[67] Owing to these causes the reproduction of the painting has presented considerable technical difficulties. Hence some of the details mentioned cannot be made out in it quite as clearly as in the original.
[68] See his Appendix K, Serindia p. 1473.
[69] Cf. Mayers, The Chinese Reader’s Manual, p. 48.
[70] See above, pp. [25], [27].
[71] For full details of the iconographic evidence I may refer to Serindia, pp. 878 sqq.
[72] Some idea of the labour implied by the execution of the embroidery may be formed from the fact that the careful remounting of the hanging on a fresh canvas backing, which became necessary at the British Museum for its preservation, kept the expert employed on this task, Miss E. A. Winter, of the Royal School of Needlework, occupied for over three months.
[73] Some connexion might perhaps be sought with an early legend relating to Śākyamuni’s stay on Gṛdhrakūṭa. While engaged in meditation within a grotto, he was believed to have pushed his right arm through its rock-wall in order to reassure his disciple Ānanda, whom Māra, in the shape of a vulture, had frightened; cf. Foucher, L’art gréco-bouddhique du Gandhâra, i. p. 497.
[75] Cf. Serindia, p. 885.