arlt-hiyama 2013 fruits of research

8/10/2019 Arlt-Hiyama 2013 Fruits of Research

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Indo-Asiatische ZeitschriftMitteilungen der Gesellschaft fr indo-asiatische Kunst

17 . 2013

Inhalt / Contents

Vorwort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The Identification of Kizil Paintings VI

Monika Zin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Fruits of Research on the History of Central Asian Art in Berlin: The Identification

of Two Sermon Scenes from Kizil Cave 206 (Fuwaschungshhle)Robert Arlt & Satomi Hiyama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Das Geschenk der Hetre mrapl in der narrativen buddhistischen Kunst

von Gandhra Die Identifikation der Textgrundlagen

TadashiTanabe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

The Arrangement of Hariharahirayagarbha a Unique Image in the Collection of

the Asian Art Museum, Berlin

UtaSchrder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Revanta Images from Mathura RegionVinay Kumar Gupta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Transzendenz in transkultureller Perspektive Die indo-portugiesischen

Elfenbeinfiguren des Guten Hirten, Teil II

Alberto Saviello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Curiosity and its Aesthetics. Alexander von Humboldt, Prince Waldemar of Prussia,

the Schlagintweit Brothers and India

Jutta Jain-Neubauer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Sdasien-Studien in Berlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Traueranzeigen: Dr. Dr. Kurt Sandmair; Doris Grpper . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Ausstellungskalender / Upcoming Exhibitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Autoren / Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Mitglieder der Gesellschaft fr indo-asiatische Kunst 2013 . . . . . . . . . . . . . . . . . . . . . . . . 94

Impressum / Imprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96


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Indo-Asiatische Zeitschrift 17 % 2013: 16-26

Fruits of Research on the History of Central Asian

Art in Berlin: The Identification of Two SermonScenes from Kizil Cave 206 (Fuwaschungshhle)

Robert Arlt & Satomi Hiyama

The Asian Art Museum of the National Museums in Ber-

lin possesses the worldwide largest collection of Buddhistwall paintings from the Kucha region in Xinjiang Auto-nomous Region of China. They represent plenty of Bud-dhist narratives, not all of which have been identifieduntil the present day.

In a seminar held by Prof. Monika ZINin 2013 at thedepartment of Art History of the Freie Universitt Berlin,some unidentified mural paintings of Kucha were argued.The authors succeeded to identify one of them with thehelp of the research method for Buddhist iconographytaught in the seminar, which later led to a second identi-

fication. This paper aims to present these new identi-fications of two murals found in Kizil Cave 206 (Fu-waschungshhle), located now in the Museum (Fig. 1 &Fig. 11) and their parallel depictions (see List of paint-ings under discussion at the end of this paper).

Each of the murals narrates a different sermon of theBuddha. Originally they were two of eight sermon scenesrepresented on the left side wall of the main chamber ofKizil Cave 206, a central pillar cave located in the so-called second complex (Chin.Houshan district).1)Whenthe second German Expedition found this cave in 1906,

the interior was filled with debris and affected by mouldso that the sermon scenes on the right side wall werealready in very bad condition. On the left side wall, how-ever, four well-preserved sermon scenes have been dis-covered, cut off the wall and brought to Berlin.2)

1. Prasenajit

The first mural to be analysed (Fig. 1) is bordered with agreen line and its brownish background is dotted with

blue-white blossoms.In the painting eight people are depicted. The Buddha

adorned with halo and mandorla is sitting in the verymiddle on a decorated throne, in front of which a smallhexagonal pedestal covered with blossoms and an oval-shaped garland is standing. Above the central figure ar-chitectural forms can be found roofing the Buddha. Agrayish gable or dome with small blue windows, some

blue roofing left and right of it and a cornice are visible.

On each side of the central figure six persons groupedin pairs are depicted, one pair in the lower part, one in themiddle and one pair in the upper part on each side of the

painting. A single person is kneeling in front of theBuddha. The two pairs in the uppermost part of the paint-ing are decorated with diadems, shawls, jewelry and em-

bellished with halos. They are playing various musicalinstruments and their complexion suggests delight.

The four persons left-hand to the Buddha are maleand standing, with the exception of one who is kneelingin the lower corner of the painting. Two persons above

are monks. The kneeling man is wearing a garment cov-ering the lower part of his body, a shawl twined aroundhis shoulders and a decorated cap. His arms are raised, heis looking upwards receiving a crown from a man stand-ing with legs crossed, who is depicted with a halo anddecorated with diadem, jewelry, a shawl and garlands. Onone garland a special zigzag pattern is recognizable.

