painting; 繪畫(Chinese) BM-1919-0101-0.23

Period:Five Dynasties and Ten Kingdoms Production date:926-975 (circa)
Materials:silk, 絲綢 (Chinese),
Technique:painted
Subjects:bodhisattva hell wild cat/big cat canopy monk/nun cintamani 菩薩 (Chinese) 地獄 (Chinese) 哺乳動物 (Chinese) 華蓋 (Chinese) 供養人 (Chinese) 和尚/尼姑 (Chinese) 國王/王后 (Chinese) 如意寶 (Chinese) flaming jewel
Dimensions:Height: 91 centimetres Width: 65.50 centimetres

Description:
Painting showing Kṣitigarbha in the centre, seated on a rock under a canopy, holding a staff and a cintamani (flaming jewel). At the two sides are the Ten Kings of Hell, each one seated behind a desk like a magistrate, flanked by assistants. Before the Bodhisattva stands the monk Daoming with his lion, and an ox-headed jailor leading the soul of a man wearing a cangue, who is viewing his sins in a mirror. Blank cartouches stand on alternate sides of the Ten Kings. Two inscribed cartouches at the side of the figure of Daoming. In the bottom section, donor figures kneeling at the sides of a central blank panel. Ink and colour on silk.
IMG


Comments:EnglishFrom Whitfield 1983:This painting has still more detail than the preceding one and marks a further stage in the iconographical development of the subject. Ksitigarbha in the centre, holding the staff and cintamani and seated on a rocky outcrop, is, as it were, framed on both sides by the Ten Kings, who are now seated, just as magistrates in the real world would be, each behind his own desk. Yama, the fifth king, is at the lower left, wearing the mian, while the others wear civilian caps, or a kind of winged cap, or, in the case of the figure at top right, full armour with a helmet. On the desks in front of them lie open scrolls with marks to indicate writing, and ink stones. Each has his own attendant (Figs. 33, 34).Below appear the priest Daoming and his lion. But to them have been added an ox-headed lictor with a huge club, leading the soul of a man wearing a cangue, who in a mirror is being shown an example of his evil actions in life, slaying an ox (Pl. 24-3).In this depiction, the lengthy journey of the soul, passing for judgement before the first of the Ten Kings on the seventh day after death and successively thereafter on each seventh day until the forty-ninth day, and after that on the hundredth day and on the first and third anniversaries, is spelt out in detail, and the concept of retribution for sins (with the need to earn remission by meritorious acts) takes on its full meaning. Further gruesome details are added in the hand-scrolls illustrating the sutra on paper (Pls. 63, 64), where Ksitigarbha is no longer the central figure.Perhaps because it is uninscribed (and so may never have come into actual use), the painting is in very good condition and still has a complete border of dark purple silk. ChineseFrom Whitfield 1983:此圖與上圖是同一主題的作品，但表現了更多的細節，在圖像方面也進了一步。地藏手持錫杖和寶珠，以半跏趺姿態坐在畫面中央的岩座上，兩側圍繞著十王。十王像現在的審判長，每人都坐在桌子後邊。第五王閻魔王出現在畫面左下邊，頭戴冕冠，不同于其他王的文官頭巾或兩翼伸長的冠，或畫面右上角一身像戴的兜鍪。每個王前的案子上都展開卷物，放著硯臺，並且都帶有侍者（參照Fig.33、34）。下方除了道明和獅子外，還繪有手持大棒的牛頭獄吏，牽著帶枷的男子，他在看鏡子裏映出的前世犯下的殺牛罪惡（參照Fig.24－3）。這裏表現亡靈在死後的第七日接受第一王的審判，其後一直到四十九天，都是每隔七天，以後還要接連不斷地接受十王第一百日、一年、三年等的審判，以及考察前世所犯罪惡的懲罰（通過行好事來減免罪惡）等。在圖63、64的畫卷中，對接受十王審判的亡靈的描繪多起來。那裏，地藏已經不是主角了。榜題框是空欄，此畫大概沒有被實際使用，因此保存狀態非常好，深紫色的絹邊也完全保留下來。