o. u. L/Bf?AR/£i DESCRIPTP"^ ^ATATnoTTF of the COLLECTION UNIVERSITY OF B.C. LIBRARY v^v-rj^J^i-v. x i Wi^ OF B . UNITED EUM Jk .6'i BT I. M. CASANOWICZ AttiitaDt Curator, Divisioa of Old World Archeology United Statet National MuMum No. 2371. — From the Proceedings of the United States National Museum, Vol. 59, pages 291-347, with Plates 44-92 N S193 C382 1921 FAC / f /Washington / Government Printing Office 1921 , STOHAGrJ IT?:?! LIBRARY PROCESS ING Lp5-D?6F U.B.C. LIBRARY U- Digitized by tine Internet Arciiive in 2010 with funding from University of Britisin Columbia Library http://www.archive.org/details/descriptivecatalOOcasa DESCRIPTIVE CATALOGUE OF THE COLLECTION OF BUDDHIST ART IN THE UNITED STATES NATIONAL MUSEUM BY 1. M. CASANOWICZ Assi..an. Cura.or. Division of Old World Archeolog, United States National Museum NO. 2371.-Fron. the Proceeding, of the United States National M.seu.. Vol. 59. pages 291-347. with Plates 44-92 Washington Government Printing Office 1921 /V ^'^^ DESCRIPTIVE CATALOGUE OF THE COLLECTION OF BUDDHIST ART IN THE UNITED STATES NATIONAL MUSEUM. By I. M. Casanowicz, Assista7it Curator, Division of Old World Archeoloijy, United Slates iVatioial Museum. INTRODUCTION. The collection described in this catalogue includes material from Further India and the Far East. That from the former region con- sists chiefly in a collection of about 200 specimens coming from the Laos, a di^'ision of the widespread Thai or Shan race and ethno- graphicaUy related to the Siamese, in Indo-China. The contribu- tions from the Far East are divided between China, Japan, and Tibet. The greater part of the specimens from the last-named country has been described by the late William WoodviUe RockhiU in Notes On The Ethnology of Tibet.^ They are included in the present cata- logue for the sake of completeness. A special collection of objects of Buddhism from Burma, a deposit of Mr. S. S. Howland, was described under the title of The S. S. How- land Collection Of Buddhist Religious Art in the National Museum, by I. M. Casanowicz.' INTRODUCTION. THE FOUNDER OF BUDDHISM. Buddhism arose at the end of the sixth or beginning of the fifth century B. C. as a schism or reformation of Brahmanism in India. Its founder, known by the names of Gautama, Sakyamuni, and Buddha, was Siddhartha, son of Suddhodanna of the family Gautama, rajah, or chieftain, of the Sakya clan, who were settled in the Ganges Valley, along the southern border of Nepal and the northeast part of Oude (Oudh), about a hundred miles north-northeast of Benares, with Kapilavastu as capital. Gautama, then, is the family name which the Sakyas assumed after one of the Vedic seers (Rishis), Sakya-Muni, means sage of the Sakyas, while Buddha is not a proper or personal name, but a title. Later tradition has woven around the person and career of the founder a mass of myths and legends. So, for instance, that before > Report of the U. S. National Maseum lor 18S3, pp. 730, etc. • Report of the U. S. National Museum for 1904, pp. 73.5-744, with 17 plates. Proceedinqs U. S. National Museum, Vol. 59— No. 2371. 291 292 PROCEEDINGS OF THE NATIONAL MV8EUM. vol.59. his last life on earth he had gone through hundreds of rebirths in all forms of existence; or that for ages he had Uved in Tushita, the heaven of the happy gods, and in the fullness of time was born in a super- natural way, having entered the body of his mother Maya in the guise of a white six- tusked elephant; that he was prompted to re- nounce the world and his career of a prince through the sight of sick- ness, old age, and death; that he was tempted by the fiend Mara who tried to divert him from his mission of a savior, and other similar myths. The simple facts of his career, so far as they can be freed from the later legondarj^ accretions, may be said to be about as follows: Siddhartha, who was of a reflectiA-e and contemplative turn of mind and deeplj^ impressed with the vanity and miseiy of life, retired from the world at the age of 29, after 10 years of manied Ufe and the birth of a son. This is called the "groat renunciation." For six years he led the life of a wandering ascetic sage {muni), devoting himself to the study of the various systems of philosophy and the- ology of the times, and to severe ascetic practices, without finding in either a solution of the riddle of existence. In his thirty-fifth year he passed through a second mental crisis. While sitting in medita- tion under the famous Bo-tree (a species of Ficus religiosa, pipala) at Bodhi Gaya, south of the present Patna, he attained to the state of a Buddha — that is, of an " enlightened one," or " awakened one" — having found the cause of the evils of existence and the way of do- Uverance from them. For 45 years Buddha went about from place to place in the valley of the Ganges, proclaiming his good tidings and gathering around him a small band of faithful foUowere, the earliest members of his afterwards famous order, and finally died at the age of 80, in the midst of his disciples, at Kusinagara, the modern Kasia, in the district of Gorakhi:)ur, his body being cremated, and the rehcs dis- tributed among the clans of the adjoining districts. BUDDHA'S DOCTRINES (THE DHARMA). The substance of the teaching of Buddha is expressed in the "four excellent truths": (1) Existence is inseparable from sorrow. Birth is soiTOw, age is sonow, sickness is sorrow, death is sorrow, clinging to earthly things is sorrow. (2) The causes of sorrow are our j)as- sions and desii es which result in new birth with its consequent old age, sickness, death, and other miseries. For the present Ufe of the individual is not the first one. Innumerable births have preceded it in previous ages. The attachment to life and its pleasures pro- duces a new being, and the moral character of the thoughts and actions of the former existences fixes tho condition of the new being. This is caUed the law of cause and effect, or Karma. The term properly means "doing," or "action," and comprises the doctrine of the everlasting effect of an act. It is tlie aggregate result of all I No. 2371. CATALOGUE OF BUDDHIST ART—CASANOWICZ 293 previous acts in unbroken succession fi'om tlie beginning of existence, which in the Buddhist conception of man, constitutes his character, his real self, his ego, as it were. This alone endures when an indi- vidual existence has come to an end, and if the thirst of living and the fire of passions are not entirely extinguished, it gathere around itself, as a kind of transmigration of character, new elements and results in a new sentient l)eing, whose nature, condition, and fortune it determines. Individuals are merely the present and temporary links in a long chain of cause and effect. Each link is the summarized result of the various activities of all that have gone before, and is, in its turn, part and parcel of all that wiU follow. By the theory of Karma, Buddhism explains the mystery of fate in the apparent unequal distribution here of happiness and woe, entiiely independent of moral quahties. What a man reaps, Buddhism teaches, that he must himself have sown, as whatsoever a man sows that shall he also reap. (3) The cessation of sorrow through the extinction of the passions, of evil desires and the attachment to material objects, which destroys the power of the senses so that they no longer give birth to new beings. (4) The way to cessation by following the eight-fold path: (1) Right views (that is, freedom from superstition or delusion), (2) right resolve (high and worthy of the intelligent earnest man), (3) right speech (kindly, open, truthful), (4) right conduct (peaceful, honest, pure), (5) right way of earning a hvehhood (causing hurt to no living being), (6) right endeavor (in self-training and in self-control), (7) right mindfubiess (the active and watchful mind), (8) right contemplation (earnest thought on the mysteries of Ufe). Each of these terras is a summary of the manifold energies of thought, feeling, and will in various combinations and applications, and the whole may be characterized — to use a modern designation — as a system of "ethical culture." The general philo- sophical presuppositions of Gautama's system are: The inevitable connection of desire and suffering; the nonreality of any abiding ego-principle or self, and the impermanence of all individual exist- ence. The ethical teachings of Buddha are founded on ji definite method of self-culture and self-discipline which would lead to the extinction of the " three-fold fire" of self-deception, desire, and malev- olence and to a release at once from suflering and becoming — Nirvana. The term nirvana, which Uterally means "going out" (hke the flame of a candle), is used with three distinct significations: (1) Eternal blissful repose, the peace which puts an end to all striving (something like the "beatific vision" conceived l)y Christians); (2) extinction and absolute amiiliilation ; (3) to Buddha it seemingly meant the dying down or going out of the fires of lust, hatred, anger, and delusion or duUness, the cardinal sins of Buddhism, and a consequent passion- less calm beyond reach of temptation. By thus uprooting all desire. 294 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.59. and by perfect detachment from life and its attractions, cessation of the renewal of existence will bo attained. " Whence comes peace ?" (Buddha is made to say) "When the fire of desire is extinguished, when the fire of hate is extinguished, when the fire of illusion is extinguished, when aU sins and all soitows are extinguished, then comes peace." So that one may "enter Nirvana" while still on earth. What might be the after-death state of such a released being Gautama refused to discuss. Buddhism thus proclaimed a mode of salvation in which every man may be his own savior, without refer- ence to God or gods, to priest or ritual. It is the first imiversal rehgion addressing itself to all men and to every nation; the fii'st rehgion which had the ambition to embrace aU men, to gather the whole of mankind into a great unity. "Go into all lands and preach this gospel; tell them that the poor and lowl}', the rich and high, are all one, and that all castes unite in this rehgion as unite the rivers in the sea." THE BUDDfflST COMMtJNITY (THE SANGHA). The Buddhist community in the strict sense consists of an order of monks and nuns {Bhikshus and Bhikshunis) who, as a rule, live in monasteries and are vowed to ceUbacy, povert}^ and obedience. The folloM'ing ten commandments were given to members of the order: (1) Not to kill or even mjure any sentient beings (2) not to steal, (3) not to commit adultery, (4) not to lie or use any maimer of improper speech, (5) not to use intoxicating drinks, (6) not to take repasts at improper times (that is, after midday), (7) not to attend dances, plays, and public spectacles, (8) not to wear costly raiment and garlands, or use perfumes, (9) not to use high seats and beds, and (10) not to receive gold or silver. But already in Buddha's Hfe- time it was impracticable for all his adherents to retire from the world and join the order. On these lay-believers (Upasalcas) only the first five of the ten injunctions are obligatory. Among the virtues recommended to the masses are reverence to parents and teachers, care for wife and children; submission to authority, control over self, patience, forbearance, humility and contentment, alms giving, respect for the life of sentient creatures, and care for the welfare of all living things. Buddha, his doctrine, and the comnmnity form the triad (the "three jewels," triratria) of Buddhism, and the formula of confessing fellowship with Buddhism is : I take my refuge in the Buddha, in the Dharma, and ui tlio Sangha. DIVISIONS or BUDDHISM. Buddhism is divided into two great schools, which are themselves subdivided into man}^ sects and subsects. The first, the Hinayana, or lesser ^'ehicle (comparing the religion of Buddha to a vessel which carries men across the agitated and restless ocean of existence, sawsara, No. 2371. CATALOGUE OF BUDDHIST ART—CA8AN0WICZ 295 to the haven of Nirrana), which pretends to have preserved the original teachings of Buddha in greater purity and simphcity, pre- vails in Ceylon, Burma, and Siam, although even there Buddhism is overlaid and intenvoven with animistic notions and practices; the second, the Mahay ana, or "greater vehicle," which arose in the second or first century B. C. in India and spread northward to Nepal. Tihet, Chma, Mongolia, and Japan, adopted many popular elements of mysticism and magic and is permeated with metaphysical specu- lations. After the regions in which the Hinayana and Mahayana are dominant, they are also termed the southern and northern school, respectively. Some of the distinctive doctrmes between the Huiayana school and that of the Mahayana are: (1) As regards the endeavor of the believer, the aim in the former is mdividual salva- tion by becoming an ArMt, or a perfected samt. Through contempla- tion on the four excellent truths and by followmg the eight-fold path he is freed from lust and desire and thus from midergomg