In the middle of the left side of the mural two personsare depicted holding a sword and a parasol. They are bothwearing a hat or scarf on their heads, one of them also

1) The archaeological record about Kizil Cave 206 is found inGRNWEDEL1912: 158-160;Zonglu2000: 232-234.

2) Most parts of these fragments (Inv. Nos. III 8649a (1-4), 8649b,8649c, 9194) were partly damaged or lost during World War II.Cf. DREYER/SANDER/WEIS 2002: 161 and 203.


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... The Identification of Two Sermon Scenes from Kizil Cave 206 (Fuwaschungshhle) 17

Fig. 1 Kizil, Cave 206 (Fuwaschungshhle), left side wall. Asian Art Museum, Berlin, Inv. No. III 8649a-3 , 103.5 x 103 cm.Staatliche Museen zu Berlin, Museum fr Asiatische Kunst. Photograph by Jrgen Liepe

earrings and a necklace. In the foreground on the left sidetwo figures are sitting in a posture of adoration, foldingtheir hands in direction to the Buddha. The figure in theleft corner is a female, who has a halo and is noblyadorned with a diadem, jewelry and shawls. The Buddhais looking at the man sitting next to her who is includingthe special patterned garland dressed like the standing

person handing over the crown and the man kneeling in

front of the Buddha. This kneeling person is holding oneof the Buddhas feet in both hands close to his mouth.GRNWEDELeven detected his tongue touching it.3)

Some elements of the painting can be related to com-positional conventions of sermon scenes found in theKucha region:

3) Buddha, R. v. ihm ein Gott, der Buddhas Fe mit herausge-streckter Zunge berhrt (GRNWEDEL 1912: 159, l. 21).


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18 R.ARLT &S.HIYAMA

Fig. 2 Kizil, Cave 38 (Musikerchorhhle), right side wall.Drawing by Robert Arlt

Fig. 3 Kizil, Cave 114 (Gebetsmhlenhhle), side wall. Asian ArtMuseum, Berlin, Inv. No. III 9231. Staatliche Museen zu Berlin,Museum fr Asiatische Kunst. Photograph by Jrgen Liepe

1. Surrounded by his audience the preaching Buddhais represented in the middle.

2. Some of the side figures indicate the precisecontent of the narrative by having a distinguishedlook, posture or attribute.

3. Music-making devatin the upper part can be re-garded as mere decoration.

In this case, two elements differentiate this scene from

others: the figure kissing the feet of the Buddha and thefigure giving away his crown.Several attempts have been made to identify the nar-

rative content of this scene. GRNWEDEL(1920, II: 66)regarded the left half of this scene as the sermon ofkyamuni to his father uddhodana and the right half asking uddhodana trying to give his realm to his enlight-ened son. DINGand MAexplained this scene as the en-throning of Bhadrika, who became the successor of u-ddhodana instead of kyamuni.4)Both identifications,however, only paid attention to the representation of the

king handing over a crown without giving fully expla-nation of the man kissing the feet of the Buddha.

An episode concerning the visit of the king Prasenajitto the Buddha can offer the complete explanation of the

entire representation, which is narrated in the Pli textsMajjhimanikya(MN)5)andAguttaranik~ya(AN),6)andin the Chinese translations of theMadhyamgama(MA)(Zhong-Ahan-Jing, vol. 213Fazhuangyan-jing)7)and the

Ekottargama(EA) (Zengyi-Ahan-Jing)8). The basic plotof this episode is as follows: When King Prasenajit madean excursion to the countryside with his chancellor, theyfound a cozy and silent garden. Here Prasenajit was re-

minded of the Buddha and so asked his chancellor wherethe venerable-one might be found. Hearing that the Bud-dha would currently stay in a nearby place belonging tothe kya clan, he immediately ordered to depart to that

place where they arrived quickly and met some monks.Being asked about the whereabouts of the Buddha theytold them that he would be meditating silently in a close-

by hall and that if the king wanted to visit him, he couldknock at the door. As the king approached the hall, theBuddha already knew it and let him in.

