- Museum number
Banner with three scenes from the Life of the Buddha, in a landscape setting: Buddha's father, King Suddhodana, despatching a messenger on a horse in search of Śākyamuni; the search; and the messenger's return without him. Blank cartouches on alternate sides of the scenes. Ink and colour on silk.
Banner heading made of silk plain weave, 18.8cm high and 19.5cm wide. Most of the banner face is made of silk plain weave with polychrome ink painting are now gone, only leaving the dark brown silk lining. This heading has a side border of two layers. The inner borders are made of clamp resist dyed silk plain weave with dots, repeated in 1.9cm in warp direction and 1.4cm in weft direction. Three Chinese characters, probably “Jie Fu Zhi” are written on both sides. The outer borders are made of brown plain weave sewn with a red suspension loop in twill damask weave, 6.2cm long, on the top.
1. Banner face, silk plain weave
Warp: silk, untwisted, single, dark brown, 50 ends/cm; Weft: silk, untwisted, single, dark brown, 26 lats/cm. Weave structure: 1/1 plain weave.
2. Heading border, clamp resist dyed silk plain weave
Warp: silk, untwisted, single, brown, 45 ends/cm; Weft: silk, untwisted, single, brown, 19 lats/cm. Weave structure: 1/1 plain weave.
3. Heading border, silk plain weave
Warp: silk, untwisted, single, brown, 46 ends/cm; Weft: silk, untwisted, single, brown, 37 lats/cm. Weave structure: 1/1 plain weave.
4. Suspension loop, twill damask
Warp: spun silk, Z twisted, single, red, 30 ends/cm; Weft: spun silk, Z twisted, single, red, 16 lats/cm. Weave structure: 2/2 twill.
- Production date
Height: 25 centimetres
Height: 77.50 centimetres
Width: 33 centimetres (banner top)
Width: 19 centimetres
- Curator's comments
From Whitfield 1982:
As Aki Uyeno has pointed out (1970,p.12), the floral border on the triangular headpiece, actually a continuation of the same silk as the main scenes, corresponds with that of Pl.31.Like that painting, this one originally was furnished with brown silk streamers, now separately preserved. The colouring of the landscape-dividing motifs, also, suggests that this painting formed part of the same series as Pls. 31 and 33, and that the subject is again the life of the prince. In this cave the top scene represents Sākyamuni’s father, Suddhodana, sending out a messenger to find his son. In the centre the messenger is seen galloping through the hills on his quest, reporting back empty-handed below. This last scene also features musicians to represent some of the pleasures of palace life, and an enclosed garden with lotus tank, bamboo and pavilion (with an unidentified object, perhaps a casket or a dais, inside) to represent its amenities.
Throughout the painting the white pigment has suffered considerable loss, but otherwise the colours are strong and well preserved.
From Whitfield 1982:
正如Aki Uyeno 指出的那樣(1970,p.12)，三角形幡頭上的花邊，事實上就是主要場景的同一絹的延續。與圖31的幡一樣，就像圖畫中的一樣，這個最先飾有棕色絲帶，現在被單獨存放著。這個山水畫分割主題的顔色，暗示了這畫構成了象圖31、33同屬一個系統，而且這個主題又是王子生活的一部分。這個洞的頂部場景代表釋迦牟尼的父親淨飯王派出使者尋找他的兒子，在中間場景可以看見使者在山丘上到處急馳,不斷尋找，下面是使者空手而歸彙報情況。最後一個場景仍然以樂師爲特征表現宮廷生活的歡愉，一個有蓮花池的院子，竹和亭子(內有不明物，也許是小箱或者講臺)以表現它的環境。
- Not on display
- Acquisition date
- Acquisition notes
- For full acquisition history, see 1919,0101,0.1.
- Registration number
- Additional IDs
Miscellaneous number: Ch.xx.008 (Stein no.)