ,buddhist monkhood4 ,what survives of the scene shows three men in plain belted coats advancing to the left in front of a decorated and streamered pavilion4 ,this and the building behind display very clearly characteristic features of ,chinese architecture such as the tiled roofs1 the recurving roof-tree ends1 the confronting bird heads on the roof ridge1 c4 ,on the right of the scene we see a subsidiary ,buddha1 standing with a ,bodhisattva by his side1 as in the corresponding groups of other ,paradise paintings4#fd ,the scenes below belong to a different series which extended along the bottom of the picture4 ,they show in the left corner the ,death of the ,wicked4 ,he lies stretched out on a couch placed in a verandah with his wife watching him1 while two shock-headed demons strangle him with scarlet ropes4 ,below is seen on a cloud1 as a vision1 the boiling cauldron into which his body is being flung by one of the ox-headed gaolers of hell1 who stands by carrying a trident-shaped pitchfork4 ,the adjoining scene depicts the ,sickness of the ,wicked4 ,he sits up1 supported by a woman1 on the bed laid within a porch or verandah4 ,in the foreground a younger woman with a lute and a man carrying a leaf-shaped red object and stooping advance towards what seems a mat with offerings laid on the ground4 ,they are small black dishes with red contents 7burning incense871 clouds of white smoke drifting from some of them4 ,the third scene of this series is incomplete and having lost its inscription cannot be identified4 ,it shows a man in purple coat and tailed cap running to the back of the scene between a verandahed structure and a shrine built of grey tiles1 with his hands brandishing a stick over his head4 ,in front a man1 similarly dressed and perhaps meant to be the same person1 is seen with bared arms and body violently belabouring another1 in purple coat and with the blue close-cropped hair of a monk1 who kneels on the ground and holds his hand to his head4 ,of the fragments of the main picture reproduced on the right the upper one shows us a group of musicians1 seated on a small evidently carpeted platform and facing towards a dancer 7now lost7 as usually seen in the large ,paradise pictures4 ,of the instruments played a psaltery1 harp1 lute1 and two flutes of different kinds are still recognizable4 ,it is of interest to note that the carpet with a ,chinese floral pattern in the centre combines a medallion border of unmistakably #8,sassanian' design4#fe ,the ,bodhisattva figure on the left belongs to the group of a standing subsidiary ,buddha already mentioned4 ,the fragment reproduced below is from the top left corner of the picture4 ,there1 against a deep blue sky sprinkled with gilded stars and above the steeply curved indigo roof of a celestial mansion1 we see a flaming jewel on a lotus pedestal2 white streamers flying from a central pavilion2 small drums floating in air to symbolize heavenly music1 and in the middle ,samantabhadra seated on his white elephant and attended by two ,bodhisattvas4 ,the drums1 painted dark brown and tied with red ribbons1 are of interest on account of their different shapes4 ,whether cylindrical or narrow-waisted1 they have strings stretched outside for the production of different notes by pressure under the arm4 ,one has also a projecting staff with cross-hammer4 ,,plate ,,xxxi ,a ,,tibetan ,,painting ,,of ,t,r ,this ,plate reproduces the only painting 7,ch4 lii4 #jja1 scale three-fourths7 among those brought away from the walled-up chapel which is entirely ,tibetan in style4 ,the special interest it derives from this fact is further increased by the probability of its being #8the oldest of its kind now in existence1 or at least one of the oldest'4 ,mr4 ,binyon in his ,introduction#ff has already referred to the ,tibetan supremacy established in the ,tun-huang region from the middle of the eighth to the middle of the ninth century as explaining the presence of this ,tibetan painting4 ,he has also lucidly discussed the relation which links the art of ,buddhist ,tibet1 in spite of its marked and strangely persistent peculiarities1 closely with ,chinese art4 ,my remarks may hence be confined to the technique and iconography of the painting4 ,the picture1 which is preserved complete together with its frame of dark green silk1 is painted in tempera on strong close-woven linen4 ,the colours have generally darkened and in places have been rubbed off1 leaving whitish patches or the cloth bare4#fg ,the subject is the goddess ,tr1 the akti or female emanation of ,avalokitevara4 ,the goddess1 represented in her usual form as a beautiful young woman1 is seated in the centre on a variegated lotus which floats on the blue water of a lake4 ,she sits with her right knee raised and the left leg bent across4 ,the right hand with palm turned outwards in the vara-mudr rests on the right knee1 the left is at the breast1 both holding long curving sprays with a conventional blue lotus at the end4 ,the pose of the body slightly inclined to the right is balanced by the head leaning in the opposite direction4 ,the sinuous line of the whole figure conforms to a characteristic tendency of ,tibetan art4 ,the flesh had been gilded1 but this gilding has almost entirely worn off4 ,the goddess wears a dark red skirt and stole spangled with gilded flowers4 ,her knees are covered with elaborately ornamented caps4 ,rich jewellery decks neck and breast4 ,above her black hair bound with scarlet fillets is set a five-leaved tiara with a high-peaked crown4 ,a nimbus of very dark green1 now almost turned to black1 sets off the head1 while behind the figure is shown an oval vesica with a rayed border of rainbow-like colours4 ,on a dark cloud above the goddess's head appears the small figure of a ,buddha seated in meditation with the alms-bowl in his lap4 ,on either side of him1 on praying mats carried by dark green clouds1 sit two black-haloed saints wearing the peaked hoods of ,lamas4 ,along the sides of the picture are ranged eight subsidiary forms of ,tr1 differentiated by varying colours of flesh and dress4 ,their pose is the same as that of the central goddess2 the right hand rests on the knee1 holding a flask1 and the left raises a long-stemmed blue lotus4 ,interspersed between these subsidiary ,trs are shown six scenes of deliverance from ,calamities similar to those represented on the sides of certain ,paradise paintings1 such as the one in ,plates ,i1 ,,ii4 ,not all are intelligible2 but we may note in the middle one on the left a man being pushed over a cliff into the lake4 ,in the scene opposite on the right he is seen calmly kneeling on a lotus1 flame-encircled1 while another man on the cliff above looks on in astonishment4 ,in the left bottom corner are seen three men pursued by different animals1 and to the right of them a barge-like boat sailing on the lake1 with a fourth man kneeling in prayer4 ,the men throughout these scenes are shown in ,chinese secular costume such as is often seen in our ,jtaka banners4 ,while these figures clearly point to a ,chinese model of the scenes1 the demonic deity in the centre of the foreground shows characteristic features of truly ,tibetan taste4 ,his squat dark blue figure sits sideways on a yellow horse1 brandishing a scarlet club in his right hand4 ,his hair is a flaming mass streaming upwards2 a man's bleeding head hangs from his saddle-cloth4 ,it is impossible to mistake here a conception of that monstrous type which ,tibetan ,buddhism under the influence of ,tantra doctrines absorbed from ,india and under that of its own demon worship has always greatly cherished4 ,,plate ,,xxxii ,,paper ,,pictures ,,of ,a ,,bodhisattva1 ,,saint1 ,,and ,,monk ,of the pictures reproduced in this ,plate 7all on the scale of three-fifths7 the two on the sides bear ,tibetan inscriptions and thereby prove themselves as produced and deposited after the ,tibetan conquest of ,tun-huang4 ,but there is nothing essential to distinguish their style from that of other of our paintings in which hieratic figures are represented with close adherence to traditional treatment derived from ,india4 ,the paper painting on the left 7,ch4 #jjcgg7 shows a ,bodhisattva of the type above designated as #8,indian' seated on a yellow lotus1 with legs all but crossed and the right hand raised in the vitarka-mudr4 ,the ,tibetan inscription kindly read by ,dr4 ,barnett#fh describes him as the #8,lord of the upper region'1 and as the ,indian cosmic system places the ,sun and ,moon in this #8upper region'1 the discs above the ,bodhisattva1 with the emblem of the ,sun god on the right and that of the ,moon god 7now effaced7 on the left1 are fully accounted for4 ,the ,bodhisattva's face bears a somewhat ferocious aspect2 his flesh is faintly coloured with pink4 ,his garments are touched with pink1 crimson1 and olive green1 while the jewellery is left uncoloured4 ,the black hair is tied into a high topknot and descends in stylized ringlets on the shoulders4 ,the oval nimbus and vesica are both edged with flames4 ,the paper painting 7,ch4 #jjcgf7 on the right1 which belongs to the same series1 is a more pleasing production4 ,according to the ,tibetan inscription below the haloed figure represents ,klika1 a disciple of kyamuni and the fourth of the ,great ,apostles4 ,he is seated on a mat1 cross-legged and wrapped in a red and buff mantle lined with olive green4 ,the right hand carries the mendicant's bowl2 the head is shaven4 ,the monk's features are full of character and drawn with much decision4 ,on the right is stuck the beggar's staff1 with a bracket from which hangs his wallet4 ,superior to these paintings in design and workmanship is the drawing on paper 7,ch4 #jjade7 reproduced in the middle4 ,it shows a monk seated on a mat in meditation4 ,his shaven head1 with large1 somewhat straight1 features1 bears an expression of firmness and concentration admirably rendered with a few fluent lines4 ,neither eyes nor nose and mouth bear a ,chinese look4 ,and yet the whole drawing clearly bears the impress of a ,chinese artist's brush4 ,the monk wears an ample mantle1 and below it an under-robe with conventional cross bars marking the mendicant's patched garb4 ,in front are deposited his shoes1 behind to the left is placed a high stoppered vase1 while on a thorn-tree to the right are hung his rosary and wallet4 ,the drawing of the tree is unmistakably ,chinese in character1 and the whole disposition of the little picture illustrates the mastery of spacing inherent in ,chinese artistic feeling4 ,for once we are taken away from the sphere of hieratic conventions and brought into touch with life as the eyes of the artist1 or those of an earlier master1 saw it4 ,,plate ,,xxxiii ,,paper ,,pictures ,,of ,,hermit ,,and ,,horse-,,dragon ,the two pictures on paper reproduced in this ,plate on the scale of three-fourths claim interest by their subjects as well as by their artistic merit4 ,the one on the right 7,ch4 #jjchj7 presents an aged hermit with a tiger walking by his side4 ,the hermit is represented with a face extremely wrinkled1 shaggy eyebrows1 deeply sunken eyes and cheeks4 ,with his right hand he leans upon a rough staff1 in his left he carries a stick ending in a ,vajra and fly-whisk4 ,he wears sandals1 long spotted trousers1 and two tunics1 the shorter of which is spotted1 has long sleeves1 and reaches below the waist4 ,his head is covered by a mushroom hat put above a skull-cap and tied under the chin by scarlet bands4 ,on his back is seen a bundle of manuscript rolls tied in a cover and slung by a chain to a thorny branch4 ,the attachment of this branch to the hermit's person is not clear2 but in another picture of the same subject a pole supporting the bundle is shown as carried on his right shoulder4 ,on the further side of the old man there advances a tiger of disproportionately small size4 ,both figures stand on a cloud of dark red fire1 and above them in the left top corner appears a small seated ,buddha1 