A variant version of this episode is known, in which

the narrative described above was combined with thestory about the massacre of the kya clan by the evil

prince Virhaka. This version is found in the Chinesetranslation of the Virhakastra (Foshuo-Liuliwang-

4) DINGand MAcited the episode ofFo Benxing ji Jing, vol. 58(DING/MA1985: 189). This identification of the mural con-tinues to be accepted in later Chinese publications, too; cf. S U1989: 41, pl. 102; Qiuci 2008: 90, pl. 78;Mural Paintings inXinjiang of China, vol. 2, 2009: 147, pl. 134.

5) Majjhimanikya 89,Dhammacetiyasutta, ed. CHALMERS 1960,vol. II: 118-125; transl. HORNER 1957, vol. II: 301-307.

6) Aguttanikya10.30,Dutiyakosalasutta, ed. HARDY1958: 65-70; transl. WOODWARD 1936: 46-49.

7) T 26: 795b18-797c6.8) T 125: 724b-725b13.


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Fig. 4 Kizil, Cave 161, right side wall. Rough sketch madeat the site by Satomi Hiyama

Fig. 5 Kizil, Cave 178 (Dritte Hhle der zweiten Schlucht /Schluchthhle), right side wall. Asian Art Museum, Berlin, Inv.No. III 8725b. Staatliche Museen zu Berlin, Museum frAsiatische Kunst. Photograph by Jrgen Liepe

Jing)9)and theMlasarvstivdavinaya (MSV)Kudraka-vastu (Genben-Shuoyiqieyoubu-Pinaye-Zashi)10)as wellas in its Tibetan translation11), and in the SanskritBodhi-

sattvvadnakalpalat (BAK, no. 11 Virhakvadna)and its Tibetan translation.12)

The episode of the prince Virhaka is, however, notdirectly related to the depiction of the argued mural.13)

Rather to be remarked are the two noticeable actions of

the king Prasenajit, found both in the painting and sometextual sources. The PliMN, ChineseMA, Virhaka-stra and MSVKudrakavastu mention that Prasenajitgave away all his royal insignia: crown,14)sword, sandals,umbrella and whisk, before he knocked on the door.When the Buddha opened the door Prasenajit fell on hisknees and worshipped the Buddha by kissing his feet;that is clearly described in the PliMN and ChineseMSV

Kudrakavastu. The Tibetan MSVKudrakavastu just

mentions that Prasenajit bowed down at the feet of theBuddha, and then wiped his face and mouth, which maynevertheless indicate that the worship by kissing the feetof the Buddha had already been done.15)

The subject of the painting can be explained accord-ing to the descriptions in the PliMN and Chinese trans-lation of MSVKudrakavastu. Prasenajit is representedthree times; first removing his royal insignia, at least three

of which are recognizable: the crown, which he is hand-ing over to the kneeling retainer, the sword, and the para-sol held by the figures on the right-hand side of theBuddha. The etiquette of the kings removing their royalinsignia at their visit to the Buddha seems to be a popularcustom, also followed by Bimbisra and Ajtaatru.16)

Again Prasenajit is depicted in the posture of kissing theBuddhas feet, and once more in the posture of adorationtogether with his wife. The presence of his wife is nevermentioned in the above-mentioned textual sources; it can,however, be regarded as a pictorial convention in Bud-

dhist art: Male figures are often represented together with

9) T 513: 738b14-785b26.

10) T 1451: 237a6-239b18.11) MSV XLIV (De): 33, 4, 8 (79a). Cf. PANGLUNG 1981: 172.12) Sanskrit version: ed. DAS/VIDHYBHSHANA 1988:352-393;

transl. CHATTOPADHYAY1994: 110; Tibetan version: ed. DAS/VIDHYBHSHANA1988: 352-393; transl. BLACK1997: 57-61.

13) The pictorial representation of this variant version of the epi-sode can be found in a Tibetan Thangka. See BLACK1997:illus. no. 12.

14) T 26 describes the five royal objects as sword, umbrella, floralgarland, jewelled whisk and sandals (T 26: 795c13). The wordfloral garland (huaman) is, however, the translation of theSanskrit word ml, which means both garland and diadem.

15) We would like to express our gratitude to Dr. Seishi Karashima(Tokyo) for offering precious information and advice on thetextual sources in personal correspondence.

16) See e.g. for Bimbisra: Catupariatstra Chap. 27c-6 (ed.WALDSCHMIDT 1957: Vorgang 27c-6; transl. KLOPPENBORG1973: 81);Divyvadna Chap. 12,Prtihryastra(ed. CO-WELL/NEIL1886: 147, l. 11-14 (A. 51. a); transl. ROTMAN2008:259); chin.MSV Saghabhedavastu(T 1450: 135b18-20). ForAjtaatru: chin. Dirghgama no. 22, rmayaphalastra(T 1: 271b1-2).


