Here we see the left-hand bottom portion of a Paradise picture
reproduced on the scale of two-thirds, but without the gay colours of
the original (Ch. liv. 004). This represents a Buddhist Heaven presided
over by a Buddha whom M. Petrucci takes to be Śākyamuni.[2] In certain
characteristic features of the main theme, as well as in the side
scenes, our painting agrees closely with the Paradise picture (Ch.
xxxviii. 004), of which Plate VII shows a complete reproduction. To
the latter, therefore, reference may be made as regards the general
arrangement of the celestial scene with its central Buddha flanked by
two principal Bodhisattvas, &c., and that of the marginal scenes, which
in both paintings tell the story of Kalyāṇaṃkara and Pāpaṃkara, as
contained in texts of the Chinese Tripiṭaka.
The portion of the painting actually shown in our Plate represents
at the top the attendant host of Bodhisattvas, seated or kneeling
by the side of the altar which occupies a central position on the
terrace. 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 Garuḍa playing on a musical instrument, apparently
pipe and clappers. The whole of the terrace is clearly shown as of
wooden construction and as raised on sloping piles above the waters
of the lotus lake. An unusual feature is the grouping of the divine
musicians on two separate terraces in the bottom corners. They are six
on each side and play on harp, lute, syrinx and Chinese mouth-organ,
whistle-pipe, and clappers. Behind the musicians are trees with
pear-shaped leaves and groups of conventional pink and white flowers.
From the lake rise reborn souls in the shape of infants carried on
open lotuses. 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 soul.
Throughout the picture the workmanship is highly finished, and
the delicacy of the drawing, especially in the features of the
Bodhisattvas, deserves notice. The prevailing colours are, as usual,
shades of crimson and dull green; but these are enlivened by the white
of the flesh of all divine figures and the orange, pale blue, and
purple used on stoles and haloes.
The legendary scenes on the sides which M. Chavannes first identified
from the cartouches, here fortunately bearing Chinese inscriptions,[3]
display throughout purely Chinese style in the dress and attitudes
of figures, &c. The figure of the kneeling lady in the left bottom
compartment is the portrait of a donatrix and may claim special
interest. 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 A.D.,[4] 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 century. I have had occasion to
call attention elsewhere to the very helpful _indicia_ which changing
fashions in the dress and coiffure of donatrices, and to a lesser
extent in those of donor figures also, supply for the chronology of the
Ch‘ien-fo-tung pictures.[5]