The three silk banners which this Plate reproduces on the scale of
one-third all depict Virūpākṣa, the Guardian-king of the West and,
after Vaiśravaṇa, the most popular of the Lokapālas. When describing
above his fine picture as seen in Plate XXVII, I have already had
occasion briefly to indicate the iconographic features which are common
to all our Lokapāla representations, and to touch also upon those minor
characteristics which allow us to distinguish certain groups among our
numerous banners of these divinities.[97] Hence my account of those
shown in our Plate may be restricted to individual points deserving of
notice.
In the banner on the left (Ch. lv. 0020), which is well preserved
except at the top where the painting has broken and been attached
to the head-piece (not shown) by a patch of purple silk, we see a
good example of the Lokapāla type designated above as ‘Chinese’.
Virūpākṣa stands with his feet planted on the back and head of his
crouching demon cognizance and holding the drawn sword upright in his
left hand.[98] His face is middle-aged and serious, the oblique eyes
slightly enlarged, and the iris painted a dark yellow. His coat of
mail shows oblong scales all through from the shoulders to the skirt
portion. The flesh is shaded light pink over the brownish white of the
silk. The corslet is secured by broad shoulder-straps, probably of
lacquer, here clearly marked. Beneath the hip-belt appear an apron and
hip-flaps of shaped leather, providing additional protection. Round
the lower edge of the belt hang loose rings, probably meant for the
attachment of the scabbard and other equipment. The breeches are tucked
into greaves, and the feet shod with plain sandals. The general colour
effect is subdued owing to the prevalence of light brown and pale red
tints.
The painting in the middle (Ch. lv. 0046) is broken at the top and has
lost its banner accessories, but retains its colours in remarkable
freshness. Virūpākṣa, turning slightly to the left, stands with his
feet on the shoulder and knee of a squatting demon. He holds before him
with both hands a long sword in a lacquered scabbard, whose point rests
on the demon’s head. His face, large-cheeked and with strong chin,
bears a pleasant expression. The oblique eyes with light iris gaze
upwards.
The coat of mail painted yellow and red shows round-edged scales
overlapping downwards as far as the hip-belt, while the skirt portion
has oblong scales apparently overlapping upwards. Trefoil-shaped flaps
of green leather give additional protection to the hips and abdomen.
A sausage-shaped collar is fastened round the neck and over a brown
mantle. Solid guards of lacquered leather protect both upper and fore
arms. The legs are clad only in breeches tied below the knees and
hanging loose to the ankles. The shoes of woven string are of some
interest, as their make exactly corresponds to that of shoes brought
to light by me from ruins of Han and later times.[99] The elaborately
jewelled head-dress is fitted with a red ‘cock’s crest’ at the back,
and the halo behind is flame-edged.
The Chinese inscription describes the Lokapāla correctly as Virūpākṣa,
‘celestial king of the Western Region’. The work is carefully finished
throughout, and the colours harmonious, though more opaque than usual
in these banners.
The banner (Ch. 0010), of which the painted portion is reproduced
on the right, is complete and excellently preserved. Virūpākṣa’s
figure combines here characteristics of that Lokapāla type which may
conveniently be called ‘Central-Asian’ with a treatment and certain
details not unlike those in the ‘Chinese’ type.
The Lokapāla stands facing the spectator on the head and knee of a
contorted demon. His right foot is placed on a higher level than the
other, and the weight of the body thrown on the left hip. The right
hand holds the naked sword aslant across the body and the left supports
it at the breast. The face is heavy and with the frowning forehead,
the snarling mouth, and glaring eyes bears a fiercer expression than
usual. The large round eyes are level and the iris green. The hair,
shown light blue, is bunched back behind the ears. The flesh is painted
a pinkish red with but little shading.
The coat of mail from shoulders to skirt is uniformly made up of
round-edged scales overlapping downwards; but their colouring varies
in different parts. A jerkin of blue leather elaborately ornamented
with metal-work appears above and below the mail corslet. The forearms
are swathed in red draperies, which also show above the knees. The
white leg-coverings are tucked into greaves which display elaborately
scrolled metal-work, manifestly painted in with an eye mainly to
decorative effect. Similar metal-work is shown on the black shoes.
The yellowish-brown colour of this metal-work, suggestive of bronze,
is applied also to the solid metal tiara, with wing ornaments and high
crown, which forms the head-dress.
Though the drawing is careful and the colours clear and fresh, much
is lost in general effect through excessive concentration on detail
and ornament. In the want of space and free line and in the resulting
lack of spontaneity we are made to feel, as it were, the influence of
non-Chinese models.