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Fig. 6 Kizil, Cave 224 (Myhhle 3. Anlage), right side wall.After Mural Paintings in Xinjiang of China, vol. II, 2009: pl. 137

Fig. 7 Simsim, Cave 42 (Halle mit dem Tierfries), right sidewall. After Xinjiang Shiku: pl. 161

Fig. 8 Kizil, Cave 171 (Hhle ber den Kassettenhhlen), leftside wall. After TAN1981, vol. II: pl. 75

their spouse. Two monks accompany the Buddha on hisleft-hand side; they may indicate the monks suggesting tothe king to knock at the door.

This episode is repeatedly represented in the muralpaintings of the Kucha region. With almost the same pic-torial composition it can be found in Kizil Cave 38 (Musi-

kerchorhhle,Fig. 2), Kizil Cave 114 (Gebetsmhlenhh-le, Fig. 3), Kizil Cave 161 (Fig. 4), Kizil Cave 178 (DritteHhle der zweiten Schlucht/Schluchthhle, Fig. 5), KizilCave 224 (Myhhle 3. Anlage, Fig. 6) and SimsimCave 42 (Fig. 7). They all depict at least two of threeidentical narrative elements: the king kissing the Bud-dhas feet, the king giving his crown to his retainer andthe king worshipping the Buddha.

In the case of Kizil Cave 171 (Hhle ber den Kasset-tenhhlen), the state of preservation is not good. How-ever, the depiction of a king giving away his crown to a

kneeling retainer (Fig. 8) can still be detected. Thoughnot entirely certain, the mural could also represent thesame episode.

Kizil Cave 38 (Musikerchorhhle) involves anotherrepresentation of this episode in the vault ceiling (Fig. 9).In this lozenge-shaped representation of the story, thescene of Prasenajit licking the feet of the Buddha is de-

picted. The ceiling paintings of the central pillar cavestend to represent only the highlight of an episode. In thisabbreviated representation of the episode the painters


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Fig. 9 Kizil, Cave 38 (Musikerchorhhle), right side of thevault ceiling. After Kizil Grottoes, vol. I, 1983: pl. 115

Fig. 10 Kizil, Cave 175 (Japanerhhle), right side of the vault ceil-ing. After Mural Paintings in Xinjiang of China, vol. II, 2009: pl. 203

seem to have regarded the moment of Prasenajit kissingthe Buddhas feet as the most prominent part of the nar-rative. A similar composition is repeated in the vault ceil-ing of Kizil Cave 163. In the vault ceiling of Kizil Cave175 (Japanerhhle, Fig. 10), the episode is represented inmore detail. Prasenajit appears two times: kissing feet andworshipping the Buddha on his left-hand side, while onthe right side of the Buddha Vajrapi raises his whisk.

Interestingly, in some representations Prasenajitstongue kissing the Buddhas feet can be clearly observed,

to which is not referred in any textual sources mentionedabove.17)

2. Muktik

The mural fragment of Inv. No. III 8649a-1 (Fig. 11) wasbadly damaged during the war so that only the right upperpart of the scene is left now.18)Even the surface of the leftpart suffers from the damage, which makes it very diffi-cult to recognize the details of the depiction. The photo-graphs of the painting taken before the war enable us toanalyse its narrative content.

This square-shaped painting shares the basic compo-sition with the one analysed above (Fig.1): The Buddha

is sitting in the middle. Here he is surrounded by tencharacters. The Buddha has eye contact with a femalefigure sitting on a smaller throne in the lower left part ofthe painting. She is worshipping the Buddha with foldedhands. Her garment and accessories are especially magni-ficent, which distinguishes her from the other figures. Inaddition to that she is wearing a crown. Five more female

persons holding trays filled with flowers are represented

17) In the TocharianAraemijtaka, there is a description of a kingcaressing his son, who began to kiss his little face with [his]tongue (autsate-ne rupake kantwas(a) skwa(tsi); THT 83.3,published on the website of CEToM: http://www.univie.ac.at/tocharian/?THT%2083). We would like to express our gratitudeto Dr. Michal Peyrot (Berlin) for this precious informationgiven in personal correspondence. 18) Cf. DREYER/SANDER/WEIS2002: 161 (IB 8649/1a).


