Period:Unknown Production date:6thC (Whitfield 1985)
Materials:wood, 木 (Chinese),
Technique:painted
Subjects:buddha deity 佛 (Chinese) 神 (Chinese)
Dimensions:Height: 10.60 centimetres Width: 44.80 centimetres Depth: 1.90 centimetres
Description:
Rectangular votive panel painted on both sides. One side shows three figures inside niches: on the left, a man with a bare torso,wearing heavy golden earrings and holding a leaf-shaped fan; in the centre, an animal-headed deity, tentatively identified by Stein as the King of Rats, who, according to legends, helped the king of Khotan to fight the Xiongnu tribes. On the right, there is a figure in a red dress, much deleted, possibly a Buddha. The other side shows five seated Buddhas. Painted in ink and colours on wood.
IMG
![图片[1]-votive panel; 木板畫(Chinese) BM-1907-1111.68-China Archive](https://chinaarchive.net/Unknown/43/mid_00008495_002.jpg)
![图片[2]-votive panel; 木板畫(Chinese) BM-1907-1111.68-China Archive](https://chinaarchive.net/Unknown/43/mid_00008496_002.jpg)
Comments:EnglishFrom Whitfield 1985:This plaque is almost the same size as the one bearing the story of the Silk Princess (Pl. 66), but the reverse is painted as well (though not reproduced here) with five small images of the Buddha, three of them completely effaced, the other two in purple robes, sitting within pale blue mandorlas as though in an arcade. They are similar to the rows of small Buddhas from wall painting fragments in the Khotan area.On the front the two main figures are larger: on the left the torso of a male figure, holding a fan and looking towards an animal-headed deity, which is crowned and splendidly garbed in red and blue. The deity was identified by Stein as the Rat King: according to a legend related by Xuanzang in Da Tang xiyu ji, the king of Khotan was able to defeat an attack by the Xiongnu thanks to golden rats which gnawed the bowstrings and other gear of the latter, and which were consequently worshipped at a shrine west of Khotan. Kumagai Nobuo (1962, p. 102) notes that this plaque links folk legends with Buddhism in a special way not found among the terracottas from Khotan. Joanna Williams (1973, p. 152) considers that it is equally possible that the figure may represent a wolf head as in a votive plaque from Tarishlak (Serindia, Pl. XII) and so one of the grahas, or beings with supernatural influence over the health of children. Another votive plaque (Fig. 96), showing two women each holding a baby, must have been intended to secure protection for them, while one of the six female spirits shown in Vol. 2, Pl. 75 is a wolf-headed figure, identified in the Khotanese inscription as Mukhamanda: this deity, according to the Chinese inscription also on the painting, had to be propitiated in order to protect the child. Thus the question of identification of the middle figure must remain open. The third smaller figure has suffered some abrasion and does not help to resolve the matter. ChineseFrom Whitfield 1985:此木板畫與《養蠶西漸傳說》的木板畫（圖66）的尺寸大致相同，但是背面也繪著五身小佛像（本書未收錄），其中三身完全消失，剩下的兩身著紫衣，坐在拱形的淡青色背光中。這些像與和田壁畫斷片中數排小千佛像相似。正面的三像中，二身主尊的像很大。左邊的男像未完成，手持團扇，注視著頭戴寶冠、身穿赤和青衣服的獸頭像。有關此獸頭像，斯坦因根據玄奘《大唐西域記》的故事，判定爲鼠王。此故事是，大群金色的鼠咬斷匈奴的弓弦及其它的裝備，幫助于闐王擊敗匈奴人的襲擊，王在于闐的西邊爲鼠建祠堂進行祭祀。而熊谷宣夫先生（參照〈西域美術〉――《西域文化研究》第5卷，1962，102頁）認爲，此故事不見於和田出土的陶器，體現了民俗故事與佛教相結合的特殊連系。另外，Joanna Williams認爲，“此像如同Tarishlak出土的木板畫（《西域》，圖XII）可能是狼頭，或許是羯羅訶之一，或許是掌管兒童健康的神靈之一”（參照《和田佛教美術圖像》，152頁）。還有繪著兩個婦人各自抱著嬰兒的木板畫（Fig. 96），一定是在祈求兒童的安全。另外，本書第2卷圖75的六身女神像中，有一身的題記為于闐文，據Mukhamanda的解讀，就是狼頭像。而同一畫面上的漢文題記記載為保護兒童，不得不取悅該女神。因而對中間像的判斷仍是需要解決的問題。第三尊小像但由於已磨損，無助於解決問題。 The Department of Asia would like to thank Xanthe Carmichael for her help with updating the information on the site of Dandan-Uiliq.
