xlvii. 001), reproduced on the scale of one-fourth, we have a Sukhāvatī

scheme fully developed on lines which, while closely resembling those of the picture last discussed, differ from those of the usual Buddhist Paradise type. It shows us Amitābha and his two chief Bodhisattvas seated on lotus thrones rising from the Sukhāvatī lake, and on the terrace forming the foreground various celestial beings characteristic of Paradise scenes.

Amitābha, closely draped, raises his right hand in the _vitarka-mudrā_, while his left, mostly destroyed, is held against the breast. His flesh is yellow, as usual, his hair grey with outlines and close curls indicated in black as if copied from statuary. On either side of him is an elaborately decorated pillar with a flaming jewel at the top. Two trees with leaves as already described in Plate X rise behind him and support a canopy ornamented with rich floral scrolls. Two Apsaras sweep down on either side of it, just as seen in Plate X and the embroidery picture, Plate XXXIV.

Similar trees carrying many-tiered canopies rise over Avalokiteśvara seated on the left and Mahāsthāma on the right. Two attendant Bodhisattvas, in equally rich attire as theirs, stand by their sides with hands in varying poses. The flower-spotted materials of the Bodhisattvas’ robes and the graceful figure of the attendant to Avalokiteśvara’s right may be noted. At the back of the triad a wall of many-coloured marble blocks bounds the lake. In the air above descend Buddhas seated on clouds; cleverly drawn figures of naked infants, representing reborn souls, float with outspread stoles, while beribboned musical instruments symbolize harmonies pervading space.

On the lake swim ducks, emblems of happiness, and oval lotus buds rise enveloping infant souls. Inscriptions beside the lotuses describe the rank taken by the soul in its new life. There is no altar before the Buddha, as in other Paradise scenes, no dancer or musicians, no celestial mansions. But a sacred vessel is borne on a lotus from the water before Amitābha and small Bodhisattvas kneel on either side. In front of them again, on a wooden platform, are grouped a two-headed Garuḍa, a phoenix, duck, crane, and peacock.

On the terrace which fills the whole foreground are seated Bodhisattvas four a side and well spaced. By the rail in front are two half-naked infants, no doubt newly born souls, one advancing slowly, the other dancing or running. Both hold flowers or berries and have, like the infants in the sky, their heads shaved except for a two-lobed tuft of hair over the forehead and one over each ear.[18] Between them and the Bodhisattvas are shown large flaming jewels on lotuses.

In the middle by the side of a slab, arched at the top and intended for a dedicatory inscription but left blank, are shown the small figures of the donors. On the right kneel two men with long belted coats and small lobed and tailed caps. Their attire bears close resemblance to the quasi-archaic dress in the Jātaka scenes as presented by our banners, and also to that in certain relievos of the early Buddhist cave shrines of Yün-kang and Lung-mên.[19] 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 Vignette. As regards the chronological evidence which these details of attire afford, I may refer to my remarks on that Plate.[20]

With the picture reproduced in Plate X our painting shares also a number of other characteristic peculiarities, such as the use of ‘high lights’ for the modelling of the flesh; the unobtrusiveness of the haloes, which are transparent and often shown only in outlines; the flower patterns spotting the materials of the robes, &c. On the other hand, striking differences of composition, such as the total absence of the celestial mansions in the background and the ample spacing of the figures, make it clear that we have here preserved a specimen of a Sukhāvatī scheme developed independently of the orthodox type which prevails among our Ch‘ien-fo-tung paintings, whether on silk or mural, and which has become stereotyped in Japan.

There is a general absence of vivid colours in our picture. Dull green, with grey and black for the tiled terrace in front, prevails in the background, and dull green, light pink or red, and greenish grey in the colouring of figures and accessories. 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 I, II lack. The drawing is free and rapid but rather rough in detail.

PLATE XII

SCENES FROM GAUTAMA BUDDHA’S LIFE

This and the following Plate, together with Plate XXXVII, illustrate a group of paintings well represented among the silk banners of the Collection and of special iconographic and artistic interest. Painted like the rest of the silk banners on both sides of a fine gauze-like fabric, they show scenes taken from the legendary life of Gautama Buddha or closely connected with it. The usual length of the banners (exclusive of the triangular top and other accessories) does not appear to have much exceeded twenty-five inches, and their width, as seen from the specimens which Plate XII reproduces full size, is restricted. As a necessary result of the narrow shape of the banners, we find the succession of scenes always arranged one above the other and in the completely preserved ones limited to four.[21]

This group of paintings is as well defined in style as it is in range of subjects and external arrangement. Everything in the scenes connected with the physical types of the actors, their costumes and movements, as well as the setting, whether architecture or landscape, appears here ‘translated bodily into Chinese’, to use Mr. Binyon’s graphic phrase. The traditional subjects of the historical Buddha’s life-story have in fact, as M. Foucher has with equal pregnancy put it, ‘undergone the same disguising transformation which Christian legend has under the hands of the Italian or Flemish painters’.[22] It contrasts strikingly with this, that the figures of Buddhas and Bodhisattvas, in our banners and large paintings alike, show close conformity in physical appearance and dress to the hieratic types derived from the Graeco-Buddhist art of Gandhāra. For possible explanations of the very interesting problem thus raised reference to Mr. Binyon’s ‘Introductory Essay’ will suffice here.