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Fig. 11Kizil, Cave 206(Fuwaschungshhle),

left side wall.After GRNWEDEL1920:Taf. XXVIII-XXIX

Fig. 12 Detail of Fig. 11, upper right corner.

Drawing by Robert Arlt

behind this figure and on the other side of the Buddha.Three devatabove are playing musical instruments, anda female figure raising both arms is observed on the rightupper corner of the scene.

The previous attempts to identify this scene have re-garded this female figure as one of the adoring goddesses,who is dancing in adoration for the Buddha, although shelacks the nimbus which accompanies the other devat.GRNWEDEL(1920, II: 64) explained this scene as Yao-dhar trying to persuade her enlightened husband to re-

turn to the palace, while Chinese art-historians identifiedthis scene as the Buddhas sermon for the women of thekya clan in Kapilavastu.19)

The most decisive narrative element of this scene hadbeen overlooked since its discovery. Careful observationof the depiction reveals that the female figure is notdancing but in fact being attacked by a cow, representedin front of her upper body (Fig. 12).

The representation of a woman being attacked by acow with exactly the same posture can be found in KizilCave 110 (Treppenhhle, Fig.13). The inscription abovethis scene was deciphered by PINAULTand SCHMIDT.20)Thelatter connected it with the story of Muktik, which seemsto be more matching with the pictorial depiction.

The episode about the princess Muktik is known intheMSVAdhikaraavastu21)and also as the 7thchapter ofthe Bodhisattvvadnakalpalat in Sanskrit as well as

19) SU1989: 42, pl. 104; Qiuci 2008: 92, pl. 80;Mural Paintingsin Xinjiang of China, vol. 2, 2009: 143, pl. 130.

20) PINAULT2000: 163; SCHMIDT2010: 857, in comparison withthe drawing of the mural paintings of Kizil Cave 110 pub-lished in NAKAGAWARA1997: fig. 41. NAKAGAWARA(1994:34) described the animal in the upper right corner as a goat,while ODANI(2012: 7-8) suggested it might be a cow.

21) MSVAdhikaraavastu, Sanskrit: ed. GNOLI1978: 62,1-64,4;Tibetan:MSV XLII (): 1, 1, 2 (212a). Cf. PANGLUNG 1981: 82.A small Sanskrit fragment mentioning the name of Muktik wasfound by the German Turfan-expedition (BECHERT/WILLE1989:Kat.-Nr. 1298). However, the text seems to vary from otherknown versions.


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Fig. 13Kizil, Cave 110

(Treppenhhle), left side wall. Photograph courtesy of Ms. Zhao Li, Kucha Research Academy (Xinjiang Uyghur Autonomous Region, the Peoples Republic of China)

their Tibetan translations.22)Two Tocharian manuscriptsfound in Duldur-akhur (PK NS 31 and PK NS 294) arealso identified as containing parts of this story.23) Therelevant episode is also cited in the UyghurMaitrisimit.24)

According toMSVAdhikara avastuthe kya womenare going to visit the Buddha after getting permission todo so. To the discontent of nanda, the wife of Mahnmaarrived decorated with jewellery. Being asked by the monkto remove her decoration she gave it to her servant Rohikordering her to bring it back home. When Rohik came

back to the place where the Buddha was preaching,Mahnmas wife had changed her mind envying anotherwoman who had kept her pearl necklace and sent Rohik

back home again to collect her mistresss pearl necklace.The Buddha noticed Rohik being sad about not having

the chance to listen to his teachings and gave her a pieceof birch bark on which he had written a verse for her.Happily she went back home in order to collect thenecklace but was killed on the way by a pregnant cow.25)

In her next life she was born as princess Muktik ofSihala being named after a rain of pearls that occurredat the moment of her birth. She was able to remember her

previous life as Rohik and through travelling merchantsshe sent a letter to the Buddha.

Thus the dancing women in the upper right cornerof the painting can be identified as Rohik being killed onher way by the cow depicted next to her. The occurrencein the upper corner represents the past, while the event inthe lower parts of the painting shows the present. Thismeans that the woman sitting on the throne is not a noble

of the kya clan but Rohik in her next life as Muktik,princess of Sihala, accompanied by servants holding herofferings to the Buddha. The same narrative scheme, inwhich the former birth of the main protagonist is repre-sented in the right upper corner of a preaching scene, can

22) BAKno. 7Muktlatvadna, Sanskrit: ed. DAS/VIDHYBH-SHANA 1988: 230-257; transl. CHATTOPADHYAY 1994: 104;Tibetan: ed. DAS/VIDHYBHSHANA 1988: 230-257; transl.BLACK1997: 35-38 (with its illustration on a Thangka).