also on a cloud4 ,the paint used for the cloud scrolls has destroyed much of the paper1 and of the figure too1 where it was used on it4 ,the only other colours are grey and a light pink1 distributed over the clothing and figure1 while the flesh is left uncoloured4 ,the drawing of the hermit's figure is done with masterly skill1 especially in the features1 to which impressive strength is imparted by a few lines combining firmness with great freedom4 ,very different in character is the picture on the left 7,ch4 #jjaej71 one of the very few non-,buddhistic paintings from the #8,thousand ,buddhas'4 ,its subject has not been determined with certainty1 but may possibly be related to the story of how the ,emperor ,fu-hsi1 the legendary founder of the ,chinese polity1 first received the system of written characters from a #8horse-dragon'4#fi ,before the kneeling monster we see standing a bearded man1 with smiling face1 who holds tablet and brush in his hands in the act of writing4 ,the back of his figure has been cut off when adapting the picture as a mount for the two woodcuts under which it was discovered4 ,he is clad in a white-sleeved under-robe1 long pink mantle1 and a stiff black head-dress with a square ornament stuck in front4 ,a branching column of flame rises from the tablet4 ,others stream from the dragon's head and body4 ,the dragon is a composite monster4 ,the head is of a conventional lion-like type1 with voluminous upstanding mane1 out of which rise three sharp-pointed objects resembling mountain peaks4 ,the body suggests that of a scaly snake1 with wings of curling feathers attached and with the forelegs of a bull 7874 ,in the foreground lies a string of square-holed ,chinese coins1 an emblem the meaning of which at present escapes us4 ,the whole is drawn with much vigour and1 in spite of the fearsome appearance of the monster1 with a distinct touch of humour4 ,,plates ,,xxxiv1 ,,xxxv ,,embroidery ,,picture ,,of ,,kyamuni ,,on ,,the ,,vulture ,,peak ,the large hanging in silk embroidery 7,ch4 #jjbfj71 to which the small scale1 one-tenth1 and certain photographic difficulties do not allow full justice to be done in this reproduction1 is by its size--the perfectly preserved central figure is close upon life-size--by its remarkably skilful execution1 and by its fine colours one of the most impressive of the pictorial remains recovered4 ,that it represents kyamuni on ,gdhraka1 the #8,vulture ,peak'1 famous in ,buddhist legend and situated near ,rjagha1 the present ,rjgir1 is conclusively proved by the rocks behind the ,buddha's figure in the centre4 ,this fine1 if hieratically stiff1 figure1 as ,i have already had occasion to point out1#gj when discussing the statues shown by the pictures in ,plates ,,xiii and ,,xiv1 in every detail of its pose and dress reproduces a specific type1 fixed originally by some ,indian sculptural representation4#ga ,but if its iconographic characteristics are determined by long hieratic tradition1 it is different with the setting it has found here4 ,in the whole composition of our picture is revealed the individual touch of a master1 and the skill and taste of the craftsmen who reproduced his work make it easy for us to recognize the merits of the lost original4 ,the design in our hanging has been worked solid throughout in satin-stitch4 ,the embroidery has been executed with admirable care and the silks used have remained clean and glossy4#gb ,the ground is a coarse natural-coloured linen faced with light buff silk4 ,this has mostly worn off in the interspaces of figures4 ,two of the figures1 too1 representing monkish disciples1 having fallen along the line of folding1 while the hanging was stored away and crushed for long centuries1 have perished except for remains of the heads4 ,otherwise the picture is practically complete1 and neither the effect of the whole nor that of characteristic features of treatment is impaired4 kyamuni stands facing the spectator with his feet on a lotus4 ,his right arm hangs stiffly by his side with the fingers stretched downwards and the palm turned to the side4 ,the arm wrapped in the folds of the glowing red mantle holds an #8ear' of it gathered at the breast4 ,the mantle closely draped about the body falls in a point to below the knees and allows a light green under-robe to be seen thence to the ankles4 ,the yellow lining of the mantle shows in a rippling edge along the outline of the left arm and down the body1 a device which is familiar already to ,gandhra sculpture4 ,the right shoulder and arm are left bare and are painted a deep golden yellow4 ,the ,buddha's face is shown in light buff and1 curiously enough1 the right forearm as well4 ,this distinction is emphasized in the case of the latter by the work being executed in thin rows of chain-stitch and is obviously intentional4 ,but its iconographic significance is for the present uncertain4#gc ,behind the head1 with its narrow1 slightly slanting eyes and hair of very dark indigo1 appears a nimbus in plain rings of variegated colours4 ,a narrow halo shaped like a lotus petal1 similarly coloured1 surrounds the whole figure1 and behind this again appears a border of rocks emblematic of the ,vulture ,peak4 ,by the side of the ,buddha stand pairs of disciples and ,bodhisattvas1 both on lotuses4 ,the latter1 who may represent ,avalokitevara and ,mahsthma1 turn three-fourths towards him2 the one on the left with hands in adoration1 the other with both arms slightly advanced from the elbows and the right hand held as if in the vara-mudr4 ,the dress and adornments of these figures conform to those of ,bodhisattvas of the #8,indian' type as already noticed1 but are drawn more trimly4 ,a certain stiffness and simplicity in their design suggest close affinity to ,indian models4 ,but in the ,bodhisattvas' faces we notice the influence of ,chinese style1 as also in the ornamental borders of their dress4 ,of the disciples' figures in the background enough remains to show that their heads were shaven and haloed and their dress that of monks1 with mantles barred with cross-stripes4 ,the face of the one on the ,buddha's left was lined and frowning1 which suggests identity with ,kyapa2 the other with face plump and benign may represent riputra4 ,by the side of the small and somewhat stiff canopy above kyamuni's head are seen two graceful ,apsaras floating down with outspread arms1 borne up by fine cloud scrolls and their billowing stoles4 ,their resemblance to the ,apsaras of ,plates ,x and ,,xi is striking4 ,below the ,buddha's feet there kneels on either side a small lion of conventional type with one forepaw lifted4 ,below them again is a panel for a dedication1 which1 however1 has never been worked in4 ,of the narrow cartouches placed by each line of donors1 only the two foremost on the men's side bear ,chinese characters1 now mostly illegible4 ,the groups of donors on either side of the panel1 disposed in strict symmetry1 present special interest by their life-like treatment and by their costumes4 ,this is easily seen from ,plate ,,xxxv1 which reproduces the group of the ladies on the more adequate scale of two-fifths4 ,arrayed in three lines and kneeling on mats1 they all wear a very plain type of dress4 ,it comprises high-waisted skirts of brown1 green1 or blue1 bodices with long close-fitting sleeves1 and small shawl-like stoles4 ,they have no jewels1 and their hair is done in a small topknot without any ornaments4 ,by the side of the hindmost two ladies kneels a child1 and at the back stands a young female attendant in a long plain gown4 ,on the men's side there kneels foremost a shaven monk in a brown cloak1 behind him three men dressed in long belted coats of light greenish-blue and wearing peaked and tailed caps of dark brown or blue4 ,a young attendant with bare head holding a staff stands at the back4 ,a glance at the lay donors is enough to prove that the dress in each case is in closest agreement with that worn by the donors in the two paintings of ,amitbha's ,paradise in ,plates ,x and ,,xi4#gd ,for these a series of concordant indications postulates a date distinctly older than that of our earliest dated picture of ,a4,d4 #hfd4ge ,a variety of considerations lead me to believe that the date of those two paintings and of our hanging as well cannot be later than the eighth century1 but may possibly be even somewhat earlier4#gf ,in accessory details1 too1 a very close contact reveals itself between the embroidery picture and the paintings shown in ,plates ,x and ,,xi1 proving that they belong to the same period and were probably produced under the influence of the same pictorial school4 ,in all three we see the identical pair of graceful ,apsaras figures1 in an attitude not found elsewhere among our paintings4 ,in the dress of the ,bodhisattvas we may note as a common peculiarity the same brocade-like decoration of the edges of the lower robes4 ,peculiar1 too1 to the three pictures are the plain sage-green lotus seed-beds underfoot or as seats of the divine figures4 ,whatever the exact date of production may be1 there seems little reason to doubt that the hanging must rank with the oldest of our ,ch#8ien-fo-tung paintings4 ,the needlework is of the finest1 as ,plate ,,xxxv shows with particular clearness1 and to this the picture owes the striking freshness of its colour effects and the excellent preservation of all parts that remain4 ,,plate ,,xxxvi ,,bhai,,ajyaguru',s ,,paradise ,the subject of the silk painting 7,ch4 liii4 #jjb7 reproduced here on the scale of one-sixth is a ,buddhist ,heaven1 and by evidence of the side-scenes preserved on the right1 which are identical with those of the larger painting seen in ,plates ,i and ,,ii1 it can be recognized with ,m4 ,petrucci as another representation of ,bhaiajyaguru's ,paradise4 ,the reproduction in our ,plate is too small to permit of close study of details4 ,but it suffices to convey an adequate impression of the style and general arrangement which correspond closely to those of the larger painting fully discussed above4 ,for these reasons my comments may be brief here4 ,apart from the top and bottom portions and the side-scenes on the left1 which are lost1 our painting is in excellent condition and retains its colours in particular freshness4 ,the colouring is rendered very distinctive by the large proportion of black and blue4 ,the drawing is refined and the work well finished throughout4 ,in the centre we see the figure of the presiding ,buddha in the same pose and dress as seen in ,plate ,,ii2 his flesh here1 too1 is yellow shaded with pink4 ,the two enthroned ,bodhisattvas on either side carry here purple or scarlet lotus buds in the hands nearest him and hold the others in the vitarka-mudr4 ,immediately behind the central ,buddha are seen four haloed monkish disciples with close-cropped black hair4 ,the rest of the company on the main terrace is made up of twelve smaller ,bodhisattvas seated with their hands in mystic poses or holding lotus buds1 and two blue-haired nymphs kneeling in very graceful attitudes by the altar and holding offerings4 ,in front of the altar is seen a richly dressed dancer performing on a projecting terrace1 attended by six musicians who are here of a masculine type with long hair like that of ,bodhisattvas4 ,below at the sides remain in part the figures of two subsidiary ,buddhas1 probably seated1 with attendant ,bodhisattvas and elaborate canopies1 like those shown above the enthroned figures in the centre4 ,on the gangway leading down from the dancer's terrace stands a peacock1 and below it appear the heads of six of the ,kings1 probably twelve altogether1 who were represented in the centre4 ,the lake of the ,paradise is seen here only on the top of the picture about the piles supporting celestial mansions4 ,these consist of a high-roofed central pavilion and two open hexagonal shrines with pagoda roofs4 ,these are occupied each by a small seated ,buddha and are joined to the central building by