Notwithstanding their frankly Chinese style, the banners with scenes from Gautama Buddha’s Life show considerable diversity of composition and treatment. We note these variations all the more easily because the banners range themselves into small groups, one alone not affording sufficient room for a representation of even the most important incidents of the Life. Two banners of such a group, each with only two scenes preserved out of the four which the original, no doubt, once comprised, are shown in Plate XII on the left and right. Both banners have the same decorated borders along the sides and between the several scenes, and both have cartouches, here fortunately filled with Chinese inscriptions naming the subjects represented.

The banner on the left (Ch. lv. 0016) shows us two of the famous ‘Four Encounters’ which bring before Prince Gautama’s eyes the three evils of earthly life—old age, illness, and death, and the means to escape them by renunciation. We find them all represented already in the fifth-century relievos of Yün-kang, while strangely enough they have not yet been found among the Gandhāra sculptures.[23] Above we see the prince riding out of the green-tiled gateway of the battlemented courtyard wall of his father’s palace. Over it is shown a pavilion with red timber framework and greenish-blue roof. The red-maned well-drawn horse represents the Kaṇṭhaka of the legend. A courtier in flowing robes with a high black cap attends him on foot. 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 hood. Another man, who stands by his side and evidently supports him, 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 paintings. It is that of all common personages in our Jātaka scenes. The high conical head-dress of the courtier is found also in the above-quoted relievo panels of Yün-kang.[24] Prince Gautama himself in the scenes of both our banners here wears a head-ornament resembling a white lotus.

In the scene below we see the prince riding with bent head from the same palace gateway. Here it is shown on the right, and its interior timber frame clearly displayed. The courtier by his side, attired as above, approaches with compassionate expression the group on the left. Here under a tree is seen sitting upon the ground the sick man, supported by a friend in a red dress, while another in green offers him drink in a bowl. The emaciation of his body and of his arms spread upon his knees is shown with realistic skill.

In the companion banner on the right (Ch. xlix. 006) the lower scene, composed in exactly the same style, represents Prince Gautama as a child discoursing on his anterior lives to civil and military officers, as the accompanying inscription tells us. The future Buddha sits on a verandah of the palace, holding out his arms evidently in the act of reciting his Jātaka tales. In front of him kneels a man, in black cap and orange belted coat, holding a manuscript roll. On the ground below stands a bearded personage wearing the dress of a civilian dignitary; he also carries a roll in his hands, which are covered by the wide sleeves of his robe. Two persons stand behind the prince outside the verandah. One in the dress of an attendant carries in his arms a round receptacle filled with small objects no longer recognizable. The other, wearing a tall round black cap, a brown mantle, and white under-robe, grasps with his right hand what from the gesture seems to be the hilt of a sword, and may hence be taken as representing the military element in the royal entourage.

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 Gandhāra art in the delineation of divine figures which stand outside Gautama’s life-story before his attainment of Buddhahood. This representation of the Buddha in our banner reflects Indian hieratic tradition in every detail. He is shown seated on a large scarlet lotus, with the left hand raised in the attitude of ‘protection’ (_abhaya-mudrā_).[25] A crimson under-robe, with light blue lining, covers legs and right shoulder, while a brown mantle lined with light green is thrown over the bare left. The finely drawn face, with arched black brows and level eyes, shows no trace of Chinese influence. Throughout the drawing is firm and clear in the smallest details and the workmanship very delicate.

The banner reproduced in the middle (Ch. 0071) has survived only in badly broken fragments, but even thus claims attention for several qualities. Though of the topmost scene little else remains but the figure of the seated Prince Gautama, it can, on the strength of other closely corresponding scenes, be safely recognized as representing the farewell in the forest from his horse Kaṇṭhaka and its groom Chandaka,[26] after the prince’s flight from his father’s palace. Lower down we are shown in an excellently composed scene the pursuit of the mounted messengers sent by his father Śuddhodana to search after him in the forest. 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 left. The drawing of men and horses is very spirited and the movement of both vividly expressed.

In the bottom scene we may recognize with some probability a representation of the First Sermon in the Deer Park of Benares. Śākyamuni, in Buddha robes, with halo and vesica and gilded flesh, is seated on a lotus upon a chased throne. Over him hangs a draped canopy supported by a pair of red-flowering star-leaved trees just as Paradise pictures show them. Of three monks standing behind the throne the shaven heads are visible. In front kneel the audience—three men with high topknots and gay party-coloured jackets and long under-robes. With their faces raised towards the Enlightened One they seem to listen intently to his teaching. Throughout the colouring is ornate and carefully applied in illuminating style.

PLATE XIII

SCENES FROM THE BUDDHA LEGEND

The banner reproduced on the right (Ch. xx. 008) on a scale almost full size belongs to a well-defined series of banners, all of the same style and workmanship, illustrating scenes from the story of Gautama Buddha.[27] The scenes are all simple in design and divided from each other by low hill ranges. Their number in our banner is only three, as shown also by the three cartouches, all left blank.