23) PINAULT2007: 181, 186, 204. Dr. Hitotoshi Ogihara (Beijing)kindly informed us in a personal correspondence that a Tocha-rian fragment in Berlin (B568), originally excavated from theKizil Cave, fairly corresponds with PK NS 31 and thus couldalso be a part of theMuktlatvadna.We would like to ex-press our gratitude to Dr. Ogihara for this precious information.

24) GENG/KLIMKEIT1988: 182-187.

25) In the Pli canon, several stories can be found concerning per-sons being killed by a cow, which is a certainyakiin differ-ent reincarnations. They are Pukkusti, Bhiya Druciriya,Tambadthika and Suppabuddha the leper. See Dhammapa-datthakath, ii. 35.


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Fig. 14 Kizil, Cave 161, left side wall. Rough sketch made atthe site by Satomi Hiyama

Fig. 15 Kizil, Cave 196, ceiling. After Kizil Grottoes, vol. III,1985: pl. 98

be observed in the depiction of the sermon to NgarjaElapatra in the same cave (ZIN2011: 61-68).

Another representation of the story can also be foundon the left side wall of Kizil cave 161 (Fig. 14) and in thevault ceiling of Kizil Cave 196 (Fig. 15).

ConclusionAs demonstrated above, two sermon scenes depicted on

the left side wall of Kizil Cave 206 represent the episodes,which are known in theMSV Vinaya. Considering the factthat two other sermon scenes from the same cave alsorepresent episodes which are known in theMSV Vinaya(the potter Bhaddyuti in the MSV Bhaiajyavastu and

Ngarja Elapatra in the MSVKudrakavastu),26) thenarrative material of this cave appears strongly related tothe (Mla-)Sarvstivda-Vinaya. The relationship betweenthe murals and the Tocharian textual sources is alsonoticeable: In the case of the Bhaddyutijtakaand the

Muktlatvadna, Tocharian versions of these narratives

are available, both showing the character of local adapta-tion.27)The relation of narratives depicted in murals andfound in Tocharian literature must be studied further.

List of paintings under discussion

Prasenajit

Kizil, Cave 38 (Musikerchorhhle), right side wall (su-pra, Fig. 2); illus.: TAN1981: pls. 108-109;Kizil Grot-toes, vol. 1, 1983: pls. 83 and 98; DUAN1992: pl. 48.

Kizil, Cave 38 (Musikerchorhhle), vault, right side;illus.: Kizil Grottoes, vol. 1, 1983: pl. 115 (supra,Fig. 9);Mural Paintings in Xinjiang of China, vol. 1,2009: pl. 100.

Kizil, Cave 114 (Gebetsmhlenhhle), side wall; Asian

Art Museum, Berlin, Inv. No. III 9231 (supra, Fig. 3);illus.:LE COQ/WALDSCHMIDT 1933: 71.

Kizil, Cave 161, right side wall; photograph previouslyunpublished (supra, Fig. 4).

Kizil, Cave 163, vault, right side; illus.:Kizil Grottoes,vol. 2, 1984: pl. 173.

Kizil, Cave 171 (Hhle ber den Kassettenhhlen), leftside wall; illus.: TAN1981: pl. 75 (supra, Fig. 8);KizilGrottoes, vol. 3, 1985: pl. 2;Mural Paintings in Xin-

jiang of China, vol. 1, 2009: pl. 223.

26) For the episode of Ngarja Elapatra:ZIN2011: 61-68; for theepisode of the potter Bhaddyuti: ZIN2007: 46-51.

27) For the analysis of the TocharianBhadhyutijtaka: OGIHARA2010; for the textual style of the Tocharian version of theMuktlatvadnawe would like to express our gratitude to Dr.Ogihara for the information given in personal correspondence.


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Kizil, Cave 175 (Japanerhhle), vault, right side; illus.:Kizil Grottoes, vol. 3, 1985: pl. 19;Mural Paintings inXinjiang of China, vol. 2, 2009: pl 203 (supra, Fig. 10).