curving gangways which slope down steeply to the lake4 ,the marginal scenes on the right are drawn as always in purely ,chinese style and correspond to those in ,plate ,i1 the connexion of which with the legend of ,bhaiajyaguru's last incarnation has already been touched upon4#gg ,,plate ,,xxxvii ,,banners ,,with ,,scenes ,,from ,,the ,,buddha ,,legend ,in my preliminary comments on ,plate ,,xii ,i have already had occasion to discuss briefly the general characteristics of that interesting series of silk banners which illustrate the legendary life of ,gautama ,buddha and scenes closely connected with it4#gh ,this makes it possible to restrict my remarks on the paintings reproduced in our ,plate mainly to the interpretation of the incidents and objects they are intended to represent4 ,the two banners 7,ch4 lv4 #jji-aj7 shown on the sides of the ,plate on the scale of three-eighths form a pair exhibiting common characteristics in all externals and undoubtedly painted by the same hand4#gi ,but for the loss of all accessories and some damage to the top and bottom scenes they are both excellently preserved4 ,the drawing is notable for its fine yet vigorous brush-strokes1 the colours strong and clear4 ,the painter's skill displays itself particularly in the landscapes of the background1 which convey a sense of great width and distance4 ,like the figures1 architecture1 spacing1 c41 of these banners they are thoroughly ,chinese in their treatment4 ,in the banner on the left 7,ch4 lv4 #jji7 the topmost scene shows the meeting of ,gautama ,buddha in a former birth with ,dpakara ,buddha4 ,in open country with mountains in the background the ,buddha advances to the right followed by two attendants in dress of the ,bodhisattva type4 ,with his left hand he touches the head of the boy1 the future ,gautama1 who bows down before him with hands joined in adoration4 ,the boy wears a short deer-skin tunic and is bare-headed4 ,the ,buddha's right hand is lifted in the gesture of #8,protection'4 ,the scene next below1 chronologically out of order1 represents the first three of ,prince ,gautama's famous #8,four ,encounters' condensed1 as it were1 into one4 ,it shows with much realism the sick man on his bedstead supported by an attendant1 the old man being led by a boy1 and the putrified corpse4 ,the first two of these #8,encounters' we have already met with in ,plate ,,xii4 ,from the corpse there rises a cloud carrying a small kneeling figure in ,chinese secular dress with belted coat and tailed cap4 ,the figure is turned towards a palace-like structure raised on clouds and representing an abode of the blessed4 ,that the figure of ,gautama is absent from the scene may seem strange4 ,but the omission of the ascetic's figure is less surprising4 ,in the fourth #8,encounter' of the legend he symbolizes the way of salvation1 and for ,chinese eyes this may seem appropriately replaced by the vision of a heavenly abode4 ,the large paintings show us how completely the hope of ,sukhvat1 the ,buddhist ,paradise1 has effaced the desire of ,nirva in the minds of pious ,chinese4 ,the succeeding scene represents the ,bodhisattva's miraculous ,descent or ,conception as revealed to his mother in her dream4 ,in a court of the palace of ,kapilavastu ,queen ,my is shown lying asleep upon a couch placed within a projecting apartment4 ,its green rush-blinds are partly rolled up4 ,the infant ,bodhisattva is seen kneeling with hands clasped on the back of the traditional white elephant1 which gallops towards ,my2 two attendants kneel beside him4 ,the whole group1 enclosed within a circular space1 is carried on a cloud and thus clearly marked as a vision4#hj ,the bottom scene1 which1 unlike the rest1 is not to be found among the very numerous representations of ,gautama's ,nativity in ,graeco-,buddhist sculpture1 seems to show ,my's return to her father's palace after the dream4#ha ,my1 distinguished by a golden ornament on her head1 is seen walking with a woman attendant from the palace of ,kapilavastu4 ,both wear wide-sleeved over-jackets in which they muffle their hands4 ,in the companion banner 7,ch4 lv4 #jjaj7 on the right we see scenes which continue the story of the ,nativity in chronological sequence4 ,the top scene shows ,my asleep in the same pavilion and pose as in the #8,descent' scene1 but with three figures kneeling outside to the left on a cloud and in adoring attitude4 ,the interpretation is uncertain4 ,the succeeding scene1 though also absent in the ,gandhra relievos1 is quite clear in its character4 ,it presents to us ,my on her way to the ,lumbin garden4 ,she is seated in a gaily coloured palanquin carried by four bearers1 whose rapid movement is excellently expressed4 ,two more men carry trestles on which to set the palanquin down4 ,immediately below we see the miraculous birth of ,gautama ,bodhisattva1 a familiar subject in ,buddhist art of all times and regions4 ,the child's issue from the mother's right flank and her pose grasping a bough are in close conformity with ,indian tradition4 ,but the ingenious use made of ,my's wide-hanging sleeve discreetly to screen the act of birth seems characteristically ,chinese4 ,the infant is springing downwards where a woman attendant kneels to receive him on a cloth4 ,a white lotus appears where he is about to fall4 ,the #8,nativity' series is completed in the lowest panel by the famous incident of the ,seven ,steps1 with lotuses springing up beneath where the ,infant ,bodhisattva has set his feet4 ,to the right stands ,my1 with her hands muffled in her long sleeves and her head turned back towards the young child4 ,to the left of him stands two women attendants with bowed heads and hands raised in wonder or adoration4 ,enough of the landscape remains to show that the scene was laid in the same grounds as the preceding two4 ,the ,chinese inscription in the cartouche confirms the interpretation4 ,the scene of the ,seven ,steps appears also at the bottom of the silk banner 7,ch4 #jjaad71 which is shown in the middle of the ,plate reduced to one-third of its size4 ,it is painted in a more ornate style than the other two1 but lacks their sense of life and space4 ,here the child steps forward with an air of difficulty but determination1 the left arm stretched upwards4 ,four ladies bend over him in surprise and adoration4 ,behind to the left appear a fifth lady and a man wearing a belted yellow robe and tailed cap4 ,their identity is doubtful4 ,the scene is preceded by the ,bath of the ,infant4 ,the newly born ,bodhisattva stands in a golden laver1 raised on a stand between two palm-trees4 ,their tops are lost in a curling mass of black cloud1 and in this there appear1 ranged archwise1 the heads of the #8nine ,dragons of the air'1 gazing down on the infant with open mouths4 ,a well-known ,buddhist tradition makes ,ngas or divinities of the thunder-clouds1 i4e4 #8,dragons' in ,chinese eyes1 perform the laving of the ,new-born4 ,the descent of the water1 which their mouths are supposed to pour forth1 is not actually represented here4 ,five women stand round1 one holding a towel4 ,the upper portion of the banner shows the ,seven ,jewels 7sapta ratnni7 associated in tradition with ,gautama4 ,according to ancient ,indian notions1 the ,seven ,jewels1 i4e4 the best specimens of each kind that appear during the reign1 appertain to every ,cakravartin1 or ,universal ,monarch1 from his birth1 and there is good reason to believe that the ,predestined ,one was credited with this character and its attributes from an early date4 ,we see them represented here in two groups3 in the upper one the wheel1 emblem of sovereign rule2 the strong-box1 symbolizing the jewel or treasure2 the general and the wife2 in the lower one the minister1 the elephant1 and the horse4 ,they all stand on the curling white clouds1 stylized in a peculiar fashion and edged in red1 blue1 and green4 ,flaming jewels adorn the wheel1 the horse1 and the elephant4 ,the general1 clad in a coat of scale-armour and resembling a ,lokapla1 holds with his right hand a narrow oblong shield and in his left a pennoned lance4 ,the wife1 ,yaodhar1 is attired in a trailing skirt and wide jacket with sleeves reaching to the ground4 ,her hair1 as usual with royal ladies represented in the ,life scenes1 is bound with a gold fillet and done in two high loops rising up from the crown4 ,the minister's dress is like hers1 with a long terra-cotta band tied in a bow hanging down the back4 ,in the white horse1 with red mane and tail1 we recognize1 of course1 ,kahaka1 the ,bodhisattva's cherished steed1 a favourite figure in the ,life scenes of our banners4 ,,plate ,,xxxviii ,,buddha ,,teja,,prabha ,,and ,,avalokite,,vara ,,as ,,guide ,,of ,,souls ,the two silk paintings reproduced in this ,plate on the scale of one-fourth1 and originally mounted as ,kakemonos1 present special interest on account of their subjects and treatment4 ,the one above 7,ch4 liv4 #jjg71 according to the ,chinese inscription in the left-hand top corner1 dates from ,a4 ,d4 #hig1 and yet is painted in a style which1 as pointed out by ,mr4 ,binyon1#hb looks distinctly earlier4 ,it represents the ,buddha ,tejaprabha 7#8radiant with light'7 on a chariot which two bullocks draw1 and surrounded by the genii of the five planets whom the inscription mentions4 ,the same subject appears to be treated also in one of the finest of the wall-paintings of the ,thousand ,buddhas' ,caves4#hc ,the ,buddha is shown seated on a blue lotus which occupies the top of an open two-wheeled car4 ,a draped altar placed in front of him across its shafts is decked with gilded vessels4 ,two elaborately decorated flags float behind the car1 hung from slanting poles4 ,the ,buddha1 whose figure alone in the picture shows distinct ,indian convention1 raises his right hand in the abhaya-mudr4 ,his flesh was originally gilded and his hair is shown blue4 ,rays of different colours radiate from his person1 replacing a halo4 ,overhead a rich canopy waving in his advance symbolizes rapid movement4 ,by the side of the trotting bullock strides a dark-skinned attendant1 recalling the #8,indian' leaders of ,majur's and ,samantabhadra's mounts1 but carrying a mendicant's staff instead of a goad and playing a sistrum with his left hand1 as clearly seen in the original4 ,of the genii represented two stand beyond the car dressed in ,chinese official costume with trailing under-robes and wide-sleeved jackets4 ,the one on the left carries a dish of flowers1 and within the crown of his black head-dress appears a white boar's head4 ,the other on the right holds a brush and a tablet in his hands2 between two loops of his elaborate head-dress there rises the figure of a monkey4 ,a third1 dressed all in white1 plays upon a large lute with a very long plectrum2#hd his head is surmounted by a phoenix4 ,the figure of the fourth divinity is of demonic type1 four-armed1 with fiery hair and grotesque features4 ,the right hands carry sword and arrow1 and the left hands a trident and bow2 above his crown is seen a horse's head4 ,with the comparative stiffness of the figures contrasts the freedom of the whirling mass of cloud upon which the whole group is shown sweeping past as in a vision4 ,the colouring is strong1 yet harmonious1 and the workmanship careful4 ,the picture below 7,ch4 lvii4 #jjb71 which is in excellent preservation and still retained its original ,kakemono mounting of brown silk1 is a noble composition strikingly different in style and entirely ,chinese in feeling4 ,it shows the figure of ,avalokitevara1 as ,guide of ,souls1 drawn with much dignity and grace1 and behind him an attendant soul represented on a smaller scale in the guise of a ,chinese woman4 ,the figure of ,avalokitevara1 who turns head and gaze backwards over the left shoulder1 is in physical features and dress a fine specimen of the #8,chinese' ,bodhisattva type already repeatedly noticed4 ,in his right hand he carries a smoking censer1 in his left a curving lotus spray and a