The two banners (Ch. lv. 009–10) shown on the sides of the Plate on the scale of three-eighths form a pair exhibiting common characteristics in all externals and undoubtedly painted by the same hand.[79] But for the loss of all accessories and some damage to the top and bottom scenes they are both excellently preserved. The drawing is notable for its fine yet vigorous brush-strokes, the colours strong and clear. The painter’s skill displays itself particularly in the landscapes of the background, which convey a sense of great width and distance. Like the figures, architecture, spacing, &c., of these banners they are thoroughly Chinese in their treatment.
In the banner on the left (Ch. lv. 009) the topmost scene shows the meeting of Gautama Buddha in a former birth with Dīpaṅkara Buddha. In open country with mountains in the background the Buddha advances to the right followed by two attendants in dress of the Bodhisattva type. With his left hand he touches the head of the boy, the future Gautama, who bows down before him with hands joined in adoration. The boy wears a short deer-skin tunic and is bare-headed. The Buddha’s right hand is lifted in the gesture of ‘Protection’.
The scene next below, chronologically out of order, represents the first three of Prince Gautama’s famous ‘Four Encounters’ condensed, as it were, into one. It shows with much realism the sick man on his bedstead supported by an attendant, the old man being led by a boy, and the putrified corpse. The first two of these ‘Encounters’ we have already met with in Plate [xii]. From the corpse there rises a cloud carrying a small kneeling figure in Chinese secular dress with belted coat and tailed cap. The figure is turned towards a palace-like structure raised on clouds and representing an abode of the blessed.
That the figure of Gautama is absent from the scene may seem strange. But the omission of the ascetic’s figure is less surprising. In the fourth ‘Encounter’ of the legend he symbolizes the way of salvation, and for Chinese eyes this may seem appropriately replaced by the vision of a heavenly abode. The large paintings show us how completely the hope of Sukhāvatī, the Buddhist Paradise, has effaced the desire of Nirvāṇa in the minds of pious Chinese.
The succeeding scene represents the Bodhisattva’s miraculous Descent or Conception as revealed to his mother in her dream. In a court of the palace of Kapilavastu Queen Māyā is shown lying asleep upon a couch placed within a projecting apartment. Its green rush-blinds are partly rolled up. The infant Bodhisattva is seen kneeling with hands clasped on the back of the traditional white elephant, which gallops towards Māyā; two attendants kneel beside him. The whole group, enclosed within a circular space, is carried on a cloud and thus clearly marked as a vision.[80]
The bottom scene, which, unlike the rest, is not to be found among the very numerous representations of Gautama’s Nativity in Graeco-Buddhist sculpture, seems to show Māyā’s return to her father’s palace after the dream.[81] Māyā, distinguished by a golden ornament on her head, is seen walking with a woman attendant from the palace of Kapilavastu. Both wear wide-sleeved over-jackets in which they muffle their hands.
In the companion banner (Ch. lv. 0010) on the right we see scenes which continue the story of the Nativity in chronological sequence. The top scene shows Māyā asleep in the same pavilion and pose as in the ‘Descent’ scene, but with three figures kneeling outside to the left on a cloud and in adoring attitude. The interpretation is uncertain. The succeeding scene, though also absent in the Gandhāra relievos, is quite clear in its character. It presents to us Māyā on her way to the Lumbinī garden. She is seated in a gaily coloured palanquin carried by four bearers, whose rapid movement is excellently expressed. Two more men carry trestles on which to set the palanquin down.
Immediately below we see the miraculous birth of Gautama Bodhisattva, a familiar subject in Buddhist art of all times and regions. The child’s issue from the mother’s right flank and her pose grasping a bough are in close conformity with Indian tradition. But the ingenious use made of Māyā’s wide-hanging sleeve discreetly to screen the act of birth seems characteristically Chinese. The infant is springing downwards where a woman attendant kneels to receive him on a cloth. A white lotus appears where he is about to fall.
The ‘Nativity’ series is completed in the lowest panel by the famous incident of the Seven Steps, with lotuses springing up beneath where the Infant Bodhisattva has set his feet. To the right stands Māyā, with her hands muffled in her long sleeves and her head turned back towards the young child. To the left of him stands two women attendants with bowed heads and hands raised in wonder or adoration. Enough of the landscape remains to show that the scene was laid in the same grounds as the preceding two. The Chinese inscription in the cartouche confirms the interpretation.
The scene of the Seven Steps appears also at the bottom of the silk banner (Ch. 00114), which is shown in the middle of the Plate reduced to one-third of its size. It is painted in a more ornate style than the other two, but lacks their sense of life and space. Here the child steps forward with an air of difficulty but determination, the left arm stretched upwards. Four ladies bend over him in surprise and adoration. Behind to the left appear a fifth lady and a man wearing a belted yellow robe and tailed cap. Their identity is doubtful.