Kizil, Cave 178 (Dritte Hhle der zweiten Schlucht/

Schluchthhle), right side wall; Asian Art Museum,Berlin, Inv. No. III 8725b (supra, Fig. 5); illus.: LECOQ/WALDSCHMIDT1933: 75.

Kizil, Cave 206 (Fuwaschungshhle), left side wall;Asian Art Museum, Berlin, Inv. No. III 8649a-3 (su-

pra, Fig. 1); illus.: GRNWEDEL 1920: Taf. XXX-XXXI; HRTEL/YALDIZ1982: pl. 31;Kizil Grottoes,vol. 3, 1985: pl. 215; Tokyo National Museum 1991:75, pl. 24; YALDIZ2000: pl. 307. SU 1989: pl. 102;Qiuci 2008: pl. 78; Mural Paintings in Xinjiang ofChina, vol. 2, 2009: pl. 134.

Kizil, Cave 224 (Myhhle 3. Anlage), right sidewall; illus.: Mural Paintings in Xinjiang of China,vol. 2, 2009: 153, pl. 137 (supra, Fig. 6).

Simsim, Cave 42 (Halle mit dem Tierfries), right sidewall; illus.:Xinjiang Shiku: pl. 161 (supra, Fig. 7);

Mural Paintings in Xinjiang of China, vol. 5, 2009:pls. 76 and 77.

Muktik

Kizil, Cave 110 (Treppenhhle), left side wall; illus.:NAKAGAWARA1997: fig. 41 (supra, Fig. 13).

Kizil, Cave 161, left side wall; photograph previouslyunpublished (supra, Fig. 14).

Kizil, Cave 196, vault, right side; illus.:Kizil Grottoes,vol. 3, 1985: pls. 94 and 98 (supra, Fig. 15).

Kizil, Cave 206 (Fuwaschungshhle), left side wall;Asian Art Museum, Berlin, Inv. No. III 8649a-1, MIKB 345 (monochrome photograph); illus.: GRNWEDEL1920: Taf. XXVIII (supra, Figs. 11, 12); SU1989: pl.104; DREYER/SANDER/WEIS 2002: 161 (IB 8649/1a);Qiuci 2008: pl. 80; Mural Paintings in Xinjiang of

China, vol. 2, 2009: pl. 130.

BIBLIOGRAPHY

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Aguttaranikya, eds. E. HARDY &R.MORRIS, 1-5. London:Pali Text Society, 1885-1900; transl. F.L. WOODWARD

& E.M. HARE,The Book of the Gradual Sayings,1-5.London, 1932-36.

Bodhisattvvadnakalpalat, eds. S.C. DAS& V. HARIMO-HANA, 1-2. Calcutta, 1888-1918; transl.(Skt. version):J. CHATTOPADHYAY, Bodhisattvvadnakalpalat - A

critical Study. Calcutta,1994; transl. (Tib. version): D.BLACK,Leaves of the heaven tree: The great compassionof Buddha. Berkeley, 1997.

Catupariatstra, ed. E. WALDSCHMIDT, Das Catupari-atstra, Teil I-III. Berlin, 1952-60 (Abhandlungen derDeutschen Akademie der Wissenschaften zu Berlin, Klas-se fr Sprachen, Literatur und Kunst 1952/2, 1956/1,1960/1); transl. R. KLOPPENBORG, The Stra on theFoundation of the Buddhist Order (Catupariatstra).Leiden, 1973.

Divyvadna, eds. E.B. COWELL& R.A. NEIL, The Divyva-

dna: A collection of Early Buddhist Legends. Cam-bridge, 1886; transl. A. ROTMAN,Divine Stories: Divy-vadna. Boston, 2008.

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Deutsche Zusammenfassung

Der vorliegende Artikel soll durch die Analyse zweier Motive aus Kizil einen Beitrag zur weiteren Er-forschung zentralasiatischer buddhistischer Kunst und Kultur leisten: 1. Das Motiv eines Knigs, der dieFe des Buddha kyamuni ksst, ist mit der Schilderung eines Besuchs des Knigs Prasenajit beimBuddha in Verbindung zu bringen (Figs. 1-10); 2. Das Motiv einer Frau, die von einem Rind angegriffenwird, bezieht sich auf die Geschichte der Prinzessin Muktik, die in ihrem vorherigen Leben als DienerinRohik auf dem Heimweg von einer trchtigen Kuh gettet wurde (Figs. 11-15).

arlt-hiyama 2013 fruits of research

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