The silk banner reproduced on the right, on the scale of three-fifths
(Ch. 0040), presents a fine example of the banners showing Virūpākṣa,
the Guardian of the West. Next to Vaiśravaṇa he is the most frequently
portrayed of Lokapālas in our paintings, always clearly recognizable
by his particular emblem, the sword. Like the rest of the ‘Four Great
Kings’ shown in the banners Virūpākṣa stands on the back of a crouching
demon serving as his ‘cognizance’ (_vāhana_) and representing the
Yakṣas over whom he rules. A small curling cloud above his haloed head
marks the whole as a vision. Both ends of the banner are broken and its
accessories lost, but otherwise it is almost intact.
The figure, displaying force and dignity combined, belongs to a
class of Lokapāla representations among our paintings which, from
certain peculiarities in the style of treatment and in detail, may be
distinguished as ‘Chinese’ from another suggesting closer affinity to
a Central-Asian prototype. Representatives of both classes are seen in
Plate XLVII. But the general character of the figures and their warrior
costume is essentially the same throughout. This suggests, in accord
with other indications, that the type, though no doubt originally
derived from the West, had undergone thorough adaptation to Chinese art
feeling and was fully established long before the probable period when
these banners were painted.[56]
Our painting well illustrates certain characteristics of the former
group in the three-quarter profile of the Lokapāla’s figure and the
sweeping curve of pose, with the body thrown out to the waist;
in the freedom and movement imparted to the drawing mainly by the
treatment of the flowing drapery; and in some minor peculiarities
of armour and dress. Though Virūpākṣa’s face is quiet, without any
distortion such as usually imparts a grotesque look to the Lokapālas
of the ‘Chinese’ group, we note the oblique cut of the eyes which is
peculiar to it, as well as other Chinese features.
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 elsewhere.[57] The painting in our Plate illustrates them
with particular clearness. Virūpākṣa’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-level. 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 Taklamakān and Lop deserts.[58]
A lotus-shaped spike is fixed on the top with a recurved gold stem
in front, supporting a plume. Beneath the helmet comes a gorget,
apparently also of scale-armour, descending on to the shoulders.
From there down to the hips the body is protected by a coat of mail,
made of round-edged scales overlapping downwards as far as the
waist-belt and of oblong scales laced sideways beyond it. A strong
corslet, supported by straps from the shoulders and fitted with
ornamented metal discs over the breasts, is fastened across the chest.
Below is fixed an upper belt, apparently of ornamented leather. The
lower belt, of black leather, carries a centrepiece in the form of an
elaborate beast’s mask. The coat of mail is finished off at the bottom
by a short pleated frill, shown here in green, and above the elbows by
what looks like a ruff made of petal-shaped scales. From within this
protrudes swathed drapery of red and dark grey, as if of sleeves.
From beneath the mail coat descends in rich folds a red skirt with blue
border and whitish lining, leaving the knees bare; also the ends of a
long girdle, looped up in front, curl about the legs. These from below
the knees are encased in greaves, probably made of stiff leather like
the corslet. A row of metal clasps secures them in front, while a large
disc of dark purple leather set with a central gold boss covers the
calf. The greaves are finished off at the bottom by ankle-guards, in
the form of a stiff ruff, apparently also of leather. Guards of closely
corresponding shape protect the forearms. The feet are shod with
plain sandals held by a single toe- and heel-strap. A greenish stole,
hanging round the shoulders and festooned across the front of the body,
completes the Lokapāla’s rich costume.
The nude demon underfoot is shaded blue and has a dog-like face; the
hands on which he crouches are misshapen and a flame bundle rising from
his head takes the place of hair.
The banner reproduced on the left (Ch. 0036, scale seven-ninths)
represents the Bodhisattva Mañjuśrī seated on his white lion and, apart
from the lost accessories, is remarkably well preserved. Its style, in
instructive contrast to that of the Lokapāla picture just discussed,
provides a good example of the maintenance of Indian tradition in
Chinese Buddhist art.
The Bodhisattva, whom we have met already in several of the previously
discussed paintings,[59] is seated on a scarlet lotus which a golden
pedestal carried on the back of his ‘Vāhana’ supports. Mañjuśrī’s
figure is entirely Indian in physical type, pose, and dress. With his
right leg bent across and the left pendent and resting on a small blue
lotus, he keeps his body inclined to the left proper. To the right
hand stretched downwards in the _vara-mudrā_ corresponds the pose
of the head, which is bent over the right shoulder and balances the
slant of the body. The left hand rests on the lotus-seat and holds a
long-stemmed gracefully curving lotus. The body has feminine contours
and is painted a dull pinkish yellow. The hair, light blue in colour,
shows flat above the forehead and straggles down to the shoulder in
small ringlets. The face is round with small features and oblique eyes
cast downwards.
The dress is just as characteristically Indian. It consists of a short
crimson _laṅgōṭī_ flowered with blue rosettes and a transparent skirt
of purple gauze which drapes the legs to the ankles. A fold of this
crosses the body from the left shoulder. Round the neck is thrown a
narrow stole, green spotted with white, which, where it passes over the
right forearm, takes the form of a ‘triple cord’, distinctively Hindu.
The rich jewellery comprises heavy bracelets and anklets, serpentine
armlets, ear-rings, and a double necklace from which hang green and
blue lotus buds. A tiara of solid gold work, mounted with jewels,
crowns the head.
Behind the figure appears a circular halo and behind the head a nimbus
of elongated oval shape, both of variegated rings of colour. Above are
seen the remains of a tasselled canopy waving with the lion’s advance.
The lion strides to the left with his head turned back and the mouth
wide open as if roaring. His mane is represented by conventional curls
in different colours. Red spots are shown on breast, jowl, and back of
legs. From his breast-band and crupper hang heavy tassels and ornaments
similar to those above noted on Vaiśravaṇa’s horse. The attendant who
leads him by a red rope is shown as usually with very dark skin, coarse
features, and bushy black hair, suggesting a negro. His dress consists
of a narrow stole and a red and blue _dhōtī_-like skirt, tucked up at
the knees. He wears also jewellery of a simple kind.
The design of the whole is harmonious and instinct with life,
notwithstanding the hieratic conventions of the subject borrowed from
distant India, and the workmanship is very careful.