The top scene shows King Śuddhodana 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 palace. The figure, short and squat, of the messenger is characteristic of the whole series; that of the horse, compact and heavy in build, suggests a type like that of the present Mongol pony. In the next scene we see the messenger engaged on his quest, carrying a red pennon and galloping to the left. The rapid movement of the horse, here bay with red spots and white mane and tail, is effectively rendered.

The scene below represents the messenger returning and reporting to the king the futility of his search. Śuddhodana is seen as before seated on the palace verandah while two musicians outside beguile him with flute and pipe. Further down in the foreground are shown an enclosure, containing a lotus tank and a bamboo tree, and outside its entrance a small hexagonal structure with an oblong yellow object within. Higher up kneels a white-coated man playing on clappers. The significance of the objects in the foreground is not clear. The drawing, though rough, shows vigour, and the general effect is bold and in the more active scenes full of character.

On the left of this banner is reproduced, on half-scale, what remains of the left-hand portion of an interesting but unfortunately much-damaged large painting on silk (Ch. 0059). The colour of the original is remarkably strong and the subject unusual. It represented, when complete, the figure of Śākyamuni standing erect in the grotto of the Vulture Peak (_Gṛdhrakūṭa_), famous in the story of the Buddha, and by his side Jātaka scenes of a type not met with elsewhere among our paintings and so far unidentified. Though only the right shoulder and arm of the Buddha figure survive, there can be no doubt about its iconographic character. The rocks, dark blue and brown, which appear piled behind and above, with the vulture perched on the top, would render this quite certain.

The identification is fully confirmed by the pose of the Buddha. The arm hanging stiffly downwards at full length and slightly away from the body, with fingers also stretched straight down, is seen again in the central Buddha of the great embroidery picture of Plate XXXIV and in the figure undoubtedly representing Śākyamuni on Gṛdhrakūṭa, which the painting shown in Plate XIV reproduces among other Indian statues of Buddha. 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 canopy. The elongated vesica, cobalt blue in its border, and the light green and vermilion nimbus are both edged with flames and cloud scrolls in vermilion and dark blue. More true to nature than the vulture on the top is the flight of wild geese and ducks shown above.

A disciple with shaven head, probably Śāriputra, stands by the side of Śākyamuni and turns towards him. He shows an unconventional type of features drawn with much vigour. The head is long and high at the back, with well-defined ‘corners’ there and over the forehead. The large nose, bushy eyebrows, and long pointed chin give a strongly marked character to the head. It is set off by a circular halo of brilliant vermilion. The costume, too, is peculiar; it consists of an under-robe of vermilion and light green, black shoes upturned at the toes, and a large mantle of mottled dark green, blue, and red, which covers both shoulders and arms.

The legendary scenes which appear on the side of the painting are preserved in a very fragmentary condition and still await interpretation. But that they are connected with a statue representing Śākyamuni on the Vulture Peak seems clear. In the background of the top scene there appears a statue of a Buddha in the same pose as the central figure, with the right arm stretched down stiffly. To the left, in front of a building (temple?), stands a shaven priest, pointing out the statue with his raised arm to passers-by below. In the foreground is seen a man in brown coat and top boots riding a mule with its legs hidden behind hilly ground. Behind him a white elephant, with a load of yellow objects, but rider or driver no longer visible, proceeds in the same direction to the left. On that side appear the roughly drawn figures of two men with black beards and shocks of black hair.

The next scene below is even more puzzling. In the middle are seen a pair of colossal hands rising from the ground and enclosing a human head in red. To the right four conical objects, suggesting tents and striped horizontally, form a row; a large vermilion pennon is shown above one of them. Behind them a man on a dark grey horse is seen riding rapidly. His right arm is raised as if to strike, and two mounted attendants follow him. The foreground to the left shows on a green slope a row of unexplained leaf-shaped objects, and above this two semi-naked figures incomplete.

Very curious is the bottom scene. The God of Thunder appears above on a cloud within a ring of drums which he beats in violent movement. In the centre, before a background of rocks, is shown a large Buddha statue within a scaffolding of vermilion poles. That the statue represents Śākyamuni on Gṛdhrakūṭa is made certain by the downstretched right arm and also by the characteristic pose of the left hand, which gathers up the drapery in an ‘ear’ at the breast, just as the figure in Plates XIV and XXXIV shows it. On either side of the scaffolding is perched a man, busy with his hands at the statue’s head and steadying himself with one foot at its shoulder. At the back of a building on the left a man seems to give instructions to the workers, while at the foot of the statue there squats a small figure with arms and legs outspread like the Thunder-god’s. The latter’s figure in fury is shown again by a small detached fragment below.

For a conjectural explanation of the scaffolding, which might be connected with some miraculous translation of a sacred statue, reference to _Serindia_ must suffice here.[28] But whatever the legend represented in our side scenes may prove to be, we cannot fail to note the striking contrast between the stiff hieratic image and the life and vigour in the rest of the picture.

PLATE XIV

IMAGES OF BUDDHAS AND BODHISATTVAS

The large but unfortunately poorly preserved silk painting (Ch.