waving white banner with triangular top and streamers1 the whole exactly alike in shape to the silk banners brought away from ,ch#8ien-fo-tung4 ,in the dress of soft and harmoniously blended colours the elaborate rosettes of the borders may be noted as manifestly reproducing contemporary textile patterns4 ,the figure of the woman behind1 with her head bowed and hands muffled in wide sleeves at her breast1 well expresses devout reliance on the divine guide4 ,her attire1 by the brilliant colouring of the robes and the absence of the elaborate metal head-dress1 stands out in marked contrast to the costume familiar from the donor figures of our tenth-century paintings4 ,the purple cloud which carries both figures sweeps up behind them to the top of the picture4 ,there a ,chinese mansion resting on conventional cloud scrolls represents the ,paradise to which ,avalokitevara leads his worshippers4 ,by the evidence of the dress and coiffure of the ,bodhisattva's attendant1 which seem to belong to post-,t#8ang times1 the painting may be classed amongst the latest of the deposit4 ,but what for our appreciation of this beautiful picture must matter far more than this chronological difference is the fact that the style of its design and its refined execution give full and exclusive expression just to those qualities which are characteristic of ,chinese pictorial art at its best4 ,as ,mr4 ,binyon1 when comparing this picture with another presentation of ,avalokitevara1 the one reproduced in our ,plate ,,xlii1 has pregnantly put it1 #8we have here a sense of suavity and flexile movement4 ,flowers seem really to be floating down the air1 and the cloud on which the votaress follows the ,bodhisattva coils up with a wavering motion4 ,we feel the presence of the ,chinese genius1 with its instinct for living movement1 and its love of sinuous line1 and its reticent spacing4'#he ,,plate ,,xxxix ,k,,itigarbha ,,with ,,the ,,infernal ,,judges ,the small picture 7,ch4 lxi4 #jji7 reproduced here on half-scale is remarkable for its peculiar colour scheme and for its archaic appearance in composition and drawing4 ,it represents ,kitigarbha in his combined character as ,patron of ,travellers1 ,regent of ,hell1 and ,lord of the ,six ,worlds of ,desire4 ,we have already above1 when dealing with the paintings reproduced in ,plate ,,xxv1 had occasion to indicate briefly the several functions which have made this ,bodhisattva one of the most popular figures in the ,buddhist ,pantheon of the ,far ,east4#hf ,our observations here may1 therefore1 be restricted to particular features of his presentation4 ,the picture is painted on indigo blue silk which1 though much broken1 especially on the edges1 yet retains the strong colours of the painting in great freshness4 ,kitigarbha in stiff hieratic attitude is seated on a red ,padmsana with his left leg resting on a small lotus and the right bent across4 ,with his right hand raised he grasps the mendicant's staff1 while the left1 palm uppermost1 is held outwards empty4 ,over an under-robe of yellow with vermilion border he carries a maroon-bordered mantle of perished colour1 while a traveller's shawl of maroon covers head and shoulders4 ,gilded diamonds sprinkle shawl and borders4 ,the face and breast are gilded1 but the exposed portions of the limbs are painted light red4 ,from the large circular halo in blue1 vermilion1 and white spread out on either side three waving rays in the same colours1 intended to bear figures representative of the ,six ,worlds 7gati7 as seen in ,plate ,,xxv2 but these have not been drawn in4 ,on either side of the ,bodhisattva stands an amply robed figure with hands in adoration4 ,from the fashion in which the hair of the figure on the left is done in two knobs it can be recognized as a man1 while the hair descending in a roll on the neck of the other figure marks it as a woman4 ,whether the donor and his wife are intended is not certain4 ,in slanting rows descending from ,kitigarbha's lotus seat the ,ten ,infernal ,judges are shown sitting on their heels1 five on each side4 ,they wear magisterial robes with head-dresses of varying shapes and carry narrow rolls of paper in their hands4 ,their faces1 drawn in three-quarter profile1 show some endeavour at individual characterization4 ,behind them on the right stand two men1 with belted coats and wide-brimmed hats1 holding a small and a very large roll of paper respectively4 ,a third man1 in a corresponding position on the left1 carries what appears to be a writing-brush4 ,in the foreground we see again1 crouching1 a white lion1 of very stylized form4 ,a man's figure1 probably representing the soul of a departed1 stands in adoring pose at its head1 while on the opposite side another person with grotesque features raises his hands imploringly towards ,kitigarbha4 ,both as regards its archaic style of design and its peculiar hard colouring the picture has no pendant in our collection4 ,but1 as ,mr4 ,binyon has justly observed1 it remains at present uncertain #8whether the primitive features may not be due to provincial style preserving old tradition rather than to actual antiquity'4#hg ,,plate ,,xl ,k,,itigarbha ,,as ,,patron ,,of ,,travellers ,the painting 7,ch4 #jjhd7 reproduced here on half the scale of the original also represents ,kitigarbha1 like the one in the preceding ,plate1 but shows striking differences of style in composition1 drawing1 and colouring4 ,simplicity of design1 delicacy of line1 and harmonious quiet of colours all combine to give to this picture a singular charm of its own1 admirably expressive of serene beatitude4 ,it is painted on pale green silk and1 except where it is broken at the bottom1 well preserved along with its border of greenish-blue silk4 ,we see the ,bodhisattva seated cross-legged on an open lotus with gracefully pointed red petals4 ,his face1 round and youthful1 bears an expression of benignant mildness4 ,the eyes1 long and straight1 are cast slightly downwards4 ,the right hand holds the mendicant's staff and the left1 resting on the knee1 a flaming ball of crystal4 ,he is dressed in a yellowish under-robe1 apparently lined with pink1 and a light green mantle which is barred and bordered with black4 ,head and shoulders are draped in a shawl of ,indian red ornamented with a faint spot pattern in yellow4 ,the nimbus and circular halo are ornamented with elaborate ray and floral patterns in red and green and edged with flames4 ,a broad band of white surrounds the whole figure and lifts it out of the green background4 ,in the corners of this are seen floating sprays with red flowers4 ,below in the left corner there remains the upper portion of the kneeling donor1 recognizable as a boy by his features and the way in which his hair is dressed4 ,in his joined hands he holds a lotus flower4 ,his loose-sleeved red coat is sprinkled with a circular flower pattern in yellow and black4 ,red flowers on tall stems rise on either side of him4 ,the cartouche to the right is left blank1 and so1 too1 the remainder of the space probably intended for a dedicatory inscription4 ,,plate ,,xli ,,avalokite,,vara ,,and ,,two ,,other ,,bodhisattvas ,the three pictures which this ,plate shows1 reduced to one-half of the original in the case of the two on the sides and to three-eighths in that of the middle one1 are characteristic specimens of those ,bodhisattva banners on silk which are very frequent among our ,tun-huang paintings4#hh ,the banner in the middle 7,ch4 i4 #jjac7 is completely preserved with its head-piece1 streamers1 and other accessories1 and its painted portion1 which alone is reproduced here1 retains its colours in excellent condition4 ,its subject is easily recognized as ,avalokitevara by the flask and the red lotus bud which he carries in his right and left hand respectively4 ,the ,bodhisattva's figure is shown sweeping to the left with trailing draperies and the head slightly bent1 gazing down at the lotus4 ,in features1 dress1 and general style of work it shares the characteristics of the #8,chinese' ,bodhisattva type repeatedly referred to before2 but the hollowed back gives a particularly graceful curve to the whole figure4 ,its special slimness and the wide semicircular line showing the setting of the eyes also deserve notice4 ,the modelling of the flesh by pink shading is well marked4 ,the parted mouth1 showing white teeth1 is unusual4 ,the colours are very bright1 and as the paint is applied very thickly1 the opaque white of the girdle and streamers contrasts rather harshly with the strong blue of the stole4 ,the silk banner on the left 7,ch4 xxiv4 #jjf7 is also in excellent preservation1 except for the lost accessories4 ,the ,bodhisattva who stands on a bluish-green lotus with hands in adoration remains in the absence of any particular indications unidentified4 ,figure1 attire1 and adornment conform to the #8,chinese' type of ,bodhisattvas2 but the skirt gathered up in front and showing bare legs is not usual4 ,the colour scheme is rich but harmonious and the workmanship in general faultless1 though confined to the familiar conventions of the type4 ,it is different with the fine ,bodhisattva of the banner 7,ch4 i4 #jjb7 seen on the right4 ,his figure is one of the most striking represented in the banners1 remarkable for the skilful pose combining dignity with rapid movement1 for the graceful sinuous lines of body and garments1 and the pronounced and distinctly non-,chinese features of the ,bodhisattva's face4 ,in view of a figure so distinctive and well defined1 it is a matter of regret that there is no clue at present to its iconographic identity4 ,the ,bodhisattva is seen walking away to the left1 presenting a three-fourths back-view1 with the head in profile over the left shoulder4 ,with the left hand he gathers up the folds of the gracefully coiling stole1 while the right1 bent back at shoulder level1 carries a pink lotus bud on the palm4 ,the erect carriage of the body and its movement with the weight thrown forward on the right foot are admirably expressed4 ,the canopy overhead1 with its freely swinging tassels and bells1 emphasizes the rapid movement which is suggested also by the feet being placed on two separate lotuses4 ,the nimbus shown merely in outline as an elliptical black ring allows the back of the head and coiffure to be seen through4 ,the falling loops of the stole and the drapery tied in a knot at the neck hide details of the upper portion of the dress4 ,but below it the waving folds of the glowing scarlet skirt are very skilfully rendered4 ,a close-fitting cap of red1 set with gold ornaments1 covers the head1 and from it projects at the back a large richly decorated gold ring apparently holding a tress of hair4 ,special interest attaches to the ,bodhisattva's face4 ,distinctly non-,chinese features are the long and prominent nose1 the marked depression below the low sloping forehead1 the long and straight eye4 ,the head is equally far removed from the classical type which ,gandhra art propagated4 ,a curious scornful expression is imparted to the face by the eyelid drawn in a straight line across the half-closed eye and by the pouting mouth4 ,its strangely foreign look remains doubly puzzling where everything else bears so clearly the impress of ,chinese workmanship4 ,,plate ,,xlii ,,avalokite,,vara1 ,,thousand-,,armed1 ,,with ,,attendant ,,divinities ,the large silk painting 7,ch4 xxviii4 #jjf7 reproduced in this ,plate on the much-reduced scale of one-sixth is a fine illustration of that intermingling of art influences for which ,tun-huang provided a classical meeting-place4 ,it shows ,avalokitevara with a thousand arms seated within a central disc1 and outside this some attendant divinities symmetrically grouped4 ,the scheme is thus closely akin to that of the ,avalokitevara #8,maala' seen in ,plate ,,xvii and fully discussed above4 ,but the number of divinities is much smaller and the composition in general less elaborate1 though there is abundance of ornament