rebirth ; in the latter the believer strives to emulate Buddha to save others by becommg j^ Budhisattva, an aspirant to Buddahood. For accord- mg to the Buddhist doctrine, Gautama Sakyammii, the historical founder of Buddhism, was only one of man}' Buddhas who appear in the world at intervals of many ages (Kalpas), when there is special cause for their presence, and they dej^art agam when they have ful- filled the purpose for which they came, have set in motion the wheel of the law which they proclaim, and have foimded an order destmed to last for some period of tune. With each there is a period m which the doctruie flourishes, then a gradual dccluie, when it is overthro\m till a new teaclier appears and once more establishes the lost truths. (2) In the Mahayana vehicle the founder was transformed from a man who could be born and die into a supermundane self-existent and everlasting being, surrounded by vast multitudes of Bodhisattvas, numerous as "the sands of Ganges," who occupy various heavens as their habitations. This is developed in the doctrine of the Adi- Buddha, that is, the first, or primary Buddha, the Buddlia miorigi- nated, the pruiciple and ultimate j)ostulate of existence. B}' five acts of contemplation (dhfaiii) he })roduced the five Buddhas of contemplation (Dhyani-Buddhas), the celestial protot}'])es or comiter- parts of the five human Buddhas {Manushi Buddhas), of whom Gautama was the fourth, and the fifth, Matreya, the Buddha of love, is still to appear (at the end of the present age). By the twofold power of knowledge ajid contemplation they give bu'th to Bod- hisattvas of contemplation (Dhyani-Bodliisattvas). These celestial Bodhisattvas are charged v. ith the providence of the world and with carrymg on the m ork of an earthly (Manushi) Buddha after his demise until the arrival of a successor. The most kno\\ n and most \\ orshiped Dhyani-Buddha is Amitabha — endless light— the celestial comiter- 296 PROCEEDINGS OF THE NATIONAL MUSEUM. vol. 59. part of Sakya Muni, and president of the Sukhavati heaven, the Paradise of the West, and therefore plays a great part in the belief and ritual of Tibet, China, and Japan as funeral divinity. His Dhyani-Bodhisattva is Avalokitesvara or Padmapani, ruler of the present period and protector and patron of Tibet. In China and Japan he was transformed mto, or identified ^vith, Kuan-yin and Kuanon, respectively, the goddess of compassion and mercy.^ Human Buddhas. Dhyanl Buddhas. Dhyani Bodhisattvas. I Krakuchanda VfkirivViftTia Sammantabhadra. ? Kanakftmnni , Akshobva VajrapanL RatnapanL Avalokitesvara or Padmapani. Visvapanl. 3 Kasyapi T{atna>yiTnbhftvft 4 Gautama A mitahha 5 Maitreya Amogasiddha The opinion of the Mahayana adherents that every leader in their reUgious circles, every teacher distinguished for sanctity of life, was a Bodhisattva, besides introducing a crowd of deities from Hinduism and a multitude of attendant spirits and demons, opened the door to a flood of superstitious fancies, to a whole pantheon of gods, angels, saints, which appealed more strongly to the half-civilized races among which the Mahayana doctrine was propagated. HISTORY OF THE SPREAD OF BUDDmSM. .\lready at the death of Buddha the number of Buddhists seems to have been considerable. About the middle of the third century B. C, King Asoka, also called Piyadasi, grandson of Chandragupta, the Sandrokottos of the Greek historians, adopted Buddhism, and from the third century B. C. to the fourth century A. D. it was the dominant religion of India. But then its decline set in, and towards the end of the eleventh century A. D. it was entirely suppressed in India itself, the land of its origin. But meanwhile it spread, through the zeal of its missionaries, south and north. It was adopted by the kings of Ceylon in the third century B. C, a son of iVsoka being the first missionary, and it is here that Buddhism is found almost in its pristine purity. From thence it was carried in the fifth century A. D. to Burma and in the seventh to Siam. Buddhism entered China in the first century A. D., but not until the fourth century did it obtain there any strong footing. It is found there in two sects — Foism, which was introduced from India; and Lamaism, which came from Tibet — side by side with Taoism and Confucianism. The preponderant r61e in Chinese Buddhism belongs to the celestial (Dhyani) Buddha Amitabha (Chinese, Omitofoh), the inspirer {spiri- tus rector) of Sakyamuni; and the Bodhisattva, Avaltokitesvara, » Following is a synopsis of the five human or Manushi Buddhas of the present period of the world's existence (Kalpa) and their corresponding mystic or celestial counterparts {Dh]/ani-Buddh(u), and their mystic successors (Dhyani-Bodhisatlvas): No. 2371. CATALOGUE OP BUDDHIST ART— CASANOWICZ 297 who is here transformed into the female goddess of pity, Kuan-yin; and Manjusri (Chinese, Uenchu), the incarnation of science. But there also figure many Hindu deities under Chinese names in the Buddhist pantheon of China, besides numerous indigenous spirits and demons. The same characteristics can be predicated of the Buddhism of Japan, where it penetrated from Korea in the sixth century A. D. It adopted also there many elements of Shintoism, the native religion of Japan, into its system, transforming the principal deities (Kami) of the Shintos into manifestations of Buddha and Buddhist saints. Buddhism is supposed to have first entered Tibet from Nepal in the fourth century A. D. But it was only in the seventh century under the patronage of King Srongtsan-Gambo that it took root in the country and became its established religion. It was already on its arrival in Tibet penetrated with many beliefs and rites of Hindu- ism and was still more corrupted by assimilating many elements of the native religion, called Bon, which probably was some kind of demonism and Shamanism. In the fifteenth century the monk Tsong-khapa undertook a reform of the Buddhism of Tibet to free it from its superstitions and abuses; but his efforts seem to have had little success or duration. The Tibetan Buddhism is a mixture of Hindu polytheism and mysticism and native demonolatry and sor- cery. The genuine Buddhist doctrines as taught by Gautama Buddha play a little part in it. It has worked out an elaborate ritual with tonsured priests, processions, masses, holy water, incense, rosa- ries, confession, exorcism, and so forth, and by means of its powerful hierarchy it contrived to gain also political supremacy of the country, [t developed into a hierarchical monarchy under the suzerainty of China. At the head of this church-state stands the Dalai Lama as abbot of the monastery of Gedun Dubpa near Lhasa, the capital and holy city ("God's place") of Tibet. Next to him in dignity is the Panchen Lama, head of the monastery of Tashi Lhunpo, which is situated about 70 miles west of Lhasa, to the right of the river Brah- maputra.^ These dignitaries, the first of whom has always held the highest rank in the Tibetan hierarchy, are believed to be incarnations of the Dhyani-Bodhisattva Avalokitesvara (Cenresi), the special patron and protector of Tibet, and of the Dhyani-Buddha .Vmitabha (Odpadmed or Ts'e-pa-med), respectively. On the death of the temporary incarnation of the Bodhisattva, that is, of the Dalai Lama, the spirit of the latter passes over to a child, the identity of whom < The title dalai, meaning "vast," literally, "ocean," was given to the grand lama of Lhasa by the Mongol prince Oufri Khan of Koko-Nor, who in 1640 A. D. conquered Tibet and made a present of it to the grand lama. The Tibetans call the Lhasa grand lama Gyalwa Rinpoche, "the gem of majesty" or "victory." The Tashi Lhunpo grand laraas are entitled Panchen Rinpoche, "the precious great doctor," or "great gem of learning," or Gyalgon Rinpoche, "the precious lordly victor." See L. A. Waddell the Buddhism in Tibet, London, 1895, pp. 227 and 235. 298 PROCEEDINGS OF THE NATIONAL MUSEUM. vol. S'J. being decided by divination. But also the abbots of the greater monasteries (chutuktus) are looked upon as incarnations of Bodhisatt- vas. Besides these quasi deified mystical persons, there are in the Tibetan church other hierarchical ranks and degrees. "The word 'lama/ written hla-ma and meaning 'the superior one/ is that given by Chinese and foreigners generally to the members of the Buddhist monastic order in Tibet. In Tibet, however, this word is reserved for those monks who have not onl)" taken the highest theological degrees, but who have also led a saintly life and become famed for their knowledge. The word draha is used by Tibetans as a generic term for all persons connected with the order, monks as well as lay brethren."^ Buddhism wherever it went was modified by the national char- acteristics and inherited beliefs of its converts, so that fundamental doctrines were often overshadowed, sometimes destroyed, and it developed into strangely inconsistent and even antagonistic behefs and practices. In accommodating itself to the genius and the habits of widely diversed peoples it was obliged to submit to various far-reaching compromises. It took on the color of any local condi- tion and absorbed the native cults. In its development and expan- sion it gathered up into itself, like a snowball, all that it found in its way and changed even its essentials. But for all that, the impress of Gautama's lofty teachings has not been blotted out. They became a vehicle of a superior civilization, and their influence in the realms of art, pliilosophy and religion has been profound. In the field of art, in particular, it may be said that Buddhism was creator and originator. It gave the keynote to painting, sculpture, and archi- tecture of the East for many centiu-ies much like Christianity did for the art of the West. THE COLLECTION. For the purpose of the descriptive catalogue the collection may be divided into : I. The Buddhist Pantheon: (1) Images of Buddha; (2) images of Bodhisattvas and other divine beings. II. The Buddhist Scriptures (Dharma). III. The Buddhist Congregation (Sangha): (1) Saints and priests and their appurtenances; (2) religious edifices and their parapher- nalia. IV. Miscellanous : Magic, divination, etc. » W. W. Rockhill, Notes on the Ethnology of Tibet, p. 730. The political authority of the Dalai Lama is confined to Tibet itself, but he is the acknowledged spiritual head of the Lamaist Buddhists throughout Mongolia and China, as also by the Buriats and Kalmuks in Russia. No. 2371. CATALOGUE OF BUDDHIST ART— CA8AN0WICZ 299 I. THE BUDDHIST PANTHEON. 1. IMAGES OF BUDDHA. In the early period of Buddhism no image of Buddha appears. It seems that the Buddhist artists deliberately abstained from at- tempting to model or depict the human foim of the divine founder of their religion. His presence was indicated by certain signs of his activity, or symbols wliich referred to the main events or crises of his life, as the footprints which he left beliind liim; the sacred tiee beneath wliich he obtained enlightenment; the wheel, which was adopted by liis disciples as the symbol of his doctrine. It was about the beginning of the Cliristian era — fom* or five centuries after Bud- dha's decease — that his effigy was brought into common use, and soon became the leading feature of Buddhist decoration.^ After the Buddha image was once created, it was considered a meritorious and salutary act to represent as many Buddha figures as possible. Rows of Buddha figures were employed in the decoration of temple facades; whole rocks were turned into teiTace-reliefs adorned \vith Buddhas, and caves were filled with thousands of Buddha statues of all sizes, and millions of Buddliists carry an image of him about tlieu- persons. The most general orthodox type of Buddha images, which is prob- ably the result of a long course of experiment,' is that of a Hindu Yogi ascetic, sitting cross-legged in meditation, clad in a mendicant's garb, without any ornaments. The face, usually of Aryan cast of features, and unbearded, wears a placid and benign expression of passionless repose and serene dignity.^ The head is bare and roughly tonsured, the ragged contour of his cropped hair being ascribed to Ids having on his gi-eat renunciation cut off his tresses with his sword. His short locks are represented by Indian artists in the shape of sea- shells, perhaps following the tradition that once snails came out to shelter Buddha's head from the rays of the sun. In China and Japan the short locks sometimes take the form of round beads or sharp spikes. Among the 32 superior marks of beauty {maha'purusha- lakshanas) and the 80 smaller marks (annuvijanjana-Iakslianas) ascril)ed to Buddha, as the most perfect form of man, are a protu- berance (ushnisTia) on the crown or vertex of the head, being the " hump of perfect wisdom;" a bead or little ball (urna) between the • The same conditions appear in early Christian art. For three centuries there were no pictures of Christ, but only symbols, as the fish, the lamb, the dove The catacombs of St. Calllstus contained the first picture of Christ, the date being 31.