Closely allied in subject and treatment to the last described picture,
though not quite equal to it in quality of execution, are the two grand
fragments (Ch. xxxvii. 003, 005) partially illustrated by Plates IV
and V. These two large pieces of silk with curved tops once belonged
respectively to the right and left sides of one arch-shaped picture.
The centre portion, which is likely to have contained a seated Buddha,
is lost. But some idea of the size of the whole may be formed from
the fact that the surviving right side portion (Ch. xxxvii. 003, Pl.
IV) in its broken state still measures six and a half feet in height
with a width of about three and a half feet, while the dimensions of
the badly broken left side are even larger. 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 antechapel.
The right portion reproduced in Plate IV (scale one-fourth of original)
shows us Mañjuśrī, mounted on his white lion, advancing towards the
centre, surrounded by a host of attendant Bodhisattvas, Lokapālas,
demons, and nymphs. His mount is led by an Indian attendant and
preceded by a pair of musicians. The whole procession is carried on a
purple cloud.
The figure of Mañjuśrī is seated in the same attitude as that of
Samantabhadra in Plate III, with one leg pendent, but with his right
hand held out palm uppermost. The features of his pale-complexioned
face with its peaceful expression are very delicately rendered. 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 ornaments. They are plainly borrowed in all
details from Graeco-Buddhist art transplanted into Central Asia.
The elaborate halo of Mañjuśrī deserves mention for its harmonious
colouring and flame border.
By the side of the attendant Bodhisattvas, all showing peaceful
features, we note Lokapālas with their demon followers. Of the former
Virūḍhaka, Guardian-king of the South, is recognizable by his club.
The demons are characterized by grotesque features and colouring of
deep red. The attendant divinity seen walking in the lower right corner
awaits identification. He wears the dress of a Chinese dignitary
(high-waisted flowery under-robe and wide-sleeved jacket), while
coiffure and nimbus are those of a Bodhisattva. He carries a fan and
is attended by two nymphs; of the one on the right only the head
survives in the extant fragment. The leader of the lion has a skin of
chocolate-brown colour and coarse features, suggesting a negro type.
Of the figures of the musicians walking in front but little is
preserved on the right side of the picture. But the corresponding pair
on the left side, which Plate V reproduces on a scale of approximately
one-half of the original, has suffered less damage and allows us to
enjoy both the spirited design and the great delicacy of drawing in
these figures. They march with uplifted heads, playing on whistle-pipe
and mouth-organ. In the face of the flute-player on the left delighted
absorption in the music is admirably expressed, while the curving lines
of the body and the floating loose garments convey a sense of rhythmic
motion in complete harmony with the subject. Equally expressive is the
drawing in the face of the musician to the right, with its look of
intent concentration. The larger scale of reproduction allows us to
see here the method of shading used by the painter in the treatment
of the flesh. 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 them, hanging from the harness of
Samantabhadra’s elephant. In the same way the strong black of their
hair and the dark brown of the Mahout’s figure, partially seen on the
left edge of Plate V, help to give strength to the colour scheme, in
which light greens and reds prevail.