Page 443 - The Golden Age of Chinese Archaeology: Celebrated Discoveries from the People’s Republic of China

Each bodhisattva holds a treasure box in his left
hand which, is raised to the chest; the other hand
dangles naturally. Each figure is sculpted slightly
differently in the detail of their garments and ges-
tures. The long shawls covering their shoulders fall
below the waist, and the drapery ends are knotted
through a pierced disk; the ribbons separate to
either side of the body. The attendant on the left,
who is wearing bracelets, catches the ends of the
shawl in the hand, while the attendant on the right
holds a peach-shaped object in the other hand,
flinging the sash over the wrist. Each wears the
Indian dhoti, which shows the same vibrant vermil-
ion color as the Buddha's robe, but with plain bor-
ders at the hem. The garments have all been
sculpted to achieve an effect of softly covering the
body, with the fabric on the shoulders and trailing
ribbon ends given a slightly fluttering edge.
The attendants' halos — double rows of lotus
petals encircled by multicolored concentric rings
— are smaller and slightly different versions of the
Buddha's. Two other details differentiate these two:
quarter of the fifth century had begun to influence the bodhisattva on the left has the waist sash tied
the appearance of the originally Indian and Greco- in a bow, while the figure on the right has a waist
Roman, or Gandharan, style images. From the sash that hangs downward. In addition, the propor-
square and powerful visages of the earlier figures tion of the features and expression of the figure on
at Yungang, Shanxi province, for example, the the left appear softer and more feminine, while that
Buddhas were gradually transformed by the late on the right is slightly more masculine. The colors
fifth and early sixth centuries to slender, elongated of their long dhoti have been completely preserved:
images with a distinctly sinicized look and gentle a bright vermilion field, on top of which are painted
expression. mineral green, sapphire blue, and ochre lines; there
To the left and right of the Buddha stand atten- is also a pattern of four small rhomboid shapes
dant bodhisattvas, compassionate beings that have forming a floral shape and inlaid with a narrow,
postponed enlightenment to aid those on earth to 5-centimeter trim of gold leaf.
achieve wisdom. The attendants are 53 centimeters In the large flaming aureole, seven flying
tall, smaller than the central figure, and also stand apsaras, or heavenly beings, are arranged with three
on lotus pods, the strong stems projecting from the each on the left and right, and the seventh at the
stone and floating above protective lions painted apex. With one hand they hold onto the floral
near the base; their slender form, delicate features, wreath that comprises the outermost ring of the
and subtle smile mirror that of the Buddha himself. Buddha's halo. Their colored ribbons flutter upward
With their hair combed into two buns, the atten- with a strong sense of movement, as if propelled
dants are depicted with bare upper torsos; their skyward by the intensity of the Buddha's aura. Each
shoulders are softly draped by capelet shawls with is poised in a different aerial position and is nicely
long streamers whose flowing shapes also echo the differentiated. The top five apsaras have refined
graceful sweeps of the Buddha's robe. melon-shaped faces; they are painted meticulously,

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