The three pictures which this Plate shows, reduced to one-half of the
original in the case of the two on the sides and to three-eighths
in that of the middle one, are characteristic specimens of those
Bodhisattva banners on silk which are very frequent among our Tun-huang
paintings.[88]
The banner in the middle (Ch. i. 0013) is completely preserved with its
head-piece, streamers, and other accessories, and its painted portion,
which alone is reproduced here, retains its colours in excellent
condition. Its subject is easily recognized as Avalokiteśvara by the
flask and the red lotus bud which he carries in his right and left hand
respectively. The Bodhisattva’s figure is shown sweeping to the left
with trailing draperies and the head slightly bent, gazing down at the
lotus.
In features, dress, and general style of work it shares the
characteristics of the ‘Chinese’ Bodhisattva type repeatedly referred
to before; but the hollowed back gives a particularly graceful curve to
the whole figure. Its special slimness and the wide semicircular line
showing the setting of the eyes also deserve notice. The modelling of
the flesh by pink shading is well marked. The parted mouth, showing
white teeth, is unusual. The colours are very bright, and as the paint
is applied very thickly, the opaque white of the girdle and streamers
contrasts rather harshly with the strong blue of the stole.
The silk banner on the left (Ch. xxiv. 006) is also in excellent
preservation, except for the lost accessories. The Bodhisattva who
stands on a bluish-green lotus with hands in adoration remains in the
absence of any particular indications unidentified. Figure, attire, and
adornment conform to the ‘Chinese’ type of Bodhisattvas; but the skirt
gathered up in front and showing bare legs is not usual. The colour
scheme is rich but harmonious and the workmanship in general faultless,
though confined to the familiar conventions of the type.
It is different with the fine Bodhisattva of the banner (Ch. i. 002)
seen on the right. His figure is one of the most striking represented
in the banners, remarkable for the skilful pose combining dignity
with rapid movement, for the graceful sinuous lines of body and
garments, and the pronounced and distinctly non-Chinese features of
the Bodhisattva’s face. In view of a figure so distinctive and well
defined, it is a matter of regret that there is no clue at present to
its iconographic identity.
The Bodhisattva is seen walking away to the left, presenting a
three-fourths back-view, with the head in profile over the left
shoulder. With the left hand he gathers up the folds of the gracefully
coiling stole, while the right, bent back at shoulder level, carries
a pink lotus bud on the palm. The erect carriage of the body and its
movement with the weight thrown forward on the right foot are admirably
expressed. The canopy overhead, with its freely swinging tassels and
bells, emphasizes the rapid movement which is suggested also by the
feet being placed on two separate lotuses. The nimbus shown merely in
outline as an elliptical black ring allows the back of the head and
coiffure to be seen through.
The falling loops of the stole and the drapery tied in a knot at the
neck hide details of the upper portion of the dress. But below it the
waving folds of the glowing scarlet skirt are very skilfully rendered.
A close-fitting cap of red, set with gold ornaments, covers the
head, and from it projects at the back a large richly decorated gold
ring apparently holding a tress of hair.
Special interest attaches to the Bodhisattva’s face. Distinctly
non-Chinese features are the long and prominent nose, the marked
depression below the low sloping forehead, the long and straight eye.
The head is equally far removed from the classical type which Gandhāra
art propagated. A curious scornful expression is imparted to the face
by the eyelid drawn in a straight line across the half-closed eye
and by the pouting mouth. Its strangely foreign look remains doubly
puzzling where everything else bears so clearly the impress of Chinese
workmanship.