The subject of the silk painting (Ch. liii. 002) reproduced here on
the scale of one-sixth is a Buddhist Heaven, and by evidence of the
side-scenes preserved on the right, which are identical with those of
the larger painting seen in Plates I and II, it can be recognized with
M. Petrucci as another representation of Bhaiṣajyaguru’s Paradise. The
reproduction in our Plate is too small to permit of close study of
details. But it suffices to convey an adequate impression of the style
and general arrangement which correspond closely to those of the larger
painting fully discussed above. For these reasons my comments may be
brief here.
Apart from the top and bottom portions and the side-scenes on the left,
which are lost, our painting is in excellent condition and retains
its colours in particular freshness. The colouring is rendered very
distinctive by the large proportion of black and blue. The drawing is
refined and the work well finished throughout.
In the centre we see the figure of the presiding Buddha in the same
pose and dress as seen in Plate II; his flesh here, too, is yellow
shaded with pink. The two enthroned Bodhisattvas on either side carry
here purple or scarlet lotus buds in the hands nearest him and hold
the others in the _vitarka-mudrā_. Immediately behind the central
Buddha are seen four haloed monkish disciples with close-cropped black
hair. The rest of the company on the main terrace is made up of twelve
smaller Bodhisattvas seated with their hands in mystic poses or holding
lotus buds, and two blue-haired nymphs kneeling in very graceful
attitudes by the altar and holding offerings.
In front of the altar is seen a richly dressed dancer performing on
a projecting terrace, attended by six musicians who are here of a
masculine type with long hair like that of Bodhisattvas. Below at the
sides remain in part the figures of two subsidiary Buddhas, probably
seated, with attendant Bodhisattvas and elaborate canopies, like those
shown above the enthroned figures in the centre. On the gangway leading
down from the dancer’s terrace stands a peacock, and below it appear
the heads of six of the Kings, probably twelve altogether, who were
represented in the centre.
The lake of the Paradise is seen here only on the top of the picture
about the piles supporting celestial mansions. These consist of a
high-roofed central pavilion and two open hexagonal shrines with pagoda
roofs. These are occupied each by a small seated Buddha and are joined
to the central building by curving gangways which slope down steeply to
the lake.
The marginal scenes on the right are drawn as always in purely Chinese
style and correspond to those in Plate I, the connexion of which with
the legend of Bhaiṣajyaguru’s last incarnation has already been touched
upon.[77]