[1] Cf. _Serindia_, p. 1420. For a distinctively ‘Indian’
representation of Mañjuśrī, see below, Plate XXVII.
[2] Cf. _Serindia_, Appendix E, p. 1410.
[3] See _Serindia_, Appendix _A_, pp. 1434 sqq.
[4] See particularly the painting, Ch. lv. 0023, of A.D. 864 reproduced
in Plate XVI.
[5] Cf. _Serindia_, pp. 850, 885, 888.
[6] See _Serindia_, p. 1410.
[7] For an interpretation of the symbolic meaning of this
representation, cf. M. Petrucci’s ‘Essai’ (Les Maṇḍalas), _Serindia_,
Appendix _E_, p. 1411.
[8] See _Serindia_, p. 835.
[9] Cf. _Serindia_, p. 850 sq.
[10] See _Serindia_, pp. 899 sq., 984 sq., Pls. CIX, CX.
[11] See _Serindia_ pp. 890, 1082 sq., Pl. LVIII, and M. Petrucci’s
notes in Appendix _E_ ibid., p. 1408 sq.
[12] Cf. _Serindia_, pp. 835, 890, note 38.
[13] See above, p. 17.
[14] See, e.g., Plate XXII.
[15] Cf. Stein, _Ancient Khotan_, ii. Pl. LIX.
[16] For details of the antiquarian evidence concerning the date of
these pictures, cf. _Serindia_, pp. 885, 896.
[17] See above, p. 9. Of my other pictorial ‘finds’ from Central Asia
only the mural paintings of Mīrān, approximately dating from the third
to fourth century A.D., show this use of ‘high lights’; cf. _Serindia_,
pp. 504, 508, Pls. XL-XLV.
[18] These two-lobed tufts of hair recall those shown on the heads of
the angels and _putti_ in the wall-paintings of the shrines excavated
by me at Mīrān; see _Serindia_, Figs. 134, 138, 140; Plates XL, XLI.
[19] Cf. _Serindia_, p. 850 sq.; also below, p. 23.
[20] See above, p. 21.
[21] For details on these points and on the question of style, cf.
_Serindia_, p. 847 sq.
[22] Cf. _Serindia_, p. 848.
[23] Cf. _Serindia_, p. 850; Chavannes, _Mission archéologique en
Chine_, i. Planches 207–10.
[24] Cf. _Serindia_, p. 849, note 18.
[25] This is against the fixed iconographic convention of Indian
tradition which shows the _right_ hand raised and the _right_ shoulder
uncovered by the under-robe. The explanation may be sought for in the
fact that in the case of banners both sides of the silk gauze had to
be painted. Here and in the Buddha of the banner in the middle of the
Plate we have obviously cases of a mistake made by the artist as to
which side was to be treated as the one intended for contemplation and
properly finished.
[26] Cf. _Serindia_, p. 858, and the reproduction of the banner, Ch.
lv. 0012, Pl. LXXV.
[27] Cf. _Serindia_, p. 947 (_sub_ Ch. 0039).
[28] Cf. _Serindia_, p. 880.
[29] See Petrucci, _Annales du Musée Guimet_, xli, pp. 121 sqq.
[30] Plate LXX of _Serindia_ shows the left half of the painting as
originally opened out and mounted at the British Museum. As regards
certain slight modifications of the arrangement effected in the
course of the final mounting and now seen in our Plate, the detailed
description of the painting in _Serindia_, pp. 1024 sqq., may be
referred to.
[31] Cf. Petrucci, _Annales du Musée Guimet_, xli. p. 122. The figure
at the first opening of the picture at the British Museum was found as
a detached fragment. To its left upper edge there adhered the inscribed
cartouche subsequently, on mounting, inserted in the blank space
between the two standing figures at the bottom; cf. _Serindia_, p. 1025
sq.
[32] See _Ancient Khotan_, i. 493, Figs. 62–4.
[33] Cf. Foucher, _Beginnings of Buddhist Art_, p. 172.
[34] Cf. _Iconographie bouddhique_, i. 40 sqq.
[35] For the willow-spray symbol cf. below, Plate XXIV.
[36] See Plates XIX, XXIX, XLI.
