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]

PLATE XXXVII
BANNERS WITH SCENES FROM THE BUDDHA LEGEND

XXXVII

In my preliminary comments on Plate [xii] I have already had occasion to discuss briefly the general characteristics of that interesting series of silk banners which illustrate the legendary life of Gautama Buddha and scenes closely connected with it.[78] This makes it possible to restrict my remarks on the paintings reproduced in our Plate mainly to the interpretation of the incidents and objects they are intended to represent.