The bottom corners are occupied on each side by a larger group of attendants. The central figure in each case is a four-armed female divinity of beneficent aspect, dressed like a Bodhisattva and seated on a bird. The one on the right rides on a phoenix and is followed by a Buddha. The female deity behind him is of interest, as from the children in her arms she may be recognized as the goddess Hāritī, whom a pious Indian legend represents as a wicked ogress converted into a patroness of children.[44] The female divinity on the left is riding on a peacock, with two attendants behind her who in the absence of attributes or inscriptions remain unidentified. Lower down on either side are seen standing two Lokapālas, Kings of the Quarters, in armour, and in each of the bottom corners a demonic Vajrapāṇi, six-armed and serpent-decked, straddling against a background of flames. At the feet of each sits a smaller demon with a boar’s head. Before the Lokapālas and close to the edge of the tank are seated on the right an emaciated old man in ascetic garb, and on the left a richly-robed nymph offering flowers. Both these figures, described elsewhere as the ‘Sage of the Air (?)’ and ‘Nymph of Virtue’, are with particular clearness seen again in Plate [xlii].
On the iconographic side the interest of this sumptuous presentation of Avalokiteśvara’s ‘Maṇḍala’ is obvious, were it only for the appearance in it of such Śivaitic deities as Mahākāla and Maheśvara. These aptly illustrate the influence which Hindu mythology, even in its later development, continued to exercise on the Buddhist Pantheon of Central Asia and the Far East. On the artistic side attention is claimed by the skill shown in the ordinance of the whole and the drawing of individual figures. But it is in particular the highly effective colour treatment which makes this picture rank with the most impressive in the Collection.
PLATE XVIII
AVALOKITEŚVARA STANDING, WITH WILLOW SPRAY
XVIII
It is to qualities very different from those of the preceding picture that the figure of a standing Avalokiteśvara (Ch. 0091), reproduced in Plate [xviii] in half the size of the original, owes its special charm. The silk painting has lost portions of its sides and the whole below the knees of the figure, and the colouring throughout has much faded. But the disappearance of paint helps to bring out more clearly the excellence of the design and the very delicate drawing of figure and features. With workmanship showing mastery of a fully established technique in details, the painting combines an air of individual feeling which makes its subject one of the finest single figures amongst our Ch‘ien-fo-tung paintings.
Avalokiteśvara stands facing the spectator, with head erect but eyes downcast. His pose, with the weight thrown on the right hip and the body aslant to the left shoulder, is characteristically Indian. The head is that of a young man and shows marked influence of Gandhāra art in its features. The nose is long and straight, the brow high, and the eyes only slightly oblique. The moderately arched eyebrows sweep in a slightly recurved line to the outer edge of the brow. The thinner cheeks and more natural proportion of the features give to the face a distinct individuality which those of the conventional semi-feminine Bodhisattvas lack. The expression is meditative and remote, the pose graceful and dignified at the same time. The right hand is raised in the vitarka-mudrā at the breast with a willow spray between the thumb and fingers; the left hanging by the side holds the flask and a twining spray with pink flowers.
The attire and head-dress are of the conventional style associated with the Bodhisattva type which has above been designated as ‘Chinese’. The Dhyāni-buddha Amitābha is shown on the front of the tiara, which is a simple circlet ornamented with flaming jewels and long tassels at the ears. The hair done in double-leaf form appears above it. Instead of the under-robe a light red scarf is thrown over the breast. A stole of grey and olive green, much faded, clings to shoulders and upper arms and is festooned across the front of the figure. From the waist descends the skirt, apparently brown.
In the right lower corner appear two small figures kneeling and holding lotus buds. They represent evidently donors, a boy and a girl. The way in which their hair is dressed, the boy’s parted and tied in a double bunch on either side of the head and the girl’s parted and tied behind, is not usual in our paintings. The plain long-sleeved robes covering the figures from neck to feet afford no clue to the dating.