[37] For a reproduction in colours, but on a much smaller scale, see
_Desert Cathay_, ii. Plate VIII.
[38] For such Bodhisattva banners of the type conveniently designated
as ‘Chinese’ see Plates XIX, XXIX, XLI.
[39] Cf. M. Petrucci’s readings, _Serindia_, p. 1416 sq.
[40] For specimens of this ‘Indian’ type of Bodhisattvas see Plates
XXI, XXII; for detailed references concerning banners of this type,
particularly numerous among those on linen, cf. _Serindia_, p. 862.
[41] Cf. M. Petrucci’s notes, _Serindia_, p. 1398.
[42] See above, p. 16.
[43] Cf. M. Petrucci, on ‘Maṇḍalas de Kouan-yin’, _Serindia_, Appendix
_E_, pp. 1411 sqq.; and for a full description of our painting, ibid.,
pp. 1077 sqq.
[44] See M. Foucher’s brilliant essay on ‘La Madone bouddhique’ in _The
Beginnings of Buddhist Art_, pp. 285 sqq.
[45] See M. Petrucci’s explanations in _Serindia_, p. 1397. The
other two inscriptions seem to contain metrical invocations of the
all-merciful Kuan-yin.
[46] For scenes somewhat similar, see the side of Bhaiṣajyaguru’s
Paradise in Plate I.
[47] Cf. Mr. Binyon’s note in _Guide to an Exhibition Paintings,
Manuscripts, and other Archaeological Objects collected by Sir Aurel
Stein in Chinese Turkestān_, British Museum, 1914, p. 12.
[48] Cf. Chavannes, _Dix inscriptions chinoises de l’Asie centrale_, pp.
80 sqq.; _Serindia_, p. 1338 sq.
[49] See _Serindia_, p. 864, with note 16.
[50] Cf. Mr. Binyon’s remarks in _Guide to an Exhibition of Paintings,
MSS., &c., collected by Sir Aurel Stein_ (British Museum, London,
1914), p. 7 sq.; also M. Petrucci’s account of Kṣitigarbha’s
‘Maṇḍalas’, _Serindia_ p. 1422 sq.
The history of Kṣitigarbha’s cult in China and Japan forms the subject
of a full and very instructive monograph, _The Bodhisattva Ti-tsang
(Jizō) in China and Japan_, by Professor M. W. de Visser, with numerous
illustrations (Oesterheld & Co., Berlin, 1915), to which reference may
be made for all details.
[51] For a brief summary of the facts bearing on the iconographic
history of the Lokapāla figures in their transition from India and
Central Asia to China, cf. e.g. _Serindia_, pp. 870 sqq., where the
principal authorities are indicated.
[52] See _Ancient Khotan_, i. pp. 158, 252 sq.
[53] The treatment of the scales, apparently represented by three-armed
crosses, is peculiar and differs from the several methods of scale
armour which other Lokapāla figures (see e.g. Plate XLVII) usually
display. But it is found again on Vaiśravaṇa’s armour in Plate XLV and
may possibly be meant for a special kind of mail.
[54] For some of such indications, see _Serindia_, pp. 871 sq., 874.
[55] Cf. Herzfeld, _Am Tor von Asien_, p. 87. To the examples there
quoted in note 141 may be added the painted panel from Dandān-oilik, D.
vii. 5, shown in _Ancient Khotan_, ii. Pl. LIX.
[56] For more detailed observations on the two groups among Lokapāla
pictures, cf. _Serindia_, pp. 872 sqq.
[57] See _Serindia_, pp. 873 sq., 939 sqq., &c. Questions closely
bearing upon armour and costume such as our Lokapālas exhibit have been
discussed with much critical learning by Dr. B. Laufer in his _Chinese
Clay Figures_, Pt. 1: _Prolegomena on the History of Defensive Armour_
(Chicago, 1914).
[58] See _Ancient Khotan_, i. pp. xvi, 374, 411; _Serindia_, pp. 246,
463 sqq.
[59] See above, pp 12, 14 sq., 29.
[60] For detailed references, cf. _Serindia_, p. 873; see also _Ancient
Khotan_, i. pp. xvi, 252.
