This paper initially reexamines the identification of the figures depicted in the first and the l... more This paper initially reexamines the identification of the figures depicted in the first and the last paintings of the dPag bsam 'khri shing, or the Bodhisattvāvadānakalpalatā painting set. This study focuses o n four sets of paintings from block prints, widely know n as the Narthang set, as well as two sets of 41 paintings each. All of the painting sets consist of o ne central painting wit h the rest arranged o n both sides horizontally. The first and the last painting contain figures that are not represented in narrative scenes. These figures are those of the do nor, author of the text, translator, and teachers, all of whom contributed to pro pagating the teaching of dPag bsam 'khri shing. The additional figures are from narratives, such as kings and the father and mother of Śākyamuni. Second, by identifying and analyzing the representatio ns of the figures, the differe nces among and features of paintings from different provena nces are elucidated. These differences show the history of the paintings a nd the do nor's motives for making a gift of the paintings. Finally, the sources of these figures are analyzed.
This paper initially reexamines the identification of the figures depicted in the first and the l... more This paper initially reexamines the identification of the figures depicted in the first and the last paintings of the dPag bsam 'khri shing, or the Bodhisattvāvadānakalpalatā painting set. This study focuses o n four sets of paintings from block prints, widely know n as the Narthang set, as well as two sets of 41 paintings each. All of the painting sets consist of o ne central painting wit h the rest arranged o n both sides horizontally. The first and the last painting contain figures that are not represented in narrative scenes. These figures are those of the do nor, author of the text, translator, and teachers, all of whom contributed to pro pagating the teaching of dPag bsam 'khri shing. The additional figures are from narratives, such as kings and the father and mother of Śākyamuni. Second, by identifying and analyzing the representatio ns of the figures, the differe nces among and features of paintings from different provena nces are elucidated. These differences show the history of the paintings a nd the do nor's motives for making a gift of the paintings. Finally, the sources of these figures are analyzed.
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