^ A. D. Rabulas in 586 first depicted the crucifixion in a Syriac Gospel. Images come in vogue with the development of cult and ritual. The spirit of adoration necessitates a visual icon; purely abstract symbols can uot long content an adoring worshiper ' The type of Christ was long a Quctuating one until that of Byzantium became universal. • " There is no image so familiar in the East as his (Buddha's); he sits everywhere, in monastery, pagoda, and sacred place, cross-legged, meditative, impassive, resigned, the ideal of quenched desire, without any line of care or thought to disturb the ineffable calm or mar the sweetness of his unsmiling, yet gracious face." A. M. Fairbaim, Philosophy of the Christian religion, p. 270. 300 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.59. eyebrows; long ear lobs, sometimes reaching to the shoulder; long arms, which in the East is a mark of noble birth (recall Longimanus, epithet of Artaxerxes I). The robe is usually thrown over the left shoulder, leaving the right bare, except when he is represented preaching or walking abroad in public. The throne upon which he sits or stands is formed of a lotus flower (padmasana) , which is some- times supported by lions, elephants, or other animals, as a sort of heraldic shield. Behind his head is often displayed a nimbus or halo, frequently in form of a fig leaf, in remembrance of the tree (Ficus religiosa) under which he attained to Buddahood. A prominent part in Buddhist iconography is played J)y the posi- tion of the hands (mudra), illustrating different mcidents or favorite scenes in Buddha's life. They are in the mam: 1. The attitude of meditation {dhyana-mudra) , which occurs only in seated images. The legs are firmly locked and the soles directed fully upwards, while the hands are placed in the lap, one over the other. 2. The witness or earth touching postiu-e (bhumisparssa-mudra) . It marks the moment when Gautama sitting upon the diamond throne (vajrasana, so-called on accoimt of its stability and inde- structibility) mider the bodhi-tree, was assailed by Mara, the Satan of Buddhist theolog}^, challenghig him to prove his qualification for Buddhahood, Gautama laid his hand upon the earth, calling upon the earth goddess (Prithivi) to boar testimony to his pious acts in his previous existences. Instantly the Earth goddess appeared and addressed the saint, saying: I am your witness. This posture is therefore used to indicate the hodJii, or enlightenment which imnie- diately followed the "temptation," as Mara's assault is conmionly called. The Buddha is invariably seated with the right-hand pendant over the throne, pointmg to the earth. It is the most common form of all seated statues, almost the only one in vogue with Southern Buddhism (Burma, Ceylon, and Siam). 3. The attitude of preachuig, or "turning the wheel of the law" (dharmachakra-mudra) . The two hands are held in front of the breast, the thumb and forefinger of the right hand bemg joined and touching the middle finger of the left hand, or the right index fuiger tiuning down the fingers of the left hand. This posture of the hands is likewise confined to sedent statues. 4. Grantbig protection {ahhaya-mudra) . The right hand is raised at the level of the right shoulder, with palm of hand turned out- wards. The left hand usually clasps the end of the upper robe, which is turned romid the left arm so as to form a sleeve. This mudra is found both m standing and seated images. 5. The gift-bestowmg attitude (varada-mudra) . The right arm is stretched out downwards with the open })alm of the hand turned to the front. This posture is associated only with standing figures. No. 2371. CATALOGUE OF BUDDHIST ART—CA8AN0WICZ 301 The features of the Buddha images described in the preceding are in greater part also extended to those of most of the Bodhisattvas or mythical Buddhas. It is therefore not always possible to deter- mine whether an image represents Buddha or a Bodhisattva. For on the one hand individual Bodhisattvas are often given the rank of Buddhas, though not yet attained by them, and depicted in the Buddha type. On the other hand, the yomig prhicely figures ele- gantly draped and decked with ornaments instead of the plain monk's robe, which are the characteristics of Bodhisattvas, may as well represent Sakyamuni as Bodhisattva, before his attaining Buddha- hood. 1. Buddha. — Made of bronze. Seated in meditation. The hands resting m the lap are disposed in such a way that the thumbs of both hands touch one another. The meditative repose is emphasized by the nearly closed eyes and the dreamy look of the coimtenance. The protuberance of the head is nearly hemispherical. There is a bead (uma) both on the head above the forehead, and below between the eyebrows. The ears are long and pierced. Behind the head is a circular halo of wood. The robe covers both shoulders, but leaves the breast bare, waves from the left round the lower part of the body and falls in ample folds over the feet. On the back of the figure is engraved a Japanese mscription in 13 Imes which has been rendered as follows: ,: , This bronze image of "The Buddha of Five WiBdoms," was made by Saburobiyoye Katsutane, son of the great caster, Yoshitane Tsuji of the Fujiwara clan, whose title was Tajima no Kami, Anson, who lived at the Port of Yasuno in the Province of Seishiii (Ise). He respectfully cast it for Shichirouyemon Tadanori Takamine, who lives in the town of Matsuzaka in the district of Jidaka, Seishiu (Ise), whose religious name and the religious name of his wife are given, and "Who desire the blessings of future life for (the souls of) their Fathers, Mothers, and of six unnamed relatives, and for them- selves." It was respectfully offered by them to the temple of Joshozan Soan in Yamada. Seishiu (Ise), on the loth day 9th month of the 1st (rat) year of the Period of Keian — October 30th, 1G48, when it was reverently consecrated by Shonin (Rev'd) Kwan- seikudatsu, of the Society of Benren (Distinguished pure Lotus), twenty-first Priest of the temple of Sanyenzan Zojo, in the district of Shiba, Yedo, Province of Bushiu (Musashi). Height, 38f niches. Cast in Ise, Japan, 1648 A. D. (Plate 44, Cat. No. 12965, U.S.N.M.) » 2. Buddha. — Made of teak wood, black lacquered and gilt. Stand- ing on a lotus pedestal, the right hand raised to the bosom, the left hand clasping the upper garment, the pose of grantmg protection. The robe covers the left shoulder, leavhig the right shoulder and • A brief sketch ol Japanese bronze work in connection with a description of this figure is found in the Report of the U. 3. National .Museum, 1888-1889, pp. 729-73.5, under the title " On a bronze Uuddha in the U. 8. National Museum." 15y Charles de K^y. 302 PROCEEDINGS OF THE NATIONAL MVHEVM. vol.59. arm bare. Around the forehead is a sort of diadem studded with colored stones. The latter also decorate the upper seam of the robe and the girdle round the waist, which terminates in a sash reaching to the ankles. The lotus {Nelumbium speciosum) is the queen of Indiaii flowers, to v.'hich a special sanctity is attached in the eyes of Buddhists and Hindus alike, and both Hindu and Buddhist divinities are usually represented standing or seated upon a lotus pedestal. With the Buddhist in particular it is a favorite object owing to its resemblance, when full blov/n, to the wheel, the symbol of the Buddhist doctrine {dharma). See also below under No. 300. Height, 6 feet 3 inches. Burma. (Plate 45, Cat. No. 129902, U.S.N.M.) 3. Bnddha. — Made of wood. Sitting in meditation. Body and robe are painted yellow, the locks of small cones are black, the lips and insides of the nostrils and of the piercings of the ears are red. The eyes wide open, the mouth with full lips wears a faint smile, the face is round and rather short. The mendicant's robe is thrown over the left shoulder and comes down in ringed folds over the left arm and the legs. In place of a halo, five-forked flames issue from the crown of the head. This is common to Buddha statues of Ceylon and Siam and vary in the number of the flames from three to five and seven. On the palm of the right hand are painted m red, blue, and green colors (not seen on the plate) an open and closed lotus and concl shells, while the sole of the right foot is adorned, in the same colors, with wheels, lotuses, and the figures of an elephant and lion. The general signification of the lotus in Buddhist symbolism has been touched upon in the preceding No. 2. The wheel with "a thousand spokes" under the soles of the feet is one of the marks {laJcshanas) of a Buddha. The symbolism of the wheel in India meant universal dominion, the great circle of power and rule. The "thousand-rayed wheel" on the soles of the feet of a cliild when born indicated that he will either be a chalcravarti, that is, a universal monarch, whose wheel chakra, that is, chariot, rolls unresisted over all the world, or a perfect Buddha. The wheel then marks Buddha as a spiritual chakravarti. Legend has it that Buddha as soon as he entered this world M'alked seven steps to each of the cardinal points, taking, as it were, spiritual possession of the universe. In the picturesque language of the ancient Buddhist writmgs 'turning of the wheel-of-the-law ' ' stands for preaching the doctrine destined to travei-se the world like the chariot wheels of a conquering monarch, and the whe^^l {dliarma-chal-ra) has been adopted as a symbol of Buddha's doctrine and is often repre- sented on the throne of statues, sometimes between two deer, in memory of the first sermon delivered by him, after he attained enlightenment, in the Deer Park at Sarnath, near Benares, when he No. 2371. CATALOGUE OF BUDDHIST ART—CASANOWJCZ 303 "set roiling the royal chariot wheel of a universal empire of truth and righteousness." The elephant is the symbol of sovereignty and one of the "seven jewels" which the chakravarti possesses, while the lion was the emblem of the Sakya clan from which Buddha sprung. Buddha him- self bears the epithet Sakyasimha, "the lion of the Sakya race." Height to the summit of the flames, 7 feet 2 inches; to the crown of the head, 6 feet 7 inches. Ceylon. (Plate 4G, Cat. No. 154977, U.S.N.M.) 4. Bvxldha. — Wood, lacquered and gUt. Represented standing on an hourglass-shaped base of a double lotus. The arms hanging flat by the sides. From the protuberance of the head (uslmisTm) proceed five rays of flames, over which rises a metal umbrella. The figure is marked by stiffness and anatomical awkwardness. Height, 27 inches. Laos, Further India. (Cat. No. 517560, U.S.N.M.) 5. Buddlia. — Bronze, lacquered and gUt. Represented in the gift bestowing attitude walking, the right foot advancing, the raised left foot resting on the toes. The lotus throne is set on a triple octagonal base. From the head rise the five flames. The base is rather rudely cast, while the figure shows better work. Height, 26 inches, Laos, Further India. (Cat. No. 217506, U.S.N.M.) 6. Buddha. — -Alabaster, red lacquered and gOt. Rudely executed. The ushnisTuL is covered \\dth a headdress resembling a stupa which is characteristic of many Siamese and Burmese figm'es. The right hand points to the earth — the witness pose. The throne is supported by three elephants. Height, 17i inches. Laos, Further India. (Plate 47, Cat. No. 217613, U.S.N.M.) 7. Buddha. — Old bronze. Represented in the witness pose. Round the throne is a frieze in relief of thirteen elephant heads, the middle one facing front while the six on either side of him face one another. Height, 12 inches. Laos, Further India. (Cat. No. 217503, U.S.N.M.) 8. Buddha. — Old bronze, lacquered and gilt. Represented in the witness position on a triple base, with the five rays issuing from the ushnisha. Fine work, but the head is broken off. Height, 21 inches. Laos, Further India. (Cat. No. 217505, U.S.N.M.) 9. Buddha. — Wood, lacquered and gilt. Seated in meditation on a high throne of a triple lotus which is inlaid with pieces of colored glass. The base of the five-forked flame on the head is studded with colored stones. Height, 2H inches. Laos, Fiu*ther India. (Cat. No. 217567, U.S.N.M.) 10. Buddha. — Bronze. Standing in the gift-bestowing attitude. The head is slightly bent forward, with an intent gaze of the wide open eyes downward. Around the brow is a circle of colored stones. The right hand is l)roken off. Height, 20 inches. India. (Cat. No. 158323, U.S.N.M.) 304 PROCEEDINGS OF THE NATIONAL MUSEUM. vol. 59. 