[61] For reference to works of MM. Chavannes, Foucher,
Grünwedel-Burgess, see _Serindia_, p. 875, note 45.
[62] Cf. _Serindia_, pp. 904 sqq., and the embroidery specimens
reproduced there in Plates CVI-CVIII, CX, CXI.
[63] Cf. F. H. Andrews, _Ancient Chinese Figured Silks excavated by Sir
Aurel Stein_ (B. Quaritch, London, 1920), pp. 4 sqq., Figs. 1–3.
[64] See above, Plates I, II.
[65] We meet with exactly corresponding examples of the combination of
Chinese and ‘Sassanian’ textile motifs in certain printed silks from
the ‘Thousand Buddhas’; see _Serindia_, p. 911, Plates CXIII, CXIV.
[66] See above, p. 9.
[67] Owing to these causes the reproduction of the painting has
presented considerable technical difficulties. Hence some of the details
mentioned cannot be made out in it quite as clearly as in the original.
[68] See his Appendix _K_, _Serindia_ p. 1473.
[69] Cf. Mayers, _The Chinese Reader’s Manual_, p. 48.
[70] See above, pp. 25, 27.
[71] For full details of the iconographic evidence I may refer to
_Serindia_, pp. 878 sqq.
[72] Some idea of the labour implied by the execution of the embroidery
may be formed from the fact that the careful remounting of the hanging
on a fresh canvas backing, which became necessary at the British Museum
for its preservation, kept the expert employed on this task, Miss E. A.
Winter, of the Royal School of Needlework, occupied for over three
months.
[73] Some connexion might perhaps be sought with an early legend
relating to Śākyamuni’s stay on Gṛdhrakūṭa. While engaged in meditation
within a grotto, he was believed to have pushed his right arm through
its rock-wall in order to reassure his disciple Ānanda, whom Māra,
in the shape of a vulture, had frightened; cf. Foucher, _L’art
gréco-bouddhique du Gandhâra_, i. p. 497.
[74] See above, pp. 20 sqq.
[75] Cf. _Serindia_, p. 885.
[76] See above, p. 21.
[77] See above, p. 13.
[78] See above, p. 23.
[79] For the reasons which account for the banners with scenes from the
Life usually forming small groups or at least pairs, cf. _Serindia_, p.
852.
[80] This is in complete accord with the original Buddhist tradition
which presents the descent of the white elephant not as a real event,
but as a dream of Māyā; cf. Foucher, _L’art gréco-bouddhique du
Gandhâra_, i. p. 292.
[81] For a textual reference supporting this interpretation, cf.
_Serindia_. p. xxiii, _add_. to p. 855, note 50^a.
[82] See above, p. 8.
[83] See _Serindia_, pp. 933 sq., Figs. 215, 226.
[84] For a full description of this instrument, cf. Miss K.
Schlesinger’s note in Appendix _H_, _Serindia_, p. 1468.
[85] Cf. _Serindia_, Appendix _E_, p. 1429.
[86] See above, p. 37 sq.
[87] See above, p. 8.
[88] Cf. _Serindia_, pp. 861 sqq.
[89] For specimens cf. _Serindia_. pp. 904 sq.; Plates CVI-VIII, &c.
[90] See _Ancient Khotan_, i. pp. 120 sq., 264 sq.; ii. Pl. LXIII;
_Serindia_, iii. p. 1277.
[91] See above, p. 9.
[92] Cf. also above, p. 39.
[93] Cf. _Serindia_, p. 874.
[94] See Plates XVII, XLII.
[95] Cf. Grünwedel, _Altbuddhistische Kultstätten_, pp. 282, 351, Fig.
583; Foucher, _L’art gréco-bouddhique du Gandhāra_, ii. pp. 32 sqq.
[96] See _Serindia_, Plate C (Ch. 00158).
[97] See above, p. 40 sq.
[98] For a likely explanation of this unusual attitude, see above, p.
24, note 25.
[99] See _Serindia_, ii. p. 874; Pls. XXXVII, LIV.
Transcriber’s Note:
Text Notes:
1. Italicized text is indicated with leading and trailing
underscores. (_)