painting / 繪畫
Painting showing Amitābha with the Eight Great Bodhisattvas (Sarvanivaraṇaviṣkambhin, Samantabhadra, Kstitigarbha, Mañjuśrī, Avalokiteśvara, Maitreya, Ākāśagarbha, Vajrasattva), the names of four of which are inscribed in Tibetan. Geese stand on golden sand in the lower part of the painting, and a very small female donor is on the bottom right. Ink and colours on silk.
- Excavated/Findspot: Qian Fo Dong, Ch.0074 (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: 95 centimetres
- Width: 63.5 centimetres
Inscription Positionin cartouches
Inscription TranslationInscription contains names of four of the eight bodhisattvas: Sarvanivaranaviskambhin and Samantabhadra on the right; Ksitigarbha and Manjusri on the left. Not yet translated.
Although originally identified by Waley as Avalokitesvara, it seems more likely that the crowned central figure in dhyana-mudra is in fact his spiritual parent, Amitabha. There are clear references to the paradise of Amitabha in the geese standing on piles of golden sand in the lower part of the painting. Four of the Bodhisattvas, the two in the middle of either side, are labelled in Tibetan: they are Sarvanivaranaviskambhin and Samantabhadra on the right; Ksitigarbha and Manjusri on the left (Fig.47).Those above and below them should be Avalokitesvara (with a lotus )and Vajrasattva on the right; Maitreya and Akasagarbha on the left (Fig.48).
The figure of a female donor, very small, appears at the bottom (Fig.49), divided from the main area, as in other paintings of early date, by a band of lozenges. Blue was originally important in the colour scheme forming the patterned background, but it has now faded. (The same blue pattern is found in a banner on hemp cloth, Vol.2, Pl.40, and may be compared also to the printed frontispiece to the Diamond Sutra, dated A.D.868 [Vol.2, Figs.144-45].) In style the painting is very close to Pl.16 especially to the two Bodhisattvas in Tibetan style in that painting (Pl.16-2). This would seem to justify a date early in the ninth century.此幅畫原來Waley先生比定爲觀音菩薩，中央主尊頭戴寶冠、手結定印看起來更像阿彌陀如來更爲合適。畫面下部，金沙洲上站立的鵝，也可明顯看出是阿彌陀淨土圖。中段的兩側各二身菩薩，共四身，均有吐蕃文標識的名字，右側是除蓋障菩薩和普賢菩薩，左側是地藏菩薩和文殊菩薩（參見Fig.47）。它們的上下所繪的，右邊是觀世音菩薩（手持蓮華）和金剛手菩薩，左邊为慈氏菩薩和虛空藏菩薩（參見Fig.48）。
- Representation of: Samantabhadra
- Representation of: Sarvanivaraṇaviṣkambhin
- Representation of: Vajrasattva
- Representation of: Maitreya
- Representation of: Kṣitigarbha
- Representation of: Mañjuśrī
- Representation of: Ākāśagarbha
- Representation of: Amitābha/Amida
- Representation of: Avalokiteśvara/Guanyin/Kannon
- Representation of: 金剛薩埵
- Representation of: 除蓋障菩薩
- Representation of: Samantabhadra
- Representation of: 文殊師利
- Representation of: 彌勒
- Representation of: 地藏菩薩
- Representation of: 觀世音菩薩
- Representation of: 阿彌陀佛
- Representation of: 虛空藏菩薩
For full acquisition history, see 1919,0101,0.1.
- Ch.0074 (Stein no.)
Front Painting showing Amitabha with the Eight Great Bodhisattvas, four of which are labelled in Tibetan. Geese stand on golden sand in the lower part of the painting, and a very small female donor is on the bottom right. Ink and colours on silk.
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Object reference number: RFC658
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