11. Buddha. — Bronze. Standing with the hands crossed, right over the left, in front; a rare position. Height, 17 inches, Laos, Further India. (Cat. No. 217524, U.S.N.M.) 12. Buddlm. — Bronze. Standing in the attitude of granting pro- tection. The locks of the head are arranged in spirals. On the fore- head between the eyebrows is the precious jewel (urna). The robe is fitted round the neck, covering both shoulders, and coming down in waved folds. The cast of the countenance as well as the arrangement of the drapery show influence of Greek art, which left an indelible impress on the religious art of Asia from Gandhara in northwest India to Japan, Height, 29 inches, Japan. (Plate 48, Cat. No, 95037, U,S,N.M.) 13. Buddha. — Bronze. Similar to the preceding No. 12, only smaller in size. Height, 12 inches. Japan. (Cat. No, 158320, U.S.N.M.) 14. Buddha. — Wood, lacquered and gilt. Seated in witness posi- tion on lotus. Well-executed workmanship. Height, 15^ inches. Laos, Further India. (Cat. No. 217565, U.S.N.M.) 15. Buddha. — Bronze. Standing in the gift-bestowing attitude, on crown of the head five rays. Height, 15 inches. Laos, Further India, (Cat, No. 217523, U.S.N.M.) 16. Buddha. — Wood, lacquered and gUt. Advancing figure on a double base, with arms hanging flat on the sides. Height, 13 inches. Laos, Further India. (Cat. No. 217602, U.S.N.M.) 17. 18. Buddha. — Wood, lacquered and gilt. Seated in witness position. The bases are adorned with conventional floral designs in gold on a black lacquered ground. Height, 10^ and 10 inches. Laos, Further India. (Cat. Nos. 217583-217584, U.S.N.M.) 19. Buddha. — ^Wood, gilded. Represented standing on a lotus which rests on an hourglass-shaped base, the left hand holding up the robe, the right hanging down flat. The base is inlaid with small roimd pieces of colored glass. Height, 11^ inches, India, (Cat. No. 158325, U.S.N.M.) 20. Buddha. — Bronze. Standing in the gift-bestowing attitude. An excellent grade of bronze combined with superior workmanship. The right hand is missing. Height, 13^ inches. Laos, Further India. (Cat. No. 217521, U.S.N.M.) 21. Buddha. — Bronze, gilt. Standing in the attitude of gi-anting protection, with the usual five rays on the head. Height, 13 inches Laos, Further India. (Cat. No. 217522, U.S.N.M.) 22. Buddha. — Old bronze. Seated in witness position. The thi-one is raised on tliree legs. Height, 11 inches, Laos, Further India. (Cat. No. 217508, U.S.N.M.) 23. Buddha. — Old bronze. Similar to the preceding No. 22. The base is adorned with lotus buds in open work. Height, 12 inches. Laos, Further India, (Cat, No, 217528, U. S. N. M.) No. 2371. CATALOGUE OF BUDDHIST ART—CASANOWICZ 305 24. Buddha. — Old bronze. Similar to No. 22. Height, 11 inches. Laos, Further India. (Cat. No. 217502, U.S.N.M.) 25. Buddha. — Wood, lacquered and gilt. Standing with left hand on bosom, the right hanging down. Height, 14| inches. Laos, Fur- ther India. (Cat. No. 217593, U.S.N.M.) 26. Buddlia. — Wood, lacquered and gilt. Seated on a double base in witness position. On back of the base is an inscription in Pali. Height, llj inches. Laos, Further India. (Cat. No. 217605, U.S.N.M.) 27. Buddha. — Wood, gilt. Standing with his right hand resting on a begging bowl (patra), the left hand holding some indeterminate ob- ject. The legend relates that the first food offered to Buddha after the attainment of supreme knowledge was by two merchants and con- sisted of honey and wheat. But Buddha reflecting that he must have an almsbowl, the fom- kings of the four quartere of the world (lokapa- las) brought each one of gold, which he refused; then they brought silver, emerald, and ruby dishes, which were also refused; lastly, each brought an earthenware bowl, and Buddha causing them to unite in one, lest there should be jealousy, accepted the one from all. This bowl is now said to be kept in a palace at the bottom of the sea, but on the advent of Maitreya, the next Buddha of the present world age, it will divide into the original four, each of which is to be guarded by one of the four regents, as it is the palladium of Buddhism. Height, 9i inches. Laos, Further India. (Cat. No. 217606, U.S.N.M.) 28. Buddha. — Bronze. Similar to No. 22. Good workmanship. Height, 10 i inches. Laos, Further India. (Cat. No. 217509, U.S.N.M.) 29. Buddha. — Old bronze. Seated in witness position. With in- scribed base. Height, lOi- inches. Laos, Further India. (Cat. No. 217510, U.S.N.M.) 30. Buddha. — Bronze. Seated m the witness position. With seven rays issuing from the crown of the head. Height, 9 inches, Laos, Further India. (Cat. No. 217514, U.S.N.M.) 31. Buddha.— V>YOu.zQ. Similar to preceding No. 30. Height, 10. ^ inches. Laos, Further India. (Cat. No. 217525, U.S.N.M.) 32. Buddha. — Bronze, richly gilded and chased. Seated in wit- ness position on an ornamental triple throne. The robe, which is thrown over the left shoulder, is adorned in chased work with lotuses and other designs and studded viath colored stones. On the front of the throne is a sort of shield, or perhaps intended to represent a cover hanging down. Height, 7 inches. Laos, Farther India. (Plate 49, fig. 1, Cat. No. 217536, U.S.N.M.) 33. Buddlia or Bodhisattva. — Bronze, richly gilded and chased. Standing on a triple base. The hands are raised in the attitude of 27177— 21— Proc.N.M. vol.59 20 306 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.59. veneration. The dress is decorated in chased work. From the wrLsts are suspended some ornaments in open and filigree work. On the shoulders, close to the neck, are similar ornaments. The ushnisfia is surmounted by a spire. Height, 9 inches. Siam. (Plate 49, fig. 2, Cat. No. 168501, U.S.N.M.) Collected by Gen. John A. Halderman. 34. Buddha or Bodhisattva. — Bronze, richly gilded and chased. Seated on a rock, western fashion; that is, both legs pendant (the "Maitreya pose"), with the hands resting in the lap. The dress is adorned as in No. 33. On the left of the seat a baby elephant is holding up a vessel with water for Buddha to drink, on the right a bear cub is presenting a honey comb. Fine specimen of bronze work. Height, 8i inches. Laos, Further India. (Plate 49, fig. 3, Cat. No. 217535, U.S.N.M.) 35. Buddha. — Old bronze. Seated in meditation. Heavy and careless casting. Height, lOJ inches. Laos, Further India. Cat- No. 217507, U.S.N.M.) 36. Buddha. — "Wood, red lacquered and gilt. Standing on the lotus, with the arms hanging fiat on the sides. Rude work. Height, 9f inches. Laos, Further India. (Cat. No. 217579, U.N.S.M.) 37. Buddha. — Wood, lacquered and gilt. Similar to the pre- ceding No. 36. On the base is an inscription. Height, 9| inches. Laos, Further India. (Cat. No. 217581, U.S.N.M.) 38. Buddha. — Carved, of ivory and gilt. Standing with the pos- ture of the arms the same as in No. 36. Height, 6 inches. Laos Further India. (Cat. No. 217629, U.S.N.M.) 39. Buddha and the earth goddess. — In two parts. On the upper portion Buddha seated in meditation. Tlie top of his head is covered with a head dress resembling a stupa. Beneath, ou the btise, is represented, in high relief, the goddess of the earth wringing her hair. In the contest of Mara A\'ith Buddha, when the latter in- voked the earth goddess as witness for his merits (see p. 300), the goddess, squeezing her hair, caused a huge river to issue therefrom, which swept awaj' Mara and his hordes. Wood, lacquered and gilt. Height, 9 inches. Laos, Further India. (Plate 50, fig. 1, Cat. No. 217559, U.S.N.M.) 40. Buddha and the nagas. — Bronze relief, representing Buddha seated in a shrine in the witness attitude. Tliis is set in a lacquered and gilt wooden plaque which is framed by eight intertwined nagas. The nagas })elong to the category of demigods in the syncretistic system of later Buddhism. They are serpents having the power to assume human form, fabled to reside under the Trikuta rocks sup- porting Mount Meru, the center of the universe in Buddhist cos- mology, and also in rivers, lakes, etc., watching over trejisuras, causing rain and certain maladies, and becoming dangerous when in anger. They have been converted bv Buddha and showed great No. 2371. CATALOGUE OF BUDDHIS7 IRT—CASANOWICZ 307 veneration and zeal for him and his doctrine. Nagas are repre- sented on sculptures as giving the infant Gautama his first bath, immediately after his birth. Muchilinda, the King of the Nagas, protected Buddha from the rain after his enlightenment. In Budd- hist art they are represented either in their animal form, as on this shrine, or, more ususal, in human form ■uath a serpent placed over the head, or rather springing from behind the neck, as an ornament. Sometimes both forms are combined, the upper part being human %vith the heads crowned with serpents' hoods, while the lower part of the body, from the hips do'WTiward, is purely animal. Height, 11 inches: width, 6f inches. Laos, Further India. (Plate 50, fig. 2, Cat. No. 217595, U.S.N.M.) 41. Buddha 'onth disciples. — Wood, lacquered and gilt. Buddha seated in meditation, as in No. 39. Around the base are, in high relief, eight disciples kneeling, with hands joined, in the attitude of adoration. Height, 6^ inches. Laos, Further India. (Plate 50, fig. 3, Cat. No. 217594, U.S.N.M.) 42. The earth goddess. — Octagonal plaque, red lacquered, repre- senting, in high relief, the earth goddess wringing her hair. See above, under No. 39. Height, 10^ inches; width, S^ inches. Laos, Further India. (Cat. No. 217564,'u.S.N.M.) 43. Buddha and nagas. — Carved of horn, lacquered and gilt. Buddha, in the witness posture, is sheltered by three nagas in the shape of cobras rising above his head, their coils forming his throne. See above under No. 40. Height, 5\ inches. Laos, Further India. (Cat. No. 217630, U.S.N.M.) 44. Buddha and disciples. — Wood, lacquered and gilt. Buddha in the witness attitude, the throne set on an octagonal hourglass-shaped base. Upon the base are, crudely carv^ed in the round, eight dis- ciples loieeling with uplifted hands in adoration, surrounding the throne. Compare No. 41. Height, 8:| inches. Laos, Further India. (Cat. No. 217604, U.S.N.M.) 45. Buddha. — Wood, lacquered and gilt. Seated in the witness position. The head covering is in form of an open lotus, from which proceed seven rays. The figure with its base is socketed into a throne formed of a crouching demoniac figure wound with the coils of two serpents, the tails of which he holds in his mouth. Perhaps intended for the Garuda, the mythical bird of India, who, like the Nagas (serpents), has the faculty of assuming human form, but is their deadly enemy, killing and injuring them whenever he can. Height, 15 inches. Laos, Further India. (Plate 51, Cat. No. 217566, U.S.N.M.) 46. Buddha. — Wood, lacquered and gilt. Seated in the witness attitude, with inscription on front of the base. Height, 7\ inches. Laos, Further India. (Cat. No. 217570, U.S.N.M.) 308 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.69. 47. Buddha. — Bronze. Seated in the witness posture on lotus throne, which rests on a base. Height, 9 inches. Laos, Further India. (Cat. No. 217517, U.S.N.M.) 48. Buddha. — Wood, lacquered and gilt. Seated in witness posi- tion on a double lotus. The robe in form of a folded shawl covers his left shoulder. Height, 8| inches. Laos, Further India. (Cat. No. 217561, U.S.N.M.) 49. Buddha. — Wood, lacquered and gilt. Standing. The head is surmounted by seven rays. Fine work, but both arms are broken off. Height, 8 inches. Laos, Further India. (Cat. No. 217580, U.S.N.M.) 50. Buddha. — Bronze. Seated in witness position. The robe is folded over the left shoulder, falling over the knees. Height, 5i inches. India. (Cat. No. 158324, U.S.N.M.) 51. Buddha. — Bronze, gilt. Similar to No. 47. Height, 10 inches. Laos, Further India. (Cat. No. 217534, U.S.N.M.) 52. Buddha or Bodhisattva. — Bronze. Seated. The head is bent forward and is covered with a high-peaked crown. The arms are adorned with armlets and bracelets. The hands, with fingers bent, are held one over the other. Height, 6i inches. Japan. (Plate 52, fig. 1, Cat. No. 220138, U.S.N.M.) Lent by Miss Eliza R. Scidmore. 