in the details4 ,the painting is complete except along its bottom1 and its colours are remarkably fresh4 ,the rich painted border of flower sprays which encloses the whole suggests the effect of naturalistic embroidery such as is found among the textile relics from the ,thousand ,buddhas4#hi ,avalokitevara's figure single-headed appears here too1 seated within a large circular halo formed by his #8thousand arms'1 each showing the symbolic open eye on the palm4 ,against this background are numerous inner arms1 all except four in the centre line of the figure carrying a multiplicity of sacred emblems well known to ,buddhist iconography1 such as the discs of the ,sun and ,moon1 trident1 ,vajra1 c4 ,owing to the excellent finish1 the details of all these1 as well as of the rich ornaments which deck the ,bodhisattva's body and head1 can be made out clearly4 ,in front of the high tiara appears the figure of ,amitbha1 his ,dhyni-buddha4 ,the ,bodhisattva's flesh is shown dull yellow shaded with pink4 ,the nimbus is made up of a superimposed series of pointed rays brilliantly coloured4 ,it is flame-edged like the border of the circular halo behind4 ,the variegated petals of the lotus seat have also brilliant colours2 gilding is used for their outlines as well as for all jewellery1 the vessels on the altar in front1 and the folds of ,avalokitevara's robes4 ,the background is divided into an upper and lower half4 ,the upper1 painted a thin light blue 7now almost gone7 and representing the sky1 is sprinkled with small gilded stars and falling blossoms4 ,in its top corners1 to the right and left respectively1 are shown the ,bodhisattvas of the ,sun and the ,moon seated on their respective #8,vhanas' of horses and geese1 within red and white discs which piled-up clouds carry4 ,against the lower half of the background1 painted a deep blue and representing a tiled floor1 are the haloed figures of the #8,sage' and the #8,nymph of ,virtue'1 kneeling on lotuses to the right and left respectively4 ,the former1 an emaciated old man of ascetic type1 yet wearing rich apparel1 raises his right hand in salutation1 and the #8,nymph' carries her dish of flowers1 as also in ,plate ,,xvii4 ,in the tank below we see again two armour-clad ,ngas holding up ,avalokitevara's disc4 ,in front of the tank is an altar decked with draperies of exquisitely rendered floral designs and carrying gilt sacrificial vessels4 ,in the bottom corners stride in violent movement many-armed demonic ,vajrapis in red and blue against a vividly painted background of flames4 ,with their fiery hair and grotesque features1 and by the ,tantric emblems they brandish in their hands1 they show closest kinship to the monstrous divinities of ,tantric origin in which the imagery of ,tibetan ,buddhism delights4 ,below them there kneel in adoration two small figures1 one with an elephant's head on the left and another with that of a rat on the right4 ,in these we may1 perhaps1 recognize ,gaea1 familiar to ,hindu mythology1 and the #8king of the sacred rats famous in ,khotan local worship4#ij ,in these figures and in a variety of other details to which ,mr4 ,binyon has very justly called attention1#ia we have striking indications of that mixed style of painting to which ,indian prototypes1 ,iranian and ,central-,asian influences1 and ,tibetan taste have all contributed elements1 albeit in very disparate proportions4 ,yet it does not need the ,chinese inscriptions1 found in a few of the cartouches and containing epithets of the respective divinities1 to convince us that we owe this highly finished painting to ,chinese workmanship4 ,this has left its marks clearly in a mass of exquisite detail and in that perfectly mastered technique which accounts for the strong decorative effect of the whole4 ,,plate ,,xliii ,,avalokite,,vara ,,with ,,lokap,,la ,,attendants ,the silk painting reproduced here with a reduction to one-third of the original 7,ch4 #jjaba7 is a particularly fine example of ,indian tradition preserved in ,chinese ,buddhist painting4 ,the picture1 damaged at the top and still more at its bottom1 shows us ,avalokitevara seated on a flat ,padmsana in the pose of #8royal ease'4 ,the shapely right hand hangs open over the raised right knee1 while the left hand1 now lost1 evidently rested on the other knee and held the long spray of purple lotus which rises beside the head4 ,the figure of the ,bodhisattva is presented in accordance with ,indian iconographic canons4 ,but the ease and distinction of the drawing1 which the simplicity of the figure and the scarcity of colour make all the more noticeable1 betoken the ,chinese artist's brush4 ,the slender-waisted body leans towards the left shoulder2 the limbs are long and slim2 the head erect4 ,the face is young and clean-shaven with an expression of serenity in the downcast slightly oblique eyes and the finely curved lips4 ,the hair rises in a high cone above the three-leaved tiara1 the front of which shows ,avalokitevara's ,dhyni-buddha1 ,amitbha4 ,the flesh is left uncoloured4 ,the dress is confined to a short crimson lag wrapped about the loins1 a thin transparent skirt hanging about the legs1 and a narrow scarf entwined on the breast4 ,the jewellery is of the type usual in #8,indian' ,bodhisattvas1 but plain4 ,the elliptical nimbus and circular halo behind the figure are painted in pale blue and green4 ,in the background are shown feathery floral sprays of a type common in printed silk fabrics from the ,ch#8ien-fo-tung hoard4 ,in the top corners appear the small figures of two ,lokaplas in mail armour1 ,vairavaa on the right and ,virpka on the left1 both seated on rocks4 ,corresponding figures of the other two ,guardians of the ,regions1 no doubt1 occupied the lost bottom corners4 ,,plate ,,xliv ,,fragment ,,of ,,standing ,,avalokite,,vara ,this ,plate shows the remaining upper portion of a large silk painting 7,ch4 #jjdea1 scale one-third7 which represented ,avalokitevara standing without attendants4 ,considerably broken as the painting is and injured in its surface1 we recognize in it a fine pendant to the ,avalokitevara picture reproduced in ,plate ,,xxi4 ,here1 too1 we see a figure of the conventional #8,indian' ,bodhisattva type imbued with that grace and refined quality which ,chinese mastery of fluid line and reposeful design is specially able to impart4 ,the physical type and the pose of the body1 with its inclination to the left shoulder1 closely correspond to those seen in ,plate ,,xxi4 ,but here this line is counterbalanced by the pose of the head1 which leans gently over the right shoulder4 ,the eyes are turned back to the left proper and look down with an expression of mildness and compassion4 ,they are almost straight1 and the recurving line added to the eyelids is here absent4 ,of the willow spray in the right hand only a few faint indications remain4 ,the dress1 jewellery1 and colouring agree closely with those displayed by the figure in ,plate ,,xxi4 ,but more remains here of the white shaded with pink which is used for the colouring of the body4 ,the nimbus is made up of plain circular rings of dark olive1 red1 and white4 ,the ,chinese inscription of the cartouche to the right still awaits interpretation4 ,,plate ,,xlv ,,vai,,rava,a ,,crossing ,,the ,,ocean ,the small ,kakemono-shaped picture on silk 7,ch4 #jjah7 which this ,plate shows with a reduction to two-thirds of its size is one of the most finished of our ,tun-huang paintings4 ,it presents ,vairavaa1 the ,guardian-king of the ,north1 as he advances on a cloud across the heaving sea1 with an imposing suite of attendants1 some human1 some demonic1 but all of them in striking attires4 ,the painting was found in excellent preservation1 still retaining its border of purple silk 7omitted in the reproduction71 and thus it is fortunately possible to appreciate in all details the high artistic merit of a work which clearly is from the brush of a master4 ,when dealing above with another presentation of ,vairavaa's ,progress1 the painting shown by ,plate ,,xxvi1 we have already had occasion to refer to the special importance which the ,protector of the ,northern ,region claims as chief among ,lokaplas1 and also to the reasons accounting for the popularity of his worship in ,central ,asia and the ,far ,east4 ,hence we may turn here at once to the varied points of iconographic interest presented by our picture4 ,the main figure of ,vairavaa1 disproportionately large in accordance with a convention familiar already to ,graeco-,buddhist as well as to late ,hellenistic art1 strides ahead to the right1 carrying the halberd1 his characteristic emblem1 in the right hand1 and on a cloud rising from his left a small pagoda-shaped shrine1 a secondary attribute1 also otherwise attested4 ,his face is heavy but not grotesque1 with large oblique eyes and heavy eyebrows4 ,the middle of the body is thrown out1 giving to the pose an air of ponderous dignity4 ,his dress is that of a warrior king1 as proper to all ,lokaplas1 but of a particularly elaborate type4 ,his coat of mail reaches down almost to the knees4 ,the arrangement of the scales1 shown by a diaper of three-armed crosses1 is the same peculiar one already noted in ,plate ,,xxvi4 ,it appears also on the corslet1 which is edged by bands of lacquered plate1 while the forearm guards and what is visible of the greaves show oblong scales secured by transverse bands4 ,the whole armour is gilded4 ,decorated flaps1 probably of shaped leather1 descend over the hips and are joined in front by a stomacher in the shape of a hawk or eagle mask4 ,the shoulder-pieces end in a lion head1 through the jaws of which the arm passes4 ,gilded shoes cover the feet4 ,the high three-leaved crown on ,vairavaa's head1 with the wing-shaped ornament at the top and the white streamers flying up at the sides1 unmistakably recalls the royal head-dress of ,sassanian times4#ib ,the flames rising from his shoulders are an emblem also likely to have an ,iranian origin4#ic ,their flickering tongues1 like the fluttering streamers and the freely floating stole1 emphasize the ,guardian-king's rapid movement4 ,the same curling maroon cloud on which ,vairavaa advances carries also his retinue of varied aspects4 ,before him to the right we see the graceful figure of a nymph bowing and presenting a dish of flowers4 ,her identity is uncertain2 in form and attire she resembles the #8,nymph of ,virtue' we have already met in the paintings of the ,thousand-armed ,avalokitevara4#id ,of her rich attire may be specially noted the wide sleeves which almost sweep the ground1 the acanthus-like leaves covering her shoulders1 and the wreaths thrown over her arms4 ,the cortge behind the ,lokapla consists partly of demons1 evidently representing the ,yakas over whom he rules1 and partly of figures purely human1 which are clearly individualized but still await definite identification4 ,of the former1 two in the background have the heads of monsters1 with fiery hair and tusked jaws4 ,one of them carries ,vairavaa's flag of the same elaborate design we have noted in ,plate ,,xxvi4 ,another demon in front of the pair1 with brown skin1 hairy arms1 and animal-like head wrapped in a scarlet hood1 carries a large round jar covered at its mouth4 ,a fourth in the foreground1 with ferocious animal head and long upstanding hair1 carries a club and wears a ,lokapla's armour over a richly embroidered scarlet coat4 ,among the human attendants the most striking figure is that of a finely drawn aged man4 ,he is clad only in a white skirt1 with a scarf across the breast4 ,his hair is tied in a topknot and is white1 like his eyebrows and beard1 all painted with minute care4 ,his sunken features and the sidelong glance of his eyes are expressively rendered4 ,in his right hand he carries a gilded cup 7or ,vajra874 ,behind him we see a portly male figure with placid clean-shaven face and a high mitre-like head-dress from which drapery falls behind on the neck4 ,he wears a green robe over