[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].