53. Buddha. — Bronze. Seated in meditation on an ebony chair carved with lotus in openwork. The protuberance {ushnish N[ost famous is the footprint on Adam's Peak in Ceylon, which Buddha is said to have left on the occasion of his mythical visit to Ceylon. The cavity of about 5 feet long on the summit of the peak has been claimed by the Buddhists for Buddha, by the Sivaites for Siva, by the Christians for St. Thomas, who, according to tradition, had carried Christianity to India, and by the Mohammedans for Adam, who alighted on it when he was expelled from Paradise. The name Adam's Peak was given to the mountain by the Portuguese, who called it Ptco de Adam. — The Portuguese authorities were divided between the conflicting claims for the footprint of St. Thomas and the eunuch of Queen Candace, mentioned in Acts vlii, 27. The footprint of Buddhagaya is now worshipped as that of Vishnu. No. 2371. CATALOGUE OF BUDDHIST ART— CA8AN0WICZ 315 136. AmitabJia (f). — Wood, lacquered and gilt. Seated in medi- tation on a full-blo"WTi lotus throne "which is supported by a lion cou- chant on a rock which rests on a plinth, in a wooden shrine. The head wears an elaborate crown, in a filigree work. On the ears are simi- larly worked ornaments from which a necklace or chain hangs doAvn over the breast. Height of the figure, 12^ inches; of the shrine, 24 inches. Shei Sheiva, Japan. (Cat. No. 154293, U.S.N.M.) 137. Tse-pa-med (Sarifihrit Amitayus). — Bronze, chased and gilt. Amitayus with the Tibetan Buddists is the active spiritual reflex of Amitabha and is worshipped as the Buddha of long life (while Ami- tabha is the Buddha of "boundless light")- The Chinese confuse him with Amitabha. He is represented seated on a double lotus, holding before him in his right hand a bowl (often a skull) filled \vith water of life, which is one of the eight luck-compelling symbols of ancient India, the left hand rests vriih upturned palm in his lap under the right. The head is painted in blue." Height, 8 inches. Dolon Nor, Tibet. (Cat. No. 130400, U.S.N.M.) 138. Kuan-Yin. — Porcelain, seated on a lotus around which is coiled a dragon; the right hand holds a child, the left rests on her knee, and on the sides are a male and female suppliant. Kuan-Yin, in Japan, Kuannon, her full name being Kuan-Shai-Yin, signifying, " a being who hears or perceives the cnes of man," is in both countries the goddess of mercy and the female transformation of Avalokitesvara ("the one who looks down from above," namelj'^, upon suffering hu- manity with compassion), the emanation or contemplation (dhyani) Bodhisattva of Amitabha, of whom Gautama Buddha was the earthly embodiment. Avalokitesvara lias, therefore, charge of the world until Gautama's successor, the next Buddha in the person of Maitreya appears. Kuan- Yin is bodily healer as well as conveyor of the souls to the Paradise of Amitabha in the "bark of salvation." Seven cases of distress are generally specified in which she is ready to extend her hand of mercy: Dangers caused by the sword; fetters or chains; fire; water: demons: goblins; and an enemy. Sometimes danger by storm is added, to make four couples complete. As child bestowing, she is represented carrying a male infant in her arms and is invoked by women desiring offspring. Her worship is most widely extended in China and Japan. Height, 8^ inches. Foochow, China. (Plate 60, Cat. No. 216026, U.S.N.M.) Gift of Gen. G. W. Bailey. 139. Kuannon. —'Wood painted and decorated. Standing on a blue base, holding an infant in the left hand. Face, hands, bosom, and " "Copper is found both native and in the form of pyrites in Tibet, where it is wrought with uncommon perfection. Several localities are well known for their famous founderios, which supply the whole of the Buddhist east with statuettes of divinities. Lhasa ha.s a special reputation for small figures in gilt copper, which are esteemed the more the smaller they are. The statuettes made by the monks and craft-smen of Tashiliunppo are equally esteemed. Most of the bronM statuettes come from the workshops of the Tsang and Khams Provinces. The bronzes from the region last named are famous for the perfection of their exe- cution in details and their wonderful patina." — Wincent A. Smith, A History of Fine Arts in India and Ceylon, Oxford, 1911, p. 198. 31G I'ROCEEDJNGS OF THE NATIONAL MUHEUM. vol. 59. infant are painted white, the lower dress, brownish green with broad gold border; the upper, blue. Height, 6 inches. Kobe, Japan. (Plate 61, Cat. No. 154824, U.S.N.M.) 140. Kuanrum. — Lead, bronzed, standing in a shrine of plain wood on a gi'een lotus, holding in her right hand a sort of scepter {ju^), in the left, the precious })all {rnani). Height, 7^ inches. Shigisan, Jamato, Japan. (Cat. No. 150581, U.S.N.M.) 141. Kuan-Yin. — Wood, painted. Holding infant. Faces, hands, and feet are painted white; the dress, brown. Height, 6 inches. Foochow, China. (Cat. No. 216027, U.S.N.M.) Gift of Gen. G. W- Bailey. 142. Kuan-Yin {?). — Pewter, red lacquered and gilt. Seated in meditation. Height, 9^ inches. China. (Cat. No. 3 1 1805, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 143. Kuan-Yin. — Copper, silvered. Statuette without base. The hands are wrapped in the voluminous folds of the dress, which, how- ever, do not conceal the necklace with three pendants. The veil is drawn over the head and hangs down behind. Height, 4^ inches. China. (Cat. No. 311808, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 144. Tsheii-ju-Kuannon (thousand-handed Kuannon). — Relief of in- durated clay, representing the goddess with many arms standing on a lotus. The distinctive attribute of the goddess, namely, mercy, is illustrated in this realistic manner by an image with many hands that are ever ready to help the needy. Height, 3 inches. Kobe, Japan. (Plate 62, fig. 1, Cat. No. 116220, U.S.N.M.) 145. Kuannon. — ^Wooden statuette painted and gilt, with six arms seated in lacquered shrine. Height, 4 inches. Japan. (Plate 62, fig. 3, Cat. No. 154272, U.S.N.M.) 146. Kuanti, Chinese god of war. — Sandal wood, carved. Stand- ing on a mythical animal with two attendants, Kuanti, one of the deities of Taoism, was admitted into the temples of pacificistic Buddhism because as god of war he was considered as a valuable champion to enlist on the side of the true religion, and also because he was the tutelary deity of Manchu dynasty. Height. 5 inches. China. (Plate 62, iig. 2, Cat. No. 1.58284, U.S.N.M.) 147. Kuanti, Chinese god of war. — Wood, carved, painted, and gilded. Height, 28 inches. China. (Cat. No. 158312, U.S.N.M.) 148. Kuanti. — Kelief carved of basaltic lava, with an inscription in intaglio. Height, 15 inches; width, 9 inches. Yokohama, Japan- (Cat. No. 75060, U.S.N.M.) 149. Tien-How. — Indurated clay. Woman seated, holding in her right arm an infant, in the left hand a lotus. Originally a Taoist divinit)-, the "i|uccn of heaven," Tien How is worshiped in China as the mother of Buddha, whom she had miraculously conceived. She No. 2371. CATALOGUE OF BUDDHIST ART— CASANOWICZ 317 aid lier cloak upon an island when she bathed in the sacred Ganges. On returning she found a lotus bud in the garment and, having eaten it, she conceived Buddha. Perhaps it was this divinity which gave rise of the coordination of Avalokitesvara with Kuan-Yin. Height, 4f inches. China. (Cat. No. 130S15, U.S.N.M.) Gift of Mrs. J. G. Bruff. 150. Maitreya. — Wood lacquered and silvered. Seated in medi- tation. Maitreya is the Bodhisattva of Gautama Buddha and the next and last Buddha to appear on earth during the present world- age (Icalpa). He is the only Bodhisattva known to southern Bud- dhism (Burma, Cejdon, Siam). He is sometimes represented seated in European fashion, that is, with the legs let down, with the attri- butes of a vase (of ambrosia) and a wheel and lotus. Height, 9| inches. Laos, Further India. (Cat. No. 217582, U.S.N.M.) 151. Maitreya (?). — Wood. Seated figure on a throne, wearing a crown, with the feet resting on a footstool. The right hand is resting on the knee, the left on the breast, and beneath it is a carved mask of a monster. Height, 10 inches. China. (Cat. No. 216029, U.S.N.M.) Gift of Gen. G. W. Bailey. 152. Jat/thyang (Sansh'it, Manjusri). — Bronze, gilt and polished. The name Manjusri means something like ' 'having a lovely brilliance." He is the Bodhisattva of the celestial Buddha Akshobhya, and is the representative of transcedental wisdom. He is represented seated, holding in his right hand the sword of knowledge with which he cleaves the clouds of mental darkness. His other attribute is a book which rests upon a lotus rising behind his left arm. The high dia- dem is painted blue. His principal temple is at Wu-tai-shan in the Chinese Province of Shanhsi. Height, 8 inches. Lhasa, Tibet. (Cat. No. 130396, U.S.N.M.) 153. Bodhisattva (?). — Wood, carved, gilt and encrusted with pieces of colored glass. Standing on a base, holding a long stalk extending from the feet to above the head and probably terminated in a lotus bud, which is broken away. The robe, richly carved with bands of floral designs and beaded lines, reaches down to the feet, ending in a train behind. Over this is a short, closely fitted coat, descending to the hips, while from the arms hang folded scarfs. The head is covered with a diademed cap, from which rises a conical crown. The rather small ears have red stones attached to the lobes and are set in a triangular ornament. On the bosom is an ornament, formed of four lozenge-shaped pieces of glass with a boss in the cen- ter. Height, 19| inches. Burma or Siam. (Plate 63, fig. 1, Cat. No. 311804, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 154. Bodhisattva (?). — Bronze, cast and chased, gilt and polished. Standing on a base. The robe, descending to the feet, with a sort of waist held by a belt, is finely chased with floral designs. The 318 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.59. hands, with the fingers bent and placed the right over the left, would indicate that had held something like a wand or scepter, which is missing. Height, 9^ inches. China or Mongolia. (Plate 63, fig. 2, Cat. No. 311807, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 155. Drolma {Sanskrit, Tara). — Bronze, gilt and polished; Tara, the name meaning "savioress," is the female energy or counterpart {scikti) of the compassionate Avalokitesvara and like him she shows her gracious disposition towards mankind by her right hand being stretched out in the gift-bestowing gesture, while the left holds a lotus stalk. An ornamental fillet with a crest in the middle adorn the forehead. The other ornaments are large circular earrings, a double necklace, a long string of beads fastened between the breasts, richly studded armlets, bracelets, and anklets, and an elaborate girdle. The headgear is painted dark-gieen. Behind the left arm rises a lotus. Height, 6^ inches. Chamdo, Eastern Tibet. (Cat. No. 130395, U.S.N.M.) 156. Drolma {Sanskrit, Tara). — Brass. Similar to preceding No. 155. With a fig leaf -shaped halo. Crude workmanship. Height, 5f inches. Thibet. (Cat. No. 311792, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 157. Fudo. — Wood, carved and gilt. Seated in the easy position {hlita Sana) on a rock, holding a sword in the right hand and a snare in the left, with a flame-shaped halo in open work, in a lacquered, gilt shrine. Fudo (the name meaning, ' 'without movement") is con- sidered as the Bodhisattva of Vairochana, the celestial reflex or meditation Buddha of Krakuchanda, the assumed first earthly {manusJti) Buddha of the present world period. Fudo's function is to combat evil in the world, and his attributes are a sword and a snare to catch and bind the wicked and smite the guilty. In the funeral ritual of the Shiugon sect of Japanese Buddhism a Fudo sword is placed in front of the celebrant in the belief that he takes charge of the soul after death. Fudo is also patron of soldiers. Height, 6^ inches. Japan. (Plate 64, Cat. No. 311,812, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 158. Tarrulrin, or Tamdin {Sanskrit, Hayagriva). — Bronze, gilt and polished, Hayagriva-Tamdrin is one of the eight dreadful gods, united b}' the Tibetans in the group of Drags hed ("terrible slayer"). They are Hindu or local Tibetan gods brought into the Buddliist system as protectors of the true faith against the demons of their several spheres. They are represented as beings of ferocious aspect, with broad and hideous heads, protruding tongues, and huge teeth. Their limbs are enormously strong, but short, and their bodies are misproportioned ; the}'- are surrounded with flames or smoke, and on their forehead they bear a third eye (the 'eye of wisdom)." In the present figure Hayagriva-Tamdrin is represented kneeling on No. 2371. CATALOGUE OP BUDDHIST ART—CA8A2fOWICZ 319 his left knee, with three faces of hideous expression, and on his head a crown of flames (painted red). Around his waist is a girdle of leaves, and a large rosary hangs around his neck. He has six amis. In his upper right hand he holds a snare to catch the demons, and in the lower an arrow; in his upper left hand is a three-leaved flower (?) and in his lower left a bow. The middle right hand which he holds before him has in it the vajra (Tibetan dorje), the thunderbolt of Indra, the Hindu god of the atmosphere; the middle left hand is empty, the thumb toucliing the second and third fingers, the index and little finger held extended. He is horse-necked and frightens the demons by Iiis neighing. For this reason the Mongolians con- sider him protector of horses. Height, 8 inches. Lhasa, Tibet. (Cat. No. 130398, U.S.N.M.) 159. God of riclies (Jarnbala or Kuhera, Tibetari, Gunlcar Yizhi, Norbu). — Bronze, gilt and polished. The god of riches is one of the Dragsheds (for wliich see No. 158). He also appears as one of the four world guardians (Ld'apalas), who dwell around Mount Meru, the reputed center of the Buddhist world. He is three-faced, with a crown of flames (painted red), standing on two elephants. He has six arms adorned with anklets and bracelets. The middle hands are held before him with offerings in them. The upper right hand holds a vajra (dorje, the thujiderbolt of Indra), the upper left a tliree- forked club, perhaps intended to represent the trisula, or trident, the scepter of the Hindu god Siva. The lower right a small hand drum (damaru), and the lower left a snare. Height, 4^ inches. Lhasa, Tibet. (Cat. No. 130399, U.S.N.M.) 160. GamJhaiTa. — ^Wood, red lacquered and gilt. Human kneeling figure in the attitude of adoration, set on wings. The Gandharvas belong to the Devas, secondary deities or attendants. In the Hindu system, whence they were introduced into Buddhism, they are the musicians of Indra. who with their master serve and worship Buddha. They are sometimes represented with a human bust on the body of a bird, playing a musical instrument. Height, 6 inches. Laos, Further India. (Cat. No. 217607, U.S.N.M.) 161. Maha Upakut. — Wooden figure, lacquered and gilt. Repre- sented with the hands pressed on the prominent abdomen, wearing a flat T0{\ cap in form of an open lotus and red garment thrown on the left shoulder. The Laos describe tlic Maha Upakut as a son of Buddha, who was born in the water of the river god. His skin is rough in imitation of a fish's scales. They believe that toucliing his figure after it has been dedicated to a temple will cure pains of the stomach. Height, 10 inches. Laos. Further India. (Plato 65. Cat. No. 217596 U.S.N.M.) 162-166. Maha Upakut. — Wood, lacquered and gilt. Similar to the preceding No. 161. Height, 2i-6V inches. Laos, Further India. (Cat. Nos. 217597-217601. U.S.N.M.) 320 PROCEEDINGS OF THE NATIONAL MUSEUM. tol. 59. 