painting / 繪畫
Painting showing a seated Buddha Maitreya, flanked by Mañjuśrī and Samantabhadra. Maitreya's features are rendered in orange. Image of Mañjuśrī is well-preserved, with features only outlined in ink, never having been coloured. Samantabhadra very badly damaged. Donor figures in the lower register, flanking a damaged, dated inscription. Ink and colours on silk.
- Excavated/Findspot: Qian Fo Dong, Ch.00224 (from Cave 17 at Ch’ien Fo Tung (pinyin: Qian Fo Dong))
- (Asia,China,Gansu (province),Dunhuang,Qian Fo Dong (Caves of the Thousand Buddhas))
- Excavated/Findspot: 千佛洞
- Height: 74 centimetres
- Width: 61 centimetres
Inscription Positionin cartouches
Inscription Translation4th year of Tianfu (AD 939).
Inscription CommentInscription partially destroyed.
Although severely damaged, this painting, since it bears a dated inscription (Fig. 16), is of interest in helping to establish the features of stylistic development in the tenth century. It is painting of modest size, painted on a single piece of silk 61 cm wide, and in general arrangement very close to Stein painting 49 (Fig. 18). Indeed the resemblance is close enough to suggest that Maitreya, here identified by a pink cartouche, is the central figure in that painting as well. Here he is attended by Manjusri 聞隨師離菩薩 and Samantabhadra 聞隨補賢菩薩.
The features of Maitreya are rendered in an intense orange colour, schematically applied. The exposed part of the chest appears almost as a rectangle (Pl. 17-2). The same stiffness is observable in Manjusri on the right, whose body is extremely long in proportion to the space left for the legs. This occurs since the three canopies and heads of the main figures are all on one level, while the lotus pedestals of the two Bodhisattvas are necessarily at a lower level than that of the central Buddha. Samantabhadra’s face if very clearly preserved (Pl. 17-3), as it was apparently never coloured and so still displays only the original ink drawing, without any lines subsequently added to accentuate the forms. Particularly noticeable are the straight line drawn to divide the lips, extending far to either side and angled downwards, and the manner in which the eye projects well beyond the contour of the face.此畫雖傷殘嚴重，卻具有紀年的題記（參照Fig.16），是考證10世紀時繪畫發展的珍貴的樣例。描繪在寬61釐米的一幅絹子上的較小型作品，其整體結構與Fig.18非常相似。本圖中尊淡茶色的長方形題箋中記有彌勒佛的名字，推斷Fig.18的中尊也是彌勒佛。本圖彌勒佛隨帶著二尊，左邊記有聞隨補賢菩薩（普賢菩薩），右邊記有聞隨師離菩薩（文殊菩薩）。
For full acquisition history, see 1919,0101,0.1.
- Ch.00224 (Stein no.)
Front Painting showing a seated Buddha Maitreya, flanked by Manjusri and Samantabhadra. Maitreya's features are rendered in orange. Manjusri, well-preseved, with features only outlined in ink, having never been coloured. Samantabhadra very badly damaged. Donor figures in the lower register, flanking a damaged, dated inscription. Ink and colours on silk.
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Object reference number: RFC648
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