Materials:wood, 木 (Chinese),
Technique:painted
Subjects:buddha deity 佛 (Chinese) 神 (Chinese)
Dimensions:Height: 10.60 centimetres Width: 44.80 centimetres Depth: 1.90 centimetres
Description:
Rectangular votive panel painted on both sides. One side shows three figures inside niches: on the left, a man with a bare torso,wearing heavy golden earrings and holding a leaf-shaped fan; in the centre, an animal-headed deity, tentatively identified by Stein as the King of Rats, who, according to legends, helped the king of Khotan to fight the Xiongnu tribes. On the right, there is a figure in a red dress, much deleted, possibly a Buddha. The other side shows five seated Buddhas. Painted in ink and colours on wood.
IMG
Comments:EnglishFrom Whitfield 1985:This plaque is almost the same size as the one bearing the story of the Silk Princess (Pl. 66), but the reverse is painted as well (though not reproduced here) with five small images of the Buddha, three of them completely effaced, the other two in purple robes, sitting within pale blue mandorlas as though in an arcade. They are similar to the rows of small Buddhas from wall painting fragments in the Khotan area.On the front the two main figures are larger: on the left the torso of a male figure, holding a fan and looking towards an animal-headed deity, which is crowned and splendidly garbed in red and blue. The deity was identified by Stein as the Rat King: according to a legend related by Xuanzang in Da Tang xiyu ji, the king of Khotan was able to defeat an attack by the Xiongnu thanks to golden rats which gnawed the bowstrings and other gear of the latter, and which were consequently worshipped at a shrine west of Khotan. Kumagai Nobuo (1962, p. 102) notes that this plaque links folk legends with Buddhism in a special way not found among the terracottas from Khotan. Joanna Williams (1973, p. 152) considers that it is equally possible that the figure may represent a wolf head as in a votive plaque from Tarishlak (Serindia, Pl. XII) and so one of the grahas, or beings with supernatural influence over the health of children. Another votive plaque (Fig. 96), showing two women each holding a baby, must have been intended to secure protection for them, while one of the six female spirits shown in Vol. 2, Pl. 75 is a wolf-headed figure, identified in the Khotanese inscription as Mukhamanda: this deity, according to the Chinese inscription also on the painting, had to be propitiated in order to protect the child. Thus the question of identification of the middle figure must remain open. The third smaller figure has suffered some abrasion and does not help to resolve the matter. ChineseFrom Whitfield 1985:此木板畫與《養蠶西漸傳說》的木板畫（圖66）的尺寸大致相同，但是背面也繪著五身小佛像（本書未收錄），其中三身完全消失，剩下的兩身著紫衣，坐在拱形的淡青色背光中。這些像與和田壁畫斷片中數排小千佛像相似。正面的三像中，二身主尊的像很大。左邊的男像未完成，手持團扇，注視著頭戴寶冠、身穿赤和青衣服的獸頭像。有關此獸頭像，斯坦因根據玄奘《大唐西域記》的故事，判定爲鼠王。此故事是，大群金色的鼠咬斷匈奴的弓弦及其它的裝備，幫助于闐王擊敗匈奴人的襲擊，王在于闐的西邊爲鼠建祠堂進行祭祀。而熊谷宣夫先生（參照〈西域美術〉――《西域文化研究》第5卷，1962，102頁）認爲，此故事不見於和田出土的陶器，體現了民俗故事與佛教相結合的特殊連系。另外，Joanna Williams認爲，“此像如同Tarishlak出土的木板畫（《西域》，圖XII）可能是狼頭，或許是羯羅訶之一，或許是掌管兒童健康的神靈之一”（參照《和田佛教美術圖像》，152頁）。還有繪著兩個婦人各自抱著嬰兒的木板畫（Fig. 96），一定是在祈求兒童的安全。另外，本書第2卷圖75的六身女神像中，有一身的題記為于闐文，據Mukhamanda的解讀，就是狼頭像。而同一畫面上的漢文題記記載為保護兒童，不得不取悅該女神。因而對中間像的判斷仍是需要解決的問題。第三尊小像但由於已磨損，無助於解決問題。 The Department of Asia would like to thank Xanthe Carmichael for her help with updating the information on the site of Dandan-Uiliq.
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