167. Daikoku. — Wood, lacquered and gilt. Daikoku is one of the Japanese seven gods of good fortune (Shichir-fuku-jin), which are derived from Hinduism, Buddhism, Taoism, and Sliintoism, and form a sort of popular appendage to Japanese Buddhism. They are, in the order of their popularity, as follows: 1. Daikoku (the "great black one") is Mahakala of the Hmdus. But while the Hindu god is one of the most destructive and awe- inspiring deities of the Hindu pantheon, his Japanese counterpart is the smiling god of wealth. He is usually represented as a sturdy figure habited in the ancient dress of a well-to-do Chinese burgher, with a flat cap. In his right hand he holds the magic hammer, a single stroke of which gives wealth, while his left hand grasps the mouth of a sack that is slung across his shoulder. He stands or sits upon a well-filled pair of rice bales. The mallet being the attribute of miners, and the rice the product of agriculture, are emblematic of the two principal sources of the wealth of ancient Japan. Some- times he also carries a turnip. Plis picture is frequently found at the entrance door to the house. 2. Ebisu (the "stranger") is, notwithstanding his name, an indige- nous product of Japan. He was the younger brother of the Sliinto sun goddess Amaterasu (from whom the emperors of Japan derived their descent). He somehow incurred the displeasure of his family and was expelled to the western sea, where ho spent his remaining life as a fisherman. He is, accordingly, represented with a fishing rod in his right hand and a fish (Pagrus cardinalis or maj. 267. Censer. — Bronze. The cover, in open work is surmounted by a crouching mythical animal. Around the circumference are embossed trees with various birds perching in them. Height, 5^ inches; diameter, 3^ inches. Japan. (Cat. No. 311806, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 268. Censer. — Bronze. Resting on three legs which are of animal- headed human figures. The lid is surmounted by a mythical animal. Height, 5} inches; diameter, 4\ inches. vSeoul, Korea. (Cat. No. 151618, U.S.N.M.) 269. Incerise.—Bmmfi. (Cat. No. 129531, U.S.N.M.) 270. Incense.— J ei^Sin. (Cat. No. 130685, U.S.N.M.) 271. Flower vase. — Brass. Placed before Buddhist shrines. Height, 5 inches; diameters, 4 and 2 J inches. Probably China. (Cat. No. 158313, U.S.N.M.) 272. Lotus cup. — Bronze. Eight-fluted cup set in a quadruple eight-petaled lotus, with short stem and base of an inverted eight- petaled lotus. The lid has twenty perforations for inserting flowers. Height, 4f inches; diameter, 2^ inches. India (?). Cat. No. 311796, U.S.N.M.) Bequest *of Miss Eizabeth S. Stevens. 273. Holy water vase (Tibetan, humba or tsebum). — Made of brass heavily gilded in Persian shape, with a large spherical body and slender bent spout. The neck is short and narrow and terminates in a flar- ing mouth in shape like an overturned bowl. In the top of this is a small circular opening, in which a chased metal tube fits, reaching far down into the vase, and in its upper end a bunch of the sacred Icusa grass and some peacock feathers. This instnunent is the aspergil. The vase has a covering of silk fastened around the neck so as to completely hide the vase. Such coverings are put on most objects used in the temple worship, on the sacred images, books, etc., prob- ably as a mode of honoring these sacred objects. The water used in these vases has a little saffron in it, and sometimes a little sugar. The vase is used especially in the ceremonies connected with the wor- ship of Tsepamed (Amitayus), the Buddha of long life (see No. 137), and is called the vase of life. Height, 6^ inches. Kumbum, Tibet. (Cat. No. 130402, U.S.N.M.) 274. Lih'Ltion howl. — -Made of a human skull with a lining of iron and an ornamented copper gilt rim fitting on it. The cover of copper gUt is finely and intricately chased and has on each side the mystic syllable om with an arabesque design surrounding it. The top of the cover is surmounted ^vith four half vajras (dorjes) at right angles, a fifth and larger one formmg the handle. The stand on which the skull rests is of gilt copper and triangular in shape. At the three angles are human heads, painted red, white, and green. The skull bowl is likewise used in the worship of Tsepamed, when it is filled with nectar Ijrewed from chang. After No. 2371. CATALOGUE OF BUDDHIST ART— CA8AN0W1CZ 337 the ceremony it is drunk by those present — a kind of a lamaist eucharist. The custom of using skulls as hoi}" vessels, or even as eating bowls, is a very old one in Asia. Height, 9.^ inches; diameters, 8 and 6^ inches. The specimen in the Museum came from Kum- bum, Tibet. (Cat. No. 130384, U.S.N.M.) 275. Prayer banners (Chinese, yen-kou-fo, or tong hoan). — Consist- ing of five brass figurines holding small suspended banners of cloth. They are set up on the altar during recital of prayers for the souls of the dead, especially for the souls of those who faUed to receive burial. Their number probably corresponds to the five earthly irnanushi) Buddhas of the present age (kalpa), see p. 296, note 1). Height, 15i inches. Shanghai, China. (Plate 83, Cat. No. 158303, U.S.N.M.) 276. Pair of prayer wands (Chinese, yen-kou tsi-tao). — Made of copper. Used in recitmg prayers for the souls of the dead. They are placed crosswise one over the other. Length, 7^ inches. Shang- hai, Chma. (Cat. No. 158310, U.S.N.M.) 277. Scent sprinkler. — Made of white metal in form of a long- necked narrow vase. Used at Buddhist funerals. Height, 14^ inches. Ceylon. (Cat. No. 154975, U.S.N.M.) 278. Temple sword. — On one side of the blade is incised a windmg dragon, on the other a vajra (dorje). The scabbard is red and gUt lacquered, crossed by bands in red and black. The hilt is covered with shark skin and set on either side with bronze dragons. The lower end of the scabbard and the head of the hilt are framed in a marine animal (lobster?) of bronze. A sword is placed on the altar in front of the celebrant in the worship of Fudo (see above No. 157). Length, 45 inches. Japan. (Cat. No. 154969, U.S.N.M.) 279. Temple sword. — On one side of the blade is incised a dragon winding round a vajra (dorje), on the other, a vajra. The scabbard is decorated in cloisonne enamel on a blue ground with rosettes alternating in pale green and crimson rod, with other floral designs between them. The hUt, which is in shape of a vajra, is decorated in champleve enamel. Used in the worship of Fudo (No. 157). Length, 23 inches. Japan. (Cat. No. 154968, U.S.N.M.) 280. Japanese prayer hook. — Folded. This prayer book comes from the famous temple Mis-kru-saw in Japan. The temple is a resort for invalids, particularly for those having affections of the eye, and the prayers contained in this book are for special use in the temple. Japan. (Cat. No. 130676, U.S.N.M.) 281. Temple drum.— laying in a lacquered wooden frame set on a four-legged support. On the flattened faces of the drum are pahitod in gold lacquer a bird and leaves. Drums or bells are put up in front of Buddhist temples, on which the priests strike to announce the 27177— 21— Proc.N.M. vol.59 22 338 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.69. hours of prayer. The worshippers also strike them to invite the presence of the deity. Drums arc likewise used in Buddhist worship to accompany the chanting of the priests. Diameter of the bell, 16 inches; height, 7^ inches; height of the frame, 36 inches. Japan. (Cat. No. 168815, U.S.N.M.) 282, 283. Pair of temple drums. — Set on four-legged lacquered wooden stands and surmounted by cocks. The circumferences of the drums are covered with red cloth. On the flattened surfaces are painted three comma-shaped segments, the Japanese modifica- tion of the Chinese (and Korean) tah-gook, formed of two segments, the common representation of the yang and yin, the two first causes and great principles of the universe, or contrary influences, such as darkness and light, male and female, good and evil, etc. The figure also represents the Japanese magatama, or "crooked jewel," one of the emblems of sovereignty in Japan, As regards the cocks perched on top of the drmns. Dr. John EUerton Lodge, curator of Chinese and Japanese art in the Museum of Fine Arts of Boston, kindly communicated the following interesting story: The familiar Japanese or Chinese design of a cock on a drum is intended to suggest a well-known storj^- of the famous Emperor Yao, who is said to have ascended the throne of China in the year 2357 B. C. This enlightened monarch caused a drum to be placed in front of his palace gate, with the announcement that whoever had any complaint to make to the sovereign should come to the gate and beat upon the drum, thereby attracting the Emperor's attention. So wisely, however, did this niler govern his people, that none ever came to enter a complaint, and in the course of time the fowls went to roost on the silent drum. Height, 26 inches. Japan. (Plate 84, Cat. No. 159966, U.S.N.M.) 284. Wooden fisli (Japanese, molcugio; Chinese, mo-yii). — Carved and red lacquered. Used as drum in Buddhist ceremonies. The shape is accounted for by the supposition that the fish is sleepless, keeping its eyes always open on account of the lack of eyelids and eyelashes. It is therefore an emblem of wakefulness and watch- fulness in the striving after perfection. Height, 12 inches; length 18 inches. Japan. (Plate 85, front; plate 86, back. Cat. No. 150893, U.S.N.M.) 285. Wooden fish (Chinese, mo-yii; Japanese, moTcugio). — Carved, and painted red, with wooden mallet for striking it. Similar to the preceding No. 284. Height, lOi inches; length, 14 inches. Shang- hai, Chma. (Cat. No. 158296, U.S.N.M.) 286. Wooden drum (Chinese, siao-Tcu). — Shaped like two flat plates put together. It is carried by the priest in processions and struck on the side. Diameter, 7^ inches. Shanghai, China. (Cat. No. 155300, U.S.N.M.) 287. The nine-toned hell (Chinese, chin yinrlo). — ^Made of copper. Consisting of 10 small gongs suspended in a screen or gate-like cabinet which is struck with a small stick as an accompaniment to prayer. Xo. 2371. CATALOGUE OF BUDDHIST ART~CA8AN0WICZ 339 Height, 24 inches; width, 22 inches. Shanghai, China. (Plate 87, Cat. No. 158305, U.S.N.M.) 288. Small gong (Chinese, yin-to). — ^Made of copper in shape of a pan or flat plate, with a wooden carved handle. It is struck with a carved slender stick as introductory to prayers in Buddhist tem- ples. Diameter, 6| inches. Shanghai, China. (Cat. No. 158302, U.S.N.M.) 289. Small heU (Chinese, siao-chung) . — ^Made of copper, suspended from a carved wooden frame. It has no clapper, but is struck with a stick on the outer cu-cumfcrence. Used in the temple serv'ice. Height, 14^ mches. Shanghai, China. (Cat. No. 158306, U.S.N.M.) 290. Inverted hell (Chinese, clim'g to). — Made of copper in fonn of a pot or kettle, somided on the outer surface with a stick in Budd- hist v/orship. Height, 4| inches; diameter, 9 inches. Shanghai, China. (Cat. No. 158297, U.S.N.M.) 291. Small hell. — ^^lade of copper. Suspended from a slender wooden carved stick which is held in the hand, while the bell is struck on the outer surface during the recital of prayere. Height, li inches; diameter, 2^ inches. Shanghai, China. (Cat. No. 158308, U.S.N.M.) 292. Pair of large cymbals (Chinese, da-jya). — Made of brass. These cymbals are employed in the temple service, and also in pri- vate ceremonies, such as wedduigs, funerals, etc. They are sup- posed to have been introduced into Cliina from India. Diameter, 9h inches. Shanghai, China. (Cat. No. 158298, U.S.N.M.) 293. Pair of small cymbals (Chinese, siao-pa). — ^Made of brass. Used only in the temple service of the Buddhists. Diameter, 8 inches. Shanghai, China. (Cat. No. 158299, U.S.N.M.) 294. Pair of cymhals. — ^Made of brass. Used in Buddhist pro- cessions. Diameter, 7 inches. Laos, Further India. (Cat. No. 217504, U.S.N.M.) 295. Drum of skulls (Tibetan, damaru). — Made of two skulls attached together by a wooden disk cemented to them. A band of embroidered satin, decorated with elaborately knotted silk tassels of Chinese make, covers the disk between the two heads, by A\hich the person using the drum may hold it in his hand, his thumb and forefinger being placed around the disk of wood between the drum- heads. From the band are depending small knobs covered with cloth by short strings of such length that when the drum is sharply twirled around they strike the heads. Used by the lamas in the temple service in Tibet. Height, 3 inches; diameter, 4i inches. Kumbum, Tibet. (Cat. No, 130385, U.S.N.M.) 296. Drum of sTcuUs (damaru). — Painted in red and blue with heads of demons and skulls. The band around the wooden disk is of cotton. Height, o\ inches; diameter, 6^ inches. India. (Cat. No. 1.53363, U,S,N.M.) 340 PROCEEDINOS OF THE NATIONAL MUSEUM. vol.59. 