In this large and on the whole fairly preserved silk painting (Ch.
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.