what looks like a coat brocaded in a #8,sassanian' pattern and carries a flaming jewel on a gilded stand4 ,in the rear is a bearded muscular archer1 preparing to shoot at a bat-like demon in the sky high up to the right4 ,in the latter we can safely recognize a ,garua1 the hunting of whom is a frequent motif in ,turkestn frescoes1 and whose winged figure is well known to ,graeco-,buddhist sculpture also4#ie ,the drawing of the archer's figure as he bends down to fit the arrow to the bow1 while his gaze follows the flying ,garua1 is remarkably firm and vigorous4 ,on his head he carries a high conical cap of white1 with metal boss at the top and wide upstanding brim4 ,his dress comprises a blue tunic which leaves the right arm and breast bare1 white breeches1 and black top-boots4 ,his purposeful figure in movement is cleverly set off by the serene appearance of a man standing in front with hands folded in adoration4 ,he wears a full-sleeved maroon jacket over a flowing white under-robe and over his smooth black hair a gilded tiara of peculiar shape4 ,the special powers of ,chinese pictorial art pervading the whole picture manifest themselves with particular clearness in the masterly spacing of the background4 ,this shows the greenish-brown sea heaving in majestically rolling ridges of white-crested waves4 ,far away in admirably conveyed distance rises a range of blue and green mountains1 probably meant to represent the fabulous ,mount ,meru where ,buddhist mythology locates the ,guardian-kings of the ,regions4 ,wherever the eye falls in this small but exquisite picture we may appreciate the sure drawing with its cleanness of touch1 the harmonious colouring1 and the highly finished workmanship4 ,but it is in this background that we can realize best to what extent the artist shared that understanding of the ,chinese genius for the control of ordered fluent line and the power of suggestion in spacing4 ,,plate ,,xlvi ,,fragment ,,with ,,child ,,on ,,demon',s ,,hand ,the fragment of a large paper painting 7,ch4 #jjcgc7 reproduced here on the scale of three-fourths is of interest as it represents somewhat rare details in skilful execution1 and also on account of its unusual technique4 ,the picture1 of which another fragment survives1 has been drawn upon a fine ground laid over smooth buff paper4 ,the colours delicately painted over this are bright and particularly pleasing by their softness1 and ,i regret that their reproduction had to be forgone4 ,the execution is more finished than that of any of the other paper paintings from ,ch#8ien-fo-tung4 ,of the subject of the whole painting it is impossible to say more than that it probably represented the #8,maala' of a ,buddha or ,bodhisattva4 ,our fragment shows on the left1 against a background of large-leaved flowering trees1 a demon of dark blue body and limbs holding up with his hands a naked infant who leans towards him smiling and with arms stretched out4 ,the infant's form and features are exquisitely drawn with fluent lines expressive of baby-like plumpness and shaded in pink and white4 ,he has black hair and a red trefoil mark on his forehead4 ,the reddish-pink face of the demon bears a cleverly conveyed tender expression1 which contrasts with his fierce features and shock of red and green hair4 ,we have already met with the figure of a similar demon holding an infant in the group attending the ,bodhisattvas on the right in ,bhaiajyaguru's ,paradise as shown by ,plate ,i1 and another is found among ,vairavaa's attendants in a woodcut from ,ch#8ien-fo-tung4#if ,on the right is seen a many-tiered umbrella hung with streamers and tasselled chains1 as found often over the chief ,bodhisattvas in large ,paradise paintings 7see ,plate ,i74 ,in the middle of the bottom portion of the fragment appears the upper part of the halo1 topknot1 and tiara of a ,bodhisattva4 ,above the central ornament of the tiara is seen the head of a white stag with antlers painted in silver4 ,,plate ,,xlvii ,,three ,,lokap,,la ,,banners ,the three silk banners which this ,plate reproduces on the scale of one-third all depict ,virpka1 the ,guardian-king of the ,west and1 after ,vairavaa1 the most popular of the ,lokaplas4 ,when describing above his fine picture as seen in ,plate ,,xxvii1 ,i have already had occasion briefly to indicate the iconographic features which are common to all our ,lokapla representations1 and to touch also upon those minor characteristics which allow us to distinguish certain groups among our numerous banners of these divinities4#ig ,hence my account of those shown in our ,plate may be restricted to individual points deserving of notice4 ,in the banner on the left 7,ch4 lv4 #jjbj71 which is well preserved except at the top where the painting has broken and been attached to the head-piece 7not shown7 by a patch of purple silk1 we see a good example of the ,lokapla type designated above as #8,chinese'4 ,virpka stands with his feet planted on the back and head of his crouching demon cognizance and holding the drawn sword upright in his left hand4#ih ,his face is middle-aged and serious1 the oblique eyes slightly enlarged1 and the iris painted a dark yellow4 ,his coat of mail shows oblong scales all through from the shoulders to the skirt portion4 ,the flesh is shaded light pink over the brownish white of the silk4 ,the corslet is secured by broad shoulder-straps1 probably of lacquer1 here clearly marked4 ,beneath the hip-belt appear an apron and hip-flaps of shaped leather1 providing additional protection4 ,round the lower edge of the belt hang loose rings1 probably meant for the attachment of the scabbard and other equipment4 ,the breeches are tucked into greaves1 and the feet shod with plain sandals4 ,the general colour effect is subdued owing to the prevalence of light brown and pale red tints4 ,the painting in the middle 7,ch4 lv4 #jjdf7 is broken at the top and has lost its banner accessories1 but retains its colours in remarkable freshness4 ,virpka1 turning slightly to the left1 stands with his feet on the shoulder and knee of a squatting demon4 ,he holds before him with both hands a long sword in a lacquered scabbard1 whose point rests on the demon's head4 ,his face1 large-cheeked and with strong chin1 bears a pleasant expression4 ,the oblique eyes with light iris gaze upwards4 ,the coat of mail painted yellow and red shows round-edged scales overlapping downwards as far as the hip-belt1 while the skirt portion has oblong scales apparently overlapping upwards4 ,trefoil-shaped flaps of green leather give additional protection to the hips and abdomen4 ,a sausage-shaped collar is fastened round the neck and over a brown mantle4 ,solid guards of lacquered leather protect both upper and fore arms4 ,the legs are clad only in breeches tied below the knees and hanging loose to the ankles4 ,the shoes of woven string are of some interest1 as their make exactly corresponds to that of shoes brought to light by me from ruins of ,han and later times4#ii ,the elaborately jewelled head-dress is fitted with a red #8cock's crest' at the back1 and the halo behind is flame-edged4 ,the ,chinese inscription describes the ,lokapla correctly as ,virpka1 #8celestial king of the ,western ,region'4 ,the work is carefully finished throughout1 and the colours harmonious1 though more opaque than usual in these banners4 ,the banner 7,ch4 #jjaj71 of which the painted portion is reproduced on the right1 is complete and excellently preserved4 ,virpka's figure combines here characteristics of that ,lokapla type which may conveniently be called #8,central-,asian' with a treatment and certain details not unlike those in the #8,chinese' type4 ,the ,lokapla stands facing the spectator on the head and knee of a contorted demon4 ,his right foot is placed on a higher level than the other1 and the weight of the body thrown on the left hip4 ,the right hand holds the naked sword aslant across the body and the left supports it at the breast4 ,the face is heavy and with the frowning forehead1 the snarling mouth1 and glaring eyes bears a fiercer expression than usual4 ,the large round eyes are level and the iris green4 ,the hair1 shown light blue1 is bunched back behind the ears4 ,the flesh is painted a pinkish red with but little shading4 ,the coat of mail from shoulders to skirt is uniformly made up of round-edged scales overlapping downwards2 but their colouring varies in different parts4 ,a jerkin of blue leather elaborately ornamented with metal-work appears above and below the mail corslet4 ,the forearms are swathed in red draperies1 which also show above the knees4 ,the white leg-coverings are tucked into greaves which display elaborately scrolled metal-work1 manifestly painted in with an eye mainly to decorative effect4 ,similar metal-work is shown on the black shoes4 ,the yellowish-brown colour of this metal-work1 suggestive of bronze1 is applied also to the solid metal tiara1 with wing ornaments and high crown1 which forms the head-dress4 ,though the drawing is careful and the colours clear and fresh1 much is lost in general effect through excessive concentration on detail and ornament4 ,in the want of space and free line and in the resulting lack of spontaneity we are made to feel1 as it were1 the influence of non-,chinese models4 ,,plate ,,xlviii ,,fragment ,,with ,,figure ,,of ,,demonic ,,warrior ,this fine fragment of a large silk painting 7,ch4 #jjih71 reduced here to three-fourths of the original1 shows the head and upper part of the body of a figure demonic in look and of violent pose4 ,no definite identification seems at present possible4 ,if the trident-like weapon lifted up in the left hand might suggest a ,lokapla1 there are to be noted against this the flames streaming back from the head and the total absence of armour4 ,again1 if the ferocious look and pose would make us think of a ,vajrapi ,dharmapla1 other difficulties arise from the unusual weapon1 the fiery hair1 and the want of exaggerated muscles4 ,so it will be best to leave this fine figure unnamed and to rest content with an appreciation of its artistic merit4 ,the head1 well preserved on the whole1 shows a face demonic in features and convulsed with rage4 ,it is painted dark grey with red lips and black hair4 ,the eyes are distended and glaring in fury1 the eyebrows contracted1 and the forehead bowed with wrinkles4 ,the widely grinning mouth shows the tongue and both rows of teeth4 ,excessively high cheekbones and nose1 bushy eyebrows1 a moustache sweeping fiercely upwards1 and stiff spreading beard and whiskers add their quota to the terrifying appearance of the head4 ,the hair on the forehead passes black under a jewelled tiara2 but what streams up from the whole head is a cone of red flame4 ,from the rest of the fragment all paint is lost4 ,the outline drawing1 however1 remains of a body vigorous and muscular4 ,but for jewelled chains1 necklace1 c41 it is nude to the hip-belt1 over which appears pulled the edge of a skirt-like garment4 ,a stole is gathered over the right upper arm1 and the right hand is held before the breast1 with fingers stiffly upturned and palm downwards4 ,the left arm is lost1 but the hand appears above grasping the staff of a weapon with barbed points4 ,the whole figure is drawn with admirable verve and freedom4 ,fragmentary as it is1 it allows us to surmise what we have lost here of a work of true ,chinese genius--and at the same time to realize what we owe to the safe hiding-place the ,caves of the ,thousand ,buddhas have provided for so many other relics of art4 ,,index ahhaya-mudr1 #be1 #bg1 #cb1 #ea1 #ec4 acanthus leaves1 #fj4 ,aja1 frescoes of1 #c1 #h4 ,ajtaatru1 legend of1 #dd4 kagarbha1 #af1 #ag4 altar1 valance of1 #ah4 ,amitbha1 ,buddha1 #d1 #e1 #aa2 ,western ,paradise of1 #e1 #f1 #aa1 #ag1 #ah1 #bj1 #ba sq41 #dd1 #eb2 triad of1 #ah4 nanda1 legend of1 #di4 ,andrews1 ,mr4 ,f4 ,h41 xii1 #dd4 ,antioch1 #d4 ,apsaras1 #ab1 #bj1 #bb1 #di2 see ,gandharv4 ,asuras1 ,world of1 #ch4 ,athene1 on seal1 #d4 ,avalokitevara1 ,bodhisattva of ,mercy 7,kuan-yin2 ,kwan-non71 #d1 #ac1 #ah1 #bj1 #bb1 #bg1 #bh1 #di1 #ef1 #eh1 #ei2 guide of souls1 #ec2 six-armed1 #ce2 thousand-armed1 #cj1 #eg2 emblems of1 #cj1 #eg2 four forms of1 #bi2 male and female forms of1 #d2 ,maala of1 #ac1 #cj1 #ca2 paintings of1 #f2 under willows1 #cf2 with willow spray1 #ca1 #cb2 worship of1 #d4 ,badakhsh breed of horses1 #bj4 banners1 on silk1 #b1 #bc1 #be1 #dj1 #dc1 #ea1 #ec1 #ef1 #fa2 groups of1 #bc2 on linen1 #c4 ,barnett1 ,dr4 ,l4 ,d41 #dg4 ,bath1 of ,gautama1 #eb4 ,benares1 ,deer ,park of1 #bd4 ,bhaiajyaguru1 ,buddha1 ,paradise of1 #aa sqq41 #ad1 #ej4 ,bhaiajyarja1 #e4 bhmispara-mudr1 #bg4 ,bimbisra1 #dd4 ,binyon1 ,mr4 ,l41 ix1 xi1 xii1 #ac1 #cf1 #cg1 #de1 #ec1 #ed1 #ee1 #eh4 boar1 head of1 #ec4 boar-headed demon1 #ca4 ,bdh-,gay1 image at1 #bg4 ,bodhisattvas1 #d sq41 #aa sqq41 and passim2 banners of1 #ef2 #8,indian' and #8,chinese' types of1 #ad1 #bi1 #ef2 worship of1 #bh2 see ,avalokitevara1 ,kitigarbha1 ,majur1 ,samantabhadra4 borders1 of paintings1 #b1 #ec1 #ee1 #ei4 ,brahman1 #ab1 #cj4 ,british ,museum1 paintings at1 ix1 xi2 ,trustees of1 xi4 ,buddha1 see ,gautama1 kyamuni4 ,buddhas1 #d2 subsidiary1 #ac1 #ag2 #8of ten quarters'1 #cj4 ,buddhism1 spread of1 into ,central ,asia and ,china1 #c sq41 #g2 see ,mahyna4 ,buddhist art1 of ,china1 #c1 #f2 of ,india1 #c sq42 of ,japan1 #d sq42 of ,tibet1 #i4 ,buddhist ,heaven1 see ,paradise4 ,buddhist images1 from ,india1 #f4 bullocks1 #ec4 ,butsu-y #c4 ,cakravartin1 #ec4 cangue1 #ce1 #ch4 cartouches1 inscribed1 #bc1 #bf1 #bi1 #cb1 #di1 #eb1 #eh1 #ei2 uninscribed1 #cf1 #ch4 castanets1 #ab4 #8,caves of the ,thousand ,buddhas'1 #a1 #ac1 and passim4 celestial mansions1 #aa1 #ag1 #ah1 #ea1 #ed4 chain-armour1 #db4 ,chamberlain1 the ,right ,hon4 ,mr4 ,a41 xi4 ,chandaka1 #bd4 ,chavannes1 ,m4 d41 x1 #af1 #ai4 ,ch#8ien-fo-tung1 ,chinese for #8,caves of ,thousand ,buddhas'1 passim4 ,china1 westward expansion of1 #d4 ,chinese art1 #e1 #f1 #g1 #h4 ,chinese painting1 ,buddha legend in1 #h2 ,central tradition of1 #e2 style of1 #ed4 #8,chinese' type of ,bodhisattvas1 #bi1 #cb1 #cf1 #dc1 #ed1 #ef4 ,christians1 at ,turfn1 #e4 chronology1 of paintings1 #g1 #af1 #ba1 #ej4 clappers1 #ab1 #ad1 #af1 #ag1 #ah1 #be1 #cf4 ,clarendon ,press1 ,delegates of1 xi4 cleaning1 of paintings1 #b4 cloud scrolls1 in textiles1 #cf4 coiffure1 of donatrices1 #af1 #ag1 #ai1 #cj1 #ch2 see head-dress4 coins1 ,chinese1 #dh4 ,conception1 of ,gautama1 #eb4 costume1 of donatrices1 #af1 #ba1 #bb1 #cj1 #ej2 of donors1 #ag1 #bb1 #cf1 #cg1 #ch1 #ej1 #ef4 crane1 #ab1 #ah1 #bb4 crown1 of ,sassanian type1 #ci1 #fj4 dancer1 #ab1 #ae1 #ag1 #ah1 #ea4 ,deer ,park1 kyamuni in1 #bg4 ,delhi ,museum1 xi4 demons1 #ab1 #ae1 #dj sq41 #fa1 #fb1 #fc2 ,tibetan1 #dg2 ,world of1 #ch2 see ,yakas4 ,dharmaplas1 #dc1 #fc4 ,dhtarra1 #db4 ,dhyni-buddha 7,amitbha71 #d1 #bj1 #bh1 #bi1 #cb1 #ce1 #eg1 #eh4 ,dpakara1 ,buddha1 #ea4 disciples1 figures of1 #ag1 #ai1 #ba4 discs1 of ,sun and ,moon1 #ag1 #ch4 distemper1 painting in1 #i1 #df4 donors1 in paintings1 #g2 see costume1 portraits4 dragons1 #ab1 #ai1 #dh1 #eb4 drapery1 ,hellenistic1 #bj4 dress1 see costume2 magisterial1 #ai1 #bd1 #dd1 #cg1 #ee4 drums1 #ab1 #de4 ducks1 #bb2 wild1 #be4 embroidery picture1 #aj1 #dh2 remains1 #dd4 fan-bearers1 #cg4 ,first ,sermon1 see ,gautama4 flame streamers1 #ci1 #fj4 flask1 of ,avalokitevara1 #cf1 and passim4 flutes1 #ab1 #ad1 #ah1 #cf1 #de4 ,foucher1 ,m4 ,a41 #bc1 #bg1 #bh1 #ca1 #dc4 #8,four ,encounters'1 see ,gautama4 ,freer ,collection1 #g1 #h4 ,fu-hsi1 ,emperor1 #dh4 fungus sceptre1 #ch4 ,gandhra1 ,buddhist art of1 #c1 #d1 #g1 #di2 types from1 #h4 ,gandharvs1 #ad2 see ,apsaras4 ,gaea1 #eh4 ,garua1 #ab1 #af1 #ag1 #ah1 #fj4 ,gatis1 see ,worlds of ,desire4 ,gautama 7,buddha1 kyamuni71 scenes from ,life of1 #e1 #f1 #be1 #ea2 ,chinese treatment of1 #g1 #bc2 ,conception of1 #eb2 ,birth of1 #eb2 ,bath of1 #eb2 ,seven ,steps of1 #eb2 ,four ,encounters of1 #bc sq41 #ea2 ,search for1 #bd2 ,farewell from ,kahaka1 #bd2 ,enlightenment of1 #bg2 ,first ,sermon of1 #bd1 #bg2 as teacher1 #f2 ,miracle of rvast1 #bg2 on ,gdhraka1 #be1 #bg1 #dh1 #di2 see ,buddha1 ,jtakas1 kyamuni4 ,giles1 ,dr4 ,l41 xii4 glass bowl1 #dc4 ,graeco-,buddhist art1 x1 #ab1 #ae1 #bj1 #bc1 #bf1 #bg1 #bh1 #eb1 #ei1 #fj4 ,gdhraka1 see ,vulture ,peak4 gryphon1 #ab4 ,guardians of ,regions1 see ,lokaplas4 halo1 flame-bordered1 #ae2 transparent1 #ba1 #bb4 hands1 pair of colossal1 #bf4 ,hrit1 #ca4 harp1 #ab1 #af1 #de4 hats1 shape of1 #ag4 head-dress1 of donors1 #ai1 #bc1 #cj1 #cb2 see coiffure4 ,hell1 ,kitigarbha ,regent of1 #cg1 #ed4 ,hellenistic art1 influence of1 #d1 #bj1 #ei4 ,heracles1 on seal1 #d4 hermit1 picture of1 #dg4 ,herzfeld1 ,prof4 ,e41 #dj4 high lights1 #i1 #ba1 #bb4 hills1 #ad1 #ag1 #ai4 ,hnayna ,buddhism1 #d4 ,hindu mythology1 #ca4 ,horiuji ,temple1 #c4 horse1 drawing of1 #ai2 types of1 #bj1 #be1 #ci4 horse's head1 #ed4 horse-dragon1 #dg4 #8horse-millinery'1 #bj1 #ci4 ,hsan-tsang1 pilgrim1 #f1 #bg4 human form1 ,chinese treatment of1 #g4 iconography1 ,buddhist1 x4 ,india1 ,buddhist painting in1 #c4 ,indian art1 genius of1 #h4 ,indian garb1 of divinities1 #g4 ,indian type1 of ,bodhisattvas1 #bh1 #bi1 #cf1 #db1 #dg1 #ei4 ,indians1 dark-skinned1 #ad1 #ae1 #bi1 #ec4 ,indra1 #ab1 #cj4 infants1 #ab1 #af1 #bb1 #cf1 #fa4 ,infernal ,judges1 #cg1 #ch1 #ee4 ,iranian1 art motifs1 #d2 influences1 #eh2 emblems1 #ci1 #fj2 see ,persia4 iris of eyes1 blue1 #ci2 yellow1 #fb2 green1 #fb4 ,japan1 ,buddhist art of1 #e2 ,buddhist paintings of1 #c4 ,jtakas1 scenes from1 #e1 #f1 #h1 #bc2 see ,gautama4 ,jiz 7,kitigarbha71 #cg4 ,kbul1 #bg4 ,kakemonos1 paintings mounted as1 #b1 #ci1 #ec1 #ei4 ,klika1 #dg4 ,kalyakara1 legend of1 #af1 #ag4 ,kahaka1 ,buddha's horse1 #bc1 #bd1 #ec4 ,kapilavastu1 #eb4 ,kapia 7,kabul71 #bg4 ,kshgar1 #a4 ,kashmir1 #a1 #d4 ,kyapa1 #di4 ,khotan1 #a1 #d2 mural paintings of1 #bh2 painter from1 #aj2 ,vairavaa's worship at1 #ci4 ,kings1 ,twelve1 protectors of the ,law1 #ac1 #ea4 knee-caps1 #ce4 ,kitigarbha1 in paintings1 #e1 #h1 #af1 #ag1 #cg2 patron of travellers1 #ch1 #ed1 #ee2 ,regent of ,hell1 #cg1 #ed4 ,ku ,k#8ai-chih1 painter1 #f1 #g2 style of1 #h4 ,kuan-yin1 ,chinese name of ,avalokitevara1 q4v4 ,kubera1 #ci4 ,kwan-non1 ,japanese name of ,avalokitevara1 q4v4 ,lamas1 hoods of1 #df4 landscape1 treatment of1 #g2 dividing scenes1 #ac2 see hills4 lag 7loin-cloth71 #db1 #eh4 ,laufer1 ,dr4 ,b41 #da4 leather1 armour1 #db1 #fb2 scales1 #da4 linen1 paintings on1 #c1 #df4 lion1 #ae1 #da1 #di1 #ee4 ,littlejohn1 ,mr4 ,s4 ,w41 #b4 ,l-shen-fu1 painting1 #f4 ,lokaplas1 #e1 #ab1 #ac1 #ad1 #ae1 #ca1 #cf1 #ci1 #dj1 #da1 #ec1 #eh1 #fj1 #fa1 #fb4 ,lop desert1 #e4 ,lorimer1 ,miss ,f4 ,m4 ,g41 xii4 lotus-lake1 #ab1 #ag1 #ah1 #bb4 lotus-seats1 #bj1 #ej1 #ee4 ,lumbin garden1 #f1 #eb4 ,lung-mn1 relievos of1 #bb1 #dc4 lute1 #af1 #ag1 #ah1 #de1 #ec4 ,magadha1 #bg4 ,mahkla1 #cj4 ,mahsthma1 #ah1 #bj1 #bb1 #di4 ,mahyna ,buddhism1 ix1 x1 #d1 #bh4 ,mahevara1 #ca4 mail-coat1 #da1 #ei4 ,maitreya1 ,buddha1 #e2 ,paradise of1 #ai4 ,maitreya-vykaraa-stra1 #ah4 ,maala1 compositions1 x2 of ,avalokitevara1 #ac1 #cf1 #eg4 ,manichaeism1 #e4 ,majur1 #e1 #ab1 #ad1 #ae1 #bi1 #dj4 manuscripts1 at ,ch#8ien-fo-tung1 #a1 #h2 rolls1 in paintings1 #bj1 #dh4 ,mra1 attack of1 #bg4 marginal scenes1 #ac1 #af1 #ag1 #dg1 #ea4 ,my1 #eb4 ,meru1 ,mount1 #ag1 #dj1 #fa4 ,milne1 ,mr4 ,j4 ,c41 xi4 ,mrn1 mural paintings at1 #d1 #ba4 mirror1 metal1 #ai2 magic1 #ch4 ,mithras1 worship of1 #d sq4 modelling1 in two tones1 #aj4 monkey1 #ec4 monks1 #ag1 #cj1 #ch1 #dg1 #di4 ,moon1 ,bodhisattva of1 #cj1 #eg2 disc of1 #dg4 mouth-organ1 #ad1 #ae1 #af1 #cf4 musical instruments1 #ab1 #af sqq4 musicians1 #ab1 #ae1 #af1 #ag1 #ah1 #de1 #ea4 ,nga-tree 7coral71 #dj4 ,ngas1 #ca1 #dj1 #eb1 #eg4 ,nara1 frescoes at1 #c4 ,nativity1 of ,gautama1 #eb4 ,nepalese miniatures1 #bg2 paintings1 #c1 #i4 #8,nymph of ,virtue'1 #ca1 #eg4 ,nymphs1 #ab1 #ae1 #ej1 #fj4 officials1 dress of1 #cg2 see dress4 ox-headed demon1 #de4 palanquin1 #bj1 #eb4 ,ppakara1 legend of1 #af1 #ag4 paper paintings1 #cf1 #dg sq41 #fa4 ,paradise1 of ,amitbha1 see ,western ,paradise2 of ,bhaiajyaguru1 #ej2 of ,maitreya1 #ai2 of kyamuni1 #ae1 #af4 pavilions1 #ac4 peacock1 #ab1 #ah1 #bb1 #ca4 pearl1 of ,kitigarbha1 #cg4 ,pelliot1 ,m4 ,paul1 #b4 ,persia1 #d2 see ,iranian4 ,petrucci1 ,m4 ,r41 viii1 x1 xi1 xii1 #ad1 #af1 #ag1 #ai1 #bg1 #cj1 #cg1 #ej4 phoenix1 #ab1 #bb1 #ca4 pipe1 #ab1 #ad1 #af1 #be2 see whistle-pipe4 ,planets1 divinities of1 #h1 #ec4 plectrum1 #ec4 portraits1 of donors1 #g1 #af1 #ba4 pretas1 #ca1 #ch4 processions1 #ad sq4 psaltery1 #ab1 #ag1 #ah1 #de4 ,rjagha 7,rjgir71 #bg1 #dh4 rat-king1 #eh4 ratnm1 see seven4 ,rawak ,vihra1 #bg4 reborn souls1 #ab1 #af1 #ah1 #bb4 reed-organ1 #ab1 #ag4 ,roman ,empire1 silk trade to1 #d4 #8royal ease'1 pose of1 #ce1 #eh4 saddles1 #bj4 #8,sage of the ,air'1 #ca1 #eg4 akti1 of ,avalokitevara1 #de1 #df4 kyamuni1 #ag2 in pictures1 #e2 legend of1 #f2 ,paradise of1 #ae1 #af2 type of1 #d2 see ,gautama1 ,buddha4 ,samantabhadra1 #e1 #ab1 #ad1 #ae1 #bi1 #de4 sandals1 #da2 of string1 #cg4 riputra1 #be1 #di4 ,sassanian relievos1 #dj4 #8,sassanian' textile motifs1 #dj1 #de1 #fj4 scabbard1 lacquered1 #fb4 scale armour1 #ci1 #da1 #db1 #ec1 #ei sq41 #fb4 ,schlesinger1 ,miss ,k41 #ab1 #ec4 ,serindia1 ix1 xi4 ,seven ,jewels1 #ec4 ,seven ,steps1 of ,gautama1 #eb4 shading1 method of1 #ae4 shoes1 of string1 #fb4 ,shsin ,collection1 #ab4 silk1 of paintings1 #b2 gauze-like1 #bc2 trade from ,china1 #d4 sihsana1 #cf4 ivaitic divinities1 #cj4 slab for inscription1 #ba1 #bb1 #ch4 spacing1 ,chinese1 #i1 #df1 #fj4 rvast1 #8,miracle of1' #bg4 stag1 white1 #fa4 statues1 of ,buddhas and ,bodhisattvas1 #bf2 see ,vulture ,peak4 ,stone ,son1 ,messrs4 ,henry1 xi4 ,stpa1 consecration of1 #bj4 uddhodana1 #be4 ,sukhvat1 see ,western ,paradise2 type of1 #bb4 ,sun1 ,bodhisattva of1 #cj1 #eg2 disc of1 #dg4 ,sung period1 art of1 #g4 ,syrinx1 #af4 ,taki1 ,prof41 xii4 ,taklamakn desert1 #e4 ,t#8ang period1 art of1 #e1 #f1 #g4 ,tantra doctrines1 #df2 emblems1 #eh4 ,taoist monk1 at ,caves1 #a sq4 ,tr1 goddess1 #de1 #df4 ,tejaprabha1 ,buddha1 #ec4 tempera1 painting in1 #df4 textile patterns1 #ed2 see ,sassanian4 ,thunder god1 #bf4 ,ti-tsang 7,kitigarbha71 #cg4 ,tibet1 ,buddhism of1 #df1 #eh2 ,buddhist art of1 #i1 #df4 ,tibetan paintings1 #c1 #i4 ,tibetans1 at ,tun-huang1 #de1 #df1 #dg4 tiger1 #dh4 tonsure1 #ai4 trees1 in paintings1 #aa1 #af1 #bj1 #bb4 #8triple cord'1 #db4 ,tun-huang1 oasis and town1 #a sq42 chiefs of1 #cf2 ,tibetan conquest of1 #i4 ,turfn1 #e2 painting from1 #ba4 ,turkestn1 ,buddhist art of1 #c1 #d2 pictorial style of1 #i2 under ,chinese rule1 #d4 ,tuita ,heaven1 #ah4 ,urushibara1 ,mr4 ,y41 #b4 ,vairavaa1 #eh2 paintings of1 #f1 #ci1 #ei2 emblems of1 #dj2 flag of1 #fj4 ,vajra1 #dc1 #dg4 ,vajrapis1 #ca1 #dc1 #eh1 #fc4 vara-mudr1 #da1 #df1 #di4 vase1 glazed1 #cf4 ,vignette1 portrait in1 #ba4 ,virhaka1 #ae1 #cf4 ,virpka1 #dj1 #eh1 #fb4 ,visser1 ,prof4 ,m4 ,w4 de1 #cg4 vitarka-mudr1 #aa1 #ad1 #af1 #ah1 #bj1 #bb1 #bh1 #bi1 #cb1 #ce1 #dg1 #ej4 votive inscription1 #b4 ,vulture ,peak 7,gdhraka71 #be1 #bg1 #dh1 #di4 ,waley1 ,mr4 ,a4 ,d41 xii4 warrior kings1 #ab4 ,western ,paradise 7,sukhvat71 of ,amitbha1 #e1 #f1 #aa1 #ag1 #ah1 #bj1 #ba1 #bb1 #dd1 #eb4 wheel1 of sovereignty1 #ec4 whistle-pipe1 #ae1 #af4 willow spray1 of ,avalokitevara1 #bh1 #cj1 #cb2 ,aval1 under willows1 #cf4 ,winter1 ,miss ,e4 ,a41 #b1 #di4 #8,worlds of ,desire'1 #cg1 #ch1 #ed4 ,wu ,tao-tz1 painter1 #h4 ,yabuki1 ,mr41 xii4 ,yakas1 #ci1 #fj2 see demons4 ,yaodhar1 #ec4 ,yn-kang1 relievos of1 #h1 #bb1 #bc4 ,footnotes #a ,cf4 ,serindia1 p4 #adbj4 ,for a distinctively #8,indian' representation of ,majur1 see below1 ,plate ,,xxvii4 #b ,cf4 ,serindia1 ,appendix ,e1 p4 #adaj4 #c ,see ,serindia1 ,appendix ,a1 pp4 #adcd sqq4 #d ,see particularly the painting1 ,ch4 lv4 #jjbc1 of ,a4,d4 #hfd reproduced in ,plate ,,xvi4 #e ,cf4 ,serindia1 pp4 #hej1 #hhe1 #hhh4 #f ,see ,serindia1 p4 #adaj4 #g ,for an interpretation of the symbolic meaning of this representation1 cf4 ,m4 ,petrucci's #8,essai' 7,les ,maalas71 ,serindia1 ,appendix ,e1 p4 #adaa4 #h ,see ,serindia1 p4 #hce4 #i ,cf4 ,serindia1 p4 #hej sq4 #aj ,see ,serindia1 pp4 #hii sq41 #ihd sq41 ,pls4 ,,cix1 ,,cx4 #aa ,see ,serindia pp4 #hij1 #ajhb sq41 ,pl4 ,,lviii1 and ,m4 ,petrucci's notes in ,appendix ,e ibid41 p4 #adjh sq4 #ab ,cf4 ,serindia1 pp4 #hce1 #hij1 note #ch4 #ac ,see above1 p4 #ag4 #ad ,see1 e4g41 ,plate ,,xxii4 #ae ,cf4 ,stein1 ,ancient ,khotan1 ii4 ,pl4 ,,lix4 #af ,for details of the antiquarian evidence concerning the date of these pictures1 cf4 ,serindia1 pp4 #hhe1 #hif4 #ag ,see above1 p4 #i4 ,of my other pictorial #8finds' from ,central ,asia only the mural paintings of ,mrn1 approximately dating from the third to fourth century ,a4,d41 show this use of #8high lights'2 cf4 ,serindia1 pp4 #ejd1 #ejh1 ,pls4 ,,xl-,,xlv4 #ah ,these two-lobed tufts of hair recall those shown on the heads of the angels and putti in the wall-paintings of the shrines excavated by me at ,mrn2 see ,serindia1 ,figs4 #acd1 #ach1 #adj2 ,plates ,,xl1 ,,xli4 #ai ,cf4 ,serindia1 p4 #hej sq42 also below1 p4 #bc4 #bj ,see above1 p4 #ba4 #ba ,for details on these points and on the question of style1 cf4 ,serindia1 p4 #hdg sq4 #bb ,cf4 ,serindia1 p4 #hdh4 #bc ,cf4 ,serindia1 p4 #hej2 ,chavannes1 ,mission archologique en ,chine1 i4 ,planches #bjg-aj4 #bd ,cf4 ,serindia1 p4 #hdi1 note #ah4 #be ,this is against the fixed iconographic convention of ,indian tradition which shows the right hand raised and the right shoulder uncovered by the under-robe4 ,the explanation may be sought for in the fact that in the case of banners both sides of the silk gauze had to be painted4 ,here and in the ,buddha of the banner in the middle of the ,plate we have obviously cases of a mistake made by the artist as to which side was to be treated as the one intended for contemplation and properly finished4 #bf ,cf4 ,serindia1 p4 #heh1 and the reproduction of the banner1 ,ch4 lv4 #jjab1 ,pl4 ,,lxxv4 #bg ,cf4 ,serindia1 p4 #idg 7sub ,ch4 #jjci74 #bh ,cf4 ,serindia1 p4 #hhj4 #bi ,see ,petrucci1 ,annales du ,muse ,guimet1 xli1 pp4 #aba sqq4 #cj ,plate ,,lxx of ,serindia shows the left half of the painting as originally opened out and mounted at the ,british ,museum4 ,as regards certain slight modifications of the arrangement effected in the course of the final mounting and now seen in our ,plate1 the detailed description of the painting in ,serindia1 pp4 #ajbd sqq41 may be referred to4 #ca ,cf4 ,petrucci1 ,annales du ,muse ,guimet1 xli4 p4 #abb4 ,the figure at the first opening of the picture at the ,british ,museum was found as a detached fragment4 ,to its left upper edge there adhered the inscribed cartouche subsequently1 on mounting1 inserted in the blank space between the two standing figures at the bottom2 cf4 ,serindia1 p4 #ajbe sq4 #cb ,see ,ancient ,khotan1 i4 #dic1 ,figs4 #fb-d4 #cc ,cf4 ,foucher1 ,beginnings of ,buddhist ,art1 p4 #agb4 #cd ,cf4 ,iconographie bouddhique1 i4 #dj sqq4 #ce ,for the willow-spray symbol cf4 below1 ,plate ,,xxiv4 #cf ,see ,plates ,,xix1 ,,xxix1 ,,xli4 #cg ,for a reproduction in colours1 but on a much smaller scale1 see ,desert ,cathay1 ii4 ,plate ,,viii4 #ch ,for such ,bodhisattva banners of the type conveniently designated as #8,chinese' see ,plates ,,xix1 ,,xxix1 ,,xli4 #ci ,cf4 ,m4 ,petrucci's readings1 ,serindia1 p4 #adaf sq4 #dj ,for specimens of this #8,indian' type of ,bodhisattvas see ,plates ,,xxi1 ,,xxii2 for detailed references concerning banners of this type1 particularly numerous among those on linen1 cf4 ,serindia1 p4 #hfb4 #da ,cf4 ,m4 ,petrucci's notes1 ,serindia1 p4 #acih4 #db ,see above1 p4 #af4 #dc ,cf4 ,m4 ,petrucci1 on #8,maalas de ,kouan-yin'1 ,serindia1 ,appendix ,e1 pp4 #adaa sqq42 and for a full description of our painting1 ibid41 pp4 #ajgg sqq4 #dd ,see ,m4 ,foucher's brilliant essay on #8,la ,madone bouddhique' in ,the ,beginnings of ,buddhist ,art1 pp4 #bhe sqq4 #de ,see ,m4 ,petrucci's explanations in ,serindia1 p4 #acig4 ,the other two inscriptions seem to contain metrical invocations of the all-merciful ,kuan-yin4 #df ,for scenes somewhat similar1 see the side of ,bhaiajyaguru's ,paradise in ,plate ,i4 #dg ,cf4 ,mr4 ,binyon's note in ,guide to an ,exhibition ,paintings1 ,manuscripts1 and other ,archaeological ,objects collected by ,sir ,aurel ,stein in ,chinese ,turkestn1 ,british ,museum1 #aiad1 p4 #ab4 #dh ,cf4 ,chavannes1 ,dix inscriptions chinoises de l',asie centrale1 pp4 #hj sqq42 ,serindia1 p4 #acch sq4 #di ,see ,serindia1 p4 #hfd1 with note #af4 #ej ,cf4 ,mr4 ,binyon's remarks in ,guide to an ,exhibition of ,paintings1 ,,mss41 c41 collected by ,sir ,aurel ,stein 7,british ,museum1 ,london1 #aiad71 p4 #g sq42 also ,m4 ,petrucci's account of ,kitigarbha's #8,maalas'1 ,serindia p4 #adbb sq4 ,the history of ,kitigarbha's cult in ,china and ,japan forms the subject of a full and very instructive monograph1 ,the ,bodhisattva ,ti-tsang 7,jiz7 in ,china and ,japan1 by ,professor ,m4 ,w4 de ,visser1 with numerous illustrations 7,oesterheld ,co41 ,berlin1 #aiae71 to which reference may be made for all details4 #ea ,for a brief summary of the facts bearing on the iconographic history of the ,lokapla figures in their transition from ,india and ,central ,asia to ,china1 cf4 e4g4 ,serindia1 pp4 #hgj sqq41 where the principal authorities are indicated4 #eb ,see ,ancient ,khotan1 i4 pp4 #aeh1 #beb sq4 #ec ,the treatment of the scales1 apparently represented by three-armed crosses1 is peculiar and differs from the several methods of scale armour which other ,lokapla figures 7see e4g4 ,plate ,,xlvii7 usually display4 ,but it is found again on ,vairavaa's armour in ,plate ,,xlv and may possibly be meant for a special kind of mail4 #ed ,for some of such indications1 see ,serindia1 pp4 #hga sq41 #hgd4 #ee ,cf4 ,herzfeld1 ,am ,tor von ,asien1 p4 #hg4 ,to the examples there quoted in note #ada may be added the painted panel from ,dandn-oilik1 ,d4 vii4 #e1 shown in ,ancient ,khotan1 ii4 ,pl4 ,,lix4 #ef ,for more detailed observations on the two groups among ,lokapla pictures1 cf4 ,serindia1 pp4 #hgb sqq4 #eg ,see ,serindia1 pp4 #hgc sq41 #ici sqq41 c4 ,questions closely bearing upon armour and costume such as our ,lokaplas exhibit have been discussed with much critical learning by ,dr4 ,b4 ,laufer in his ,chinese ,clay ,figures1 ,pt4 #a3 ,prolegomena on the ,history of ,defensive ,armour 7,chicago1 #aiad74 #eh ,see ,ancient ,khotan1 i4 pp4 xvi1 #cgd1 #daa2 ,serindia1 pp4 #bdf1 #dfc sqq4 #ei ,see above1 pp #ab1 #ad sq41 #bi4 #fj ,for detailed references1 cf4 ,serindia1 p4 #hgc2 see also ,ancient ,khotan1 i4 pp4 xvi1 #beb4 #fa ,for reference to works of ,,mm4 ,chavannes1 ,foucher1 ,grnwedel-,burgess1 see ,serindia1 p4 #hge1 note #de4 #fb ,cf4 ,serindia1 pp4 #ijd sqq41 and the embroidery specimens reproduced there in ,plates ,,cvi-,,cviii1 ,,cx1 ,,cxi4 #fc ,cf4 ,f4 ,h4 ,andrews1 ,ancient ,chinese ,figured ,silks excavated by ,sir ,aurel ,stein 7,b4 ,quaritch1 ,london1 #aibj71 pp4 #d sqq41 ,figs4 #a-c4 #fd ,see above1 ,plates ,i1 ,,ii4 #fe ,we meet with exactly corresponding examples of the combination of ,chinese and #8,sassanian' textile motifs in certain printed silks from the #8,thousand ,buddhas'2 see ,serindia1 p4 #iaa1 ,plates ,,cxiii1 ,,cxiv4 #ff ,see above1 p4 #i4 #fg ,owing to these causes the reproduction of the painting has presented considerable technical difficulties4 ,hence some of the details mentioned cannot be made out in it quite as clearly as in the original4 #fh ,see his ,appendix ,k1 ,serindia p4 #adgc4 #fi ,cf4 ,mayers1 ,the ,chinese ,reader's ,manual1 p4 #dh4 #gj ,see above1 pp4 #be1 #bg4 #ga ,for full details of the iconographic evidence ,i may refer to ,serindia1 pp4 #hgh sqq4 #gb ,some idea of the labour implied by the execution of the embroidery may be formed from the fact that the careful remounting of the hanging on a fresh canvas backing1 which became necessary at the ,british ,museum for its preservation1 kept the expert employed on this task1 ,miss ,e4 ,a4 ,winter1 of the ,royal ,school of ,needlework1 occupied for over three months4 #gc ,some connexion might perhaps be sought with an early legend relating to kyamuni's stay on ,gdhraka4 ,while engaged in meditation within a grotto1 he was believed to have pushed his right arm through its rock-wall in order to reassure his disciple nanda1 whom ,mra1 in the shape of a vulture1 had frightened2 cf4 ,foucher1 ,l'art grco-bouddhique du ,gandhra1 i4 p4 #dig4 #gd ,see above1 pp4 #bj sqq4 #ge ,cf4 ,serindia1 p4 #hhe4 #gf ,see above1 p4 #ba4 #gg ,see above1 p4 #ac4 #gh ,see above1 p4 #bc4 #gi ,for the reasons which account for the banners with scenes from the ,life usually forming small groups or at least pairs1 cf4 ,serindia1 p4 #heb4 #hj ,this is in complete accord with the original ,buddhist tradition which presents the descent of the white elephant not as a real event1 but as a dream of ,my2 cf4 ,foucher1 ,l'art grco-bouddhique du ,gandhra1 i4 p4 #bib4 #ha ,for a textual reference supporting this interpretation1 cf4 ,serindia4 p4 xxiii1 add4 to p4 #hee1 note #ej;a4 #hb ,see above1 p4 #h4 #hc ,see ,serindia1 pp4 #icc sq41 ,figs4 #bae1 #bbf4 #hd ,for a full description of this instrument1 cf4 ,miss ,k4 ,schlesinger's note in ,appendix ,h1 ,serindia1 p4 #adfh4 #he ,cf4 ,serindia1 ,appendix ,e1 p4 #adbi4 #hf ,see above1 p4 #cg sq4 #hg ,see above1 p4 #h4 #hh ,cf4 ,serindia1 pp4 #hfa sqq4 #hi ,for specimens cf4 ,serindia4 pp4 #ijd sq42 ,plates ,,cvi-,,viii1 c4 #ij ,see ,ancient ,khotan1 i4 pp4 #abj sq41 #bfd sq42 ii4 ,pl4 ,,lxiii2 ,serindia1 iii4 p4 #abgg4 #ia ,see above1 p4 #i4 #ib ,cf4 also above1 p4 #ci4 #ic ,cf4 ,serindia1 p4 #hgd4 #id ,see ,plates ,,xvii1 ,,xlii4 #ie ,cf4 ,grnwedel1 ,altbuddhistische ,kultsttten1 pp4 #bhb1 #cea1 ,fig4 #ehc2 ,foucher1 ,l'art grco-bouddhique du ,gandhra1 ii4 pp4 #cb sqq4 #if ,see ,serindia1 ,plate ,c 7,ch4 #jjaeh74 #ig ,see above1 p4 #dj sq4 #ih ,for a likely explanation of this unusual attitude1 see above1 p4 #bd1 note #be4 #ii ,see ,serindia1 ii4 p4 #hgd2 ,pls4 ,,xxxvii1 ,,liv4 ,transcriber's ,note3 ,text ,notes3 #a4 ,italicized text is indicated with leading and trailing underscores4 77 #b4 ,superscript text is indicated with a leading caret 774 #c4 ,footnotes have been moved the end of each section 7,preface1 ,introductory ,essay1 and main text74 ,numbering is unchanged4 #d4 ,index sub-items have been placed on their own line beneath the main item4 #e4 ,the original printed version of this work was composed of a book containing the text and two books containing numbered image plates4 ,change ,list 7page numbers from original printed book73 ,page #f legend of ,skyamuni in his last life changed to legend of kyamuni in his last life ,page #dj ,,vir,p,k,a ,,and ,,ma,,jusr changed to ,,vir,p,k,a ,,and ,,ma,,ju,r ,page #db crimson lang flowered with blue rosettes changed to crimson lag flowered with blue rosettes ,page #fe ,petrucci1 ,m4 ,r41 viii1 x1 xi1 xii1 #ad1 #af1 #ag1 #ai1 #bg1 #cj1 #cg1 #ej4 changed to ,petrucci1 ,m4 ,r41 v1 x1 xi1 xii1 #ad1 #af1 #ag1 #ai1 #bg1 #cj1 #cg1 #ej4 ,printed ,image ,plate ,dimensions 7width x height in centimeters7 ,plate ,dimension ,plate ,dimension #a #ch4c x #di4c #be #ed4c x #cd4i #b #cc4g x #di4c #bf #dj4g x #de4a #c #cb4e x #di4f #bg #ch4j x #di4e #d #be4d x #di4d #bh #cg4i x #ci4h #e #ai4g x #ci4f #bi #db4a x #ej4c #f #cb4g x #di4c #cj #de4g x #ci4g #g #cg4c x #di4c #ca #cj4b x #di4h #h #ce4i x #di4a #cb #ej4c x #bf4b #i #di4e x #da4i #cc #eb4e x #cb4e #aj #cf4e x #di4f #cd #ag4j x #be4b #aa #da4g x #ci4e #ce #ba4e x #bj4j #ab #ed4i x #ce4e #cf #bj4d x #ba4e #ac #db4g x #di4e #cg #bj4i x #bb4h #ad #cf4a x #di4d #ch #ab4h x #cf4j #ae #ce4h x #di4i #ci #bj4b x #bb4j #af #cb4i x #di4e #dj #bj4b x #bh4c #ag #cg4f x #di4e #da #be4h x #bf4c #ah #bi4c x #di4c #db #ah4g x #bd4g #ai #ch4d x #ci4g #dc #ag4i x #bb4f #bj #bf4c x #ci4f #dd #bj4e x #bf4b #ba #ah4f x #di4d #de #ag4b x #bd4g #bb #dg4g x #cc4e #df #bg4j x #cb4h #bc #cc4c x #di4b #dg #ba4g x #bj4h #bd #dj4a x #di4e #dh #bc4d x #cb4e