297. Triratna, or the three jewels, namely, Buddha, the law (dharma), and the congregation (sangha). — Wood, red and black lacquered and gilt. Represented by three columns set on a base. The center cone, which represents Buddha, issues from a lotus flower and in its cir- cumference are set five Buddha figurines of ivory, of which three are seated in the witness position and two in that of meditation. They are probably intended to represent the five mundane (manvshi) Buddhas of the present age. Between the petals of the lotus are carved five open lotases and beneath them five leaves inlaid with pieces of shell and looking glass. The two side columns, which represent the law and the congregation, i-espectively, are carved in the shape of a closed lotus, flattened on one side, into which is inserted an ivory panel, representing Buddha standing in the gift-bestoAving attitude. Height, 17 inches; width, 12^ inches. Laos, Further India. (Plate 88, Cat. No. 217501, U.S.N.M.) 298. Triratna. — Wood, lacquered and gilt. Representing Buddha standing in the center, while the two figm-es on the right and left are sitting. On the base is an inscription in Pali. Height, 14 inches; width, 7 inches. Laos, Further India. (Plate 89, Cat. No. 217585, U.S.N.M.) 299. Triratna. — Terra-cotta relief, finely molded. Buddha seated in the witness position in a niche, formed of a pointed arch resting on columns, an elaborate halo of rays rising above his head. The two smaller figures on his sides sitting in meditation. Height, 3^ inches; width, 2\ inches. Laos, Further India. (Cat. No. 217631, U.S.N.M.) IV. miscellaneous: magic, divination, etc. 300. Lotus. — Model of wood. The lotus {Nelumhium spedosum) is, as has been said previously (No. 2), the favorite flower of India and invested with much symbolism. Among others, it is the symbol of purity. The lotus upon the lake seems to spring from the body of the waters without contact with the earth, and no matter how muddy the water may be, the lotus preserves its own purity imdefiled. Thus Buddha is made to say: "Just as a lotus born in water, bred in water, overcomes water and is not defiled by water, so I, born in the world and bred in the world, have now overcome the world." The wor- shipers of Amitabha, or Amida, in China and Japan believe that each man while living on earth is represented in paradise by a lotus, which flourishes or languishes according to his spu'itual condition. The saved dead (by faith in the invocation of Amitabha) are carried to the lake of lotuses where they are reborn with a spiritual body within the calyx of one of the lotuses. According to their merits, the lotus opens sooner or later. Some are imprisoned for thousands of ages within the closed calyx of their lotuses — a kind of painless purgatory. Height, 3^ inches. Kobe, Japan. (Cat. No. 154880, U.S.N.M.) No. 2371. CATALOGUE OF BUDDHIST ART— CA8AN0WICZ 341 801-2. Pair of mythical Hans. — Bronze. Lions of metal or stone, sometimes of colossal size, are often placed at the entrance of Bud- dhist temples as protectors from evil spirits. Thej' are also emble- matic of Buddha who bears the epithet Sahya.nmlta, "the lion of the Sakyarace." Length, 2 inches. Kobe, Japan. (Cat. Nos. 15483 1- 154832, U.S.N.M.) 303. Mythical lion (singto). — Wood, red lacquered. Height, 6 inches. Laos, Further India. (Cat. No. 217578, U.S.N.M.) 304-5. Pair of Icirins (Chinese, Tcilin). — Wood, black lacquered and gilt. Standing on lacquered bases. For a description of the mythical kirin see above under No. 254. Height, 1\ inches. Japan. (Cat. No. 154296, U.S.N.M.) 306. Mythical ardiiml, dog Fo {l) . — Wood, painted brown with gray spots, lacquered and gilt. Height, 27 inches; length, 32 inches. China or Japan. (Cat. No. 313625, U.S.N.M.) The following small collection of bronze animal figurines from Laos may be votives or weights : 307. Bronze dog. — Height, \ of an inch. Laos, Fiu-ther India. (Cat. No. 217551, U.S.N.M.) 308. Bronze inonTcey. — Height, i of an inch. Laos, Further India. (Cat. No. 217552, U.S.N.M.) 309. Bronze zebu, standing on base. — Height, Ig inches. Laos, Further India. (Cat. No. 217547, U.S.N.M.) 310. Bronze zebu, couchant.S.eight, three-fourths of an inch. Laos, Fmther India. (Cat. No. 217548, U.S.N.M.) 311. Bronze cow (?). — Height, three-fourths of an inch. Laos, Further India. (Cat. No. 217549, U.S.N.M.) 312. Bronze horse. — Height, seven-eighths of an inch. Laos, Further India. (Cat. No. 217550, U.S.N.M.) 313. Bronze bear, on base.— Height, 1 inch. Laos, Further India. (Cat. No. 217546, U.S.N.M.) 314-322. Nine griffins, or dragons, on bases. — Bronze. Called by the Laos "noble animals," which peacefully roam through the splen- did gardens of the gods. Height, | to 3^ inch&s. Laos, Further India. (Cat. Nos. 217537-217545, U.S.N.M.) 323. Derno7\.-queUer (Chinese, Chung Rw'ei; Japanese, iihoki. — Made oi wood; carved and painted. On his head in the upstanding hair is perched a dragon; at his feet is a crouching demon, and over the belt is carved the mask of a monster. The demon queller is in Chinese mythology supposed to be a ghostly protector of the Emperor Ming Hwang (713-762 A. D.), He is usually represented as a trucu- lent giant, clad in official garb and armed with a two-edged sword. He is sometimes shown as riding upon a lion, but more commonly is engaged in punishing the pigmy demons. The subject forms one of the most frequent inspirations of the Japanese artist, and appears 342 PROCEEDlNGti OF THE :NATI0NAL MU8EUM. vol.59. in numberless specimens of porcelain, ivory, wood carving, and other works. This statuette is a specimen of old Japanese carving. Height, 39 inches. Japan. (Plate 90, Cat. No. 130461, U.S.N.M.) 324. Devil dancer's dress. — Consisting of a blue cotton jacket with thin strips of palm leaves stuck into it, giving it the form of fur. Ceylon. (Cat. No. 154980, U.S.N.M.) 325. Devil dancer's dress. — The same as No. 324, only that the jacket is of white cotton. Ceylon. (Cat. No. 154981, U.S.N.M.) 326. Devil dancer's lash.— Ceylon. (Cat. No. 154982, U.S.N.M.) Sir James Emerson Tennent gives the following explanation and description of the devil dance in Ceylon: "The Singhalese have demon or Sanne for each form of disease, who is supposed to be the direct agent and infiicter, and who is accordingly invoked for its removal. Hence on every domestic occurrence, as well as in every domestic calamity, the services of the Icatadias or devil priests are to be sought and their ceremonies performed * * *. Especially in cases of sickness and danger the assistance of the devil-dancers is implicitly relied on: An altar, decorated with garlands, is erected within sight of the patient, and on this an animal, frequently a cock, is to be sacrificed for his recovery. The dying man is instructed to touch and dedicate to the evil spirit the wild flowers, the rice, and the flesh which have been prepared as the pidaneys, or offerings to be made at sunset, at midnight, and the morning; and in the intervals the dancers perform their incantations, habited in masks and dis- guises to represent the demon which they personate, as the immediate author of the patient's suffering. In the frenzy of these orgies the Icatadia, having feigned the access of inspiration from the spirit he invokes, is consulted by the friends of the afflicted, and declares the nature of the disease, and the probability of its favorable or fatal termination. At sunrise, the ceremony closes Nnth an exorcism chanted to disperse the demons who have been attracted by the rite ; the devil dancers withdraw wdth the offerings and sing, as they retire, the concluding song of the ceremony, ' that the sacrifice may be accept- able and the life of the sufferer extended.' " " And describing the performance of such a dance the same author says: "We witnessed the extravagances of two professional devil dancers, who were per- forming a ceremony in front of a little altar, for the recovery of a patient who was dying close by. It is difficult to imagine anything more demoniac than the aspect, movements, and noises of these wild creatures; their featm-es distorted with exertion and excitement and their hair tangled in ropes, tossed in all du'ections, as they swing round in mad contortions." *^ '• Sir J. B. Tennent, Ceylon. An account of the island, physical, historical, and topographical. London, 1860, vol. 1, p. 540. " Idem, vol. 2, p. 681. No. 2371. CATALOGUE OF BUDDHIST ART— CA8AN0WICZ 343 327. Geomantic compass (Chinese, lo-kin^, or lo-pan). — Consisting of a disk of lacquered wood, beveled do"UTi at the bottom to the shape of a saucer. The upper surface carries in its center a small compass, around which run 17 inscribed concentric circles, containing the sundry geomantic factors, as the 8 permutations of the trigram, the 12 signs of the zodiac, the 24 celestial constellations, and so forth. It represents the ancient Chinese system of cosmogony and natural philosophy, and forms the basis of a system of divination. Geomancy, or, as the Chinese call it, "wind and water," rules (fung-shui) , is much used by the Chinese for divining future events, or ascertaining the luckiness or unluckiness of any event, or selecting sites for houses, cities, and especially burial places, which are supposed to have important results on the prosperity of the living. The prin- ciples of geomancy depend on two supposed currents running through the earth, kno^vn as the dragon and the tiger; a propitious site has these on its left and right. A skillful observer {fung-shui siensang, or "wind and water doctor") can detect and describe such currents with the help of the compass, also the direction of the watercourses, shapes of the male and female ground and their proportions, position of rivers, trees, and mountains, color of the soil, and the changes of the elements. (Compare S. Wells Williams, The Middle Kingdom: New York, 1853, vol. 2, pp. 245-247). Diameter, 7h inches. China. (Plate 91, Cat. No. 126954, U.S.N.M.)»« 328. Divination slips (Chinese, cTii en-toong). — Consisting of two bamboo tubes containing slips of bamboo which are inscribed mth dif- ferent characters. The person \\'ishing to know the will of the gods or his fortune shakes the tube and, with averted face, draws out a slip and reads the answer on it. Shanghai, China. (Cat. No. 158304, U.S.N.M.) 329. Divination hlocl's (Chinese, chiao). — Consisting of two pieces of split bamboo, kidney-shaped, \y\th one side convex and the other flat. The supplicant tosses them into the air in front of the altars of the gods he is supplicating. If both convex sides turn up, the answer is yang-yang, which signifies the male principle of nature, and means "indifferently good"; if both flat sides turn up it is yin-yin, which signifies the female principle of nature, the answer is underetood to be negative and unfavorable; if one convex and the other flat, the answer is considered as absolutely affirmative and the prayer as granted. Shanghai, China. (Cat. No. 158301, U.S.N.M.) 330. Divination cards. — Five disks of rough cardboard, painted in red, green, blue, and yellow with concentric circles, with Tibetan letters in the center and surrounded by flames on the margin. Dia- » For a detailed explanation of the geomantic compass sec j. J. M. de Groot, The Religions or China, I-oiile, 1897, vol. 3, p. 959, and Paul Cams, Chinese Thought, Chicago, 1907, p. ««. 344 PROCEEDINGS OF THE NATIONAL MUSEUM. vol.59. meter, 4i inches. Tibet. (Cat. No. 311864, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 331. Divination cards. — Nine cardboards, painted in the same colors as the preceding No. 330, with various gi"otesque monstrous animals. Length, 4^ inches; width, S^ inches. Tibet. (Cat. No. 311865, U.S.N.M) Bequest of Miss Elizabeth S. Stevens. 