[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.