332. Boole of divination. — Manuscript in Pali on palm leaves, inclosed in a wooden case. The leaves and the case are perforated through the center for the passing of a cord which holds the book together. Length, 2^ inches; width, 1^ inches. Laos, Further India. (Cat. No. 217647, U.S.N.M.) 333. Amulet case (Tibetan, gavo). — ^Made of copper in shape of shrine, with two handles or ears on either side for suspension. The front of the case is richly adorned in repouss^ work with figures of birds, lotus, and other floral designs, and set with eight medallions of gilt brass, representing the eight glorious emblems figured on Buddha's footprint, namely, (1) the conch-shell trumpet of victory; (2) the umbrella; (3) the vase; (4) the victorious banner; (5) the golden fish; (6) the lucky diagram; (7) the lotus; and (8) the wheel. Amulet boxes of wood, silver, copper, or leather, in which are carried charms against various accidents, are worn by the Tibetans around the neck, or suspended from the girdle, while the larger ones are affixed over the head in the house or tent. They contain some meaningless Sanscrit inscription, a few fragments of the cast-off robe of a saintly lama, pea- cock feathers, supposed to keep off moths, sacred kusa grass, etc. In front of the case is an opening for the image of a deity (missing in this specimen). Height, 8 inches; width, f)\ inches; depth, 3^ inches. Probably Tibet. (Plate 92, Cat. No. 311793, U.S.N.M.) Bequest of Miss Elizabeth S. Stevens. 334. Amulet case {gavo). — Made of silver. Decorated with the eight glorious emblems, arabesques, and Chinese dragons, and pro- vided "vvTith tubes on the sides for the passing of a cord by which it was suspended around the neck or fastened to the girdle. Height, 4^ inches; \vidth, 3 inches; depth, l\ inches. Lhasa, Tibet. (Cat. No. 130391, U.S.N.M.) 335. Amulet case (gavo). — Made of brass, decorated with plant de- signs in filigi'ee work, and provided with handles on the sides for sus- pension. On top are three porcelain beads, representing the triratna (see No. 297), painted blue in imitation of turquoise, the color of Tara (see No. 155), who is usually depicted Nvith a bluish-green complexion. In the opening, under glass, is a terra-cotta miniature figurine of the goddess Marichi (Tibetan, odzez canma), represented seated on a lotus in the witness position, with three faces, of which the left is that of a sow, and eight arms, holding various weapons, as the thunderbolt Jio.T67l. CATALOOUE OF BUDDHIST ART— CASANOWICZ 345 (vajra), a bow and arrow, a club or ax. Originally the gooddess of dawn, she was coupled with the myth of the primeval productive sow. She is also considered as the consort of the demon-general Tamdrin (Hayagriva, see No. 158), and is believed to be incarnated in the abbess of the convent of Palti Lake in Ti]>et. Height, 3 inches; width, 2^ mches. Tibet. (Cat. No. 311795, U.S.X.M.) Bequest of Miss Elizabeth S. Stevens. 336. Charm (copy). — Consisting of a diamond-shaped lattice frame, attached to a bamboo pole and having various structures and carvings of fishes fastened to it. It is set up in a corner of the rice field before the planting of the rice. The carvings of the fishes represent Buddha in one of his incarnations as a fish (compare also, for tlie signification of the fish. No. 197). After this charm has been set up nine stalks of rice are planted. As each rice stalk is planted the formula: Namo tasso hhazarato arahato sammasam-bvddliassa is repeated, and an offer- ing of flowers, rice, curry, and chicken meat is placed on a stand be- neath the fishes. The whole area is then fenced in and remains sacred until the rice is harvested. Height, 32 inches. Laos, Fiu-ther India. (Cat. No. 217667, U.S.N.M.) 337. Charm. — Consisting of a bamboo cylinder, lacquered and gilt, strung on a cotton cord. Laos, Further India. (Cat. No. 217644, U.S.N.M.) 338. Charm. — Consisting of stone, copper, and zinc beads, and a crystal of pyrites strung on a cotton cord. Laos, Further India. (Cat. No. 217645, U.S.N.M.) 339. Amulet (pfcl--che, seng-die). — Consisting of a black stone, polished, with concave sides. "The possessor of this stone is pro- tected against wounds by bullets, knives, swords, and remains well and happy." One-half of an inch square. Laos, Further India. (Cat. No. 217646, U.S.N.M.) 340. Amitlet, "luchj crystal."— PToteciing against evil influences. Laos, Further India. (Cat. No. 217648, U.S.N.M.) 341. Amulet. — Consisting of a knot of palm leaf, inscribed with auspicious sentences. It is tied around the neck of children to pro- tect them against evil influences. Laos, Further India. (Cat. No. 217649, U.S.N.M.) 342. " Naga cloth. "—Fiece of cotton cloth, painted with circles, squares, and p>Tamidal figures between the winding coils of serpents (Nagas) or dragons, and inscribed \\ath incantations. It is to "pro- tect against all manner of evil and bodily harm, and, kept in the house, it protects against fire." Length, 48 inches: width, 36 inches. Laos, Further India. (Cat. No. 217650, U.S.N.M.) 343. "Naga cloth."— Piece of cotton, with a large magic square in- closing a serpent or dragon in the center, and four smaller squares 346 PROCEEDINGS OF THE NATIONAL MVaEUM. fol. 59. on one margin, drawn in India ink, and a Pali inscription. Length, 18 inches; width, 27 inches. Laos, Further India. (Cat. No. 217651, U.S.N.M.) 344. " Naga cloth." —Piece of bleached muslin. The edges are inscribed in squares or checkers. The center is filled with four seated figures in witness position and four standing ones, inclosed within a garland. The designs are painted in yellow and vermilion. 18 inches square. Laos, Further India. (Cat. No. 217652, U.S.N.M.) 345. " Naga cloth." — Piece of cotton with inscribed squares and adorned with figures of men, birds, and fishes and floral designs. Length, 17 inches; width, 36 inches. Laos, Further India. (Cat. No. 217653, U.S.N.M.) 346-349. Native medicine, — Four bags containing from 4 to 24 different substances, as various woods, bones, pieces of Buddha's alms bowl, etc. These are rubbed on a stone, and the resulting powder washed off in water which is given to the patient to drink. Each bag is labeled and selected according to the sickness. Laos, Further India. (Cat. No. 217654, l^.S.N.M.) 350. Piece of oval sandstone. — Cut out on the upper surface. Sup- posed to have been used for grinding or rubbing medicine, but more probably for sharpening some instrument. Length, 3 inches; width. 1^ inches. Laos, Further India. (Cat. No. 217655, U.S.N.M.) 351. Kakemono. — Representing Buddha in the center surrounded by saints or Bodhisattvas. Painted in gold and various colors, The style much resembles that of the illuminated missals of the Middle Ages. A Kakemono is a scroll of paper or cloth, with a picture or inscription painted or printed upon one side. The designs are usually religious. They are rolled upon a cylindrical stick, and are intended to be hung upon the wall. Japan. (Cat. No. 305813, U.S.N.M.) Gift of Mrs H. B. Buckingham and Isabel C. Freeman. 352. KaTcemono. — -Representing Buddha with 12 saints or arhats. The faces are painted white, the caps red, the robes yellow, the halos light green. China (?). (Cat. No. 154273, U.S.N.M.) 353. Kakemono. — -Monochrome. Representing Daruma by Toteku the Unkoku School (1538-1610 A. D.). Daruma was the twenty- eighth Buddhist patriarch. He arrived in China in 520 A. D. and converted the then emperor. It is said he came to Japan in 613 A. D. and died there. During nine years he sat in profound medita- tion, neither moving or speaking, and when he returned to conscious- ness of his surroundings his legs had become paralyzed owing to their long disuse. He is often depicted in a humorous mamier, with a comical head and round body, without arms and legs, which are supposed to have withered away from disuse. Japan. (Cat. No. 154273, U.S.N.M.) No. 2371. CATALOGUE OF BUDDHIST ART— CA8AN0WICZ 347 354. Kakemono. — Buddhist ecclesiastic, seated in a chair holding in his right hand a vajra ( ?) : in the left, a rosary. Head and neck are painted white; the robe is in vermilion. Above are trees. China ( ?). (Cat. No. 154273, U.S.X.M.) 355. Kakemono. — Monochrome. Daikoku, one of the Japanese seven gods of fortune (see Xo. 167), ^^'ith mallet, seated on rice bags. Japan. (Cat. No. 154273, U.S.N.M.) 356. Kakemono. — ^Monochrome. Ebisu, Avith fishing rod and fish (see Xo. 167). Japan. (Cat. Xo. 154273, I'.S.X.M.) U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 44 BRONZE Buddha. For explanation of plate see paoe 301. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 45 Teakwood Buddha from Burma. For explanation of plate see page 302. I. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. 46 Wooden Buddha from Ceylon. For explanation of plate see paoe 303, U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 47 Alabaster Buddha from Laos, Further India. For explanation of plate see page 303. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 48 Bronze Buddha, from Japan. For explanation of plate see page 304, U. S. NATIONAL MUSEUM PROCEEDINGS VOL. 59 PL. 49 U. S. NATIONAL MUSEUM. PROCEEDINGS. VOL. 59 PL. 50 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 51 Wooden Buddha and Garuda, from Laos. For explanation of plate see page 307. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 52 U. S. NATIONAL MUSEUM TPROCEEDINGS, vol. 59 PL. 53 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 54 Buddha Figurines on Clam Shell from China. For explanation of plate see paoe 313. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59. PL. 55 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 56 Wooden Buddha Entering Nirvana, from Laos. For explanation of plate see page 313. U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. 57 CD 1 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 58 Cast of Buddha's Footprint, from India. For explanation of plate see paoe 3 14. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 59 Wooden Amitabha, from Japan. For explanation of plate see page 3 14. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 60 PORCELAIN Kuan-Yin, from Foochow. China. For explanation of ME SEE PAGE 3 15. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 61 Wooden" Kuannon, from Kobe. Japan. For explanation of plate see page 3 16. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 62 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 63 I, Wooden Bodhisattva from Burma or Si am; 2, Bronze Bodhisattva. from China or Mongolia. For explanation of plate see paces 317 and 318. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 64 FuDO IN Shrine, from Japan. For explanation of plate see pace 318. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 65 Wooden Figure of Maha Upakut, from Laos. For explanation of plate see page 3 19. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 66 Wooden Daikoku, from Japan. For explanation of plate see paoe 321. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 67 Bronze Fukurokoju, from China or Japan. For explanation of plate see page 321. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 68 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 69 Wooden Chinese Buddhist Ecclesiastic, from China. For explanatjon of plate see page 324. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 70 Wooden Buddhist Ecclesiastic in Ceremonial Robes, from China. For explanation of plate see page 324. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 71 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 72 I. BRONZE VAJRA-DAGGER, FROM TIBET; 2. BRASS TiP OF MENDICANTS STAFF. FROM Tibet. For explanation of plate see page 326. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 73 *»i*tAy. ,..,..,^i^ ii»«.»"'*' % O " g g U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. 74 Su a O < CD „ U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 75 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 76 Model of a Wooden Pagoda, from Japan. For explanation of plate see pace 334. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 77 O O CN u' a. .. O zDC < Q. (E ^< I O u. P= o I o o CL < U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 78 z :; Q o O u. o U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 79 Open Temple Lanterns, from Japan. For explanation of plate see page 334. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 80 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 81 U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. 82 < O S U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 83 ^^.. ^^ ^ \ U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. 84 2 SS o CO S o =3 z (T o Q : z UJ < -I 1 Ul e U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 85 U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. O n OC u '^ < X Hi CO UJ LL u Z 5 UJ °- § s ^ 2 U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 87 5^^ Copper Nine-Toned Bell, from Shanghai, China. For explanation of plate see page 333. U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. Wooden Triratna, from Laos. For explanation of plate see page 340. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 89 Wooden Triratna, from Laos. For explanation of plate see page 348. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 90 Wooden Demon-Queller, from Japan. For explanation of plate see page 342. U. S. NATIONAL MUSEUM PROCEEDINGS, VOL. 59 PL. 91 Geomantic Compass, from China. For explanation of plate sfe page 343 U. S. NATIONAL MUSEUM PROCEEDINGS. VOL. 59 PL. 92 COPPER AMULET CASE, FROM TIBET. kNATION OF PLATE SEE PAGE 3»« University of British Columbia Library DUE DATE MAR 1 6 197> W 3 M OCT i 9 ^2T 1 0 tev ' ET-6 a o I U I X 1 ^- a ■■fc. UJ I U3 I V I D -J