![]() ![]() Most distinctive, in this and other representations of Maitreya’s paradise, are the ordination scenes that appear here at the bottom of the painting (Pl. Such an arrangement may be contrasted with the more accomplished groupings of similar triads in compositions of the ninth century, for example in the paradises of Bhaisajyaguru and Amitabha (Vol. ![]() As a result the nimbi are again prominent and perfectly circular, and the figures are mainly seen from the front, with just the heads turned to attempt to show the relationships between them. Even in these groups set diagonally there is a strong tendency for the painter to set his figures in the picture plane (Pl. Smaller groups, each of a Buddha with two seated Bodhisattvas and a third standing behind, appear on either side. Behind them are the guardian kings Vaisravana, holding a trident-banner with black and white streamers, and Virupaksa, holding a sword, each accompanied by a Dharmapala. In the centre, the Buddha and his attendants form a compact group, the spaces between them almost completely filled by their decorated aureoles (Pl. The whole composition is much more densely packed than some of the comparable wall paintings and other examples of this subject to which Eiichi Matsumoto and Terukazu Akiyama have drawn attention. Other examples of the subject have been listed by Terukaze Akiyama in his excellent article in Seiiki Bunka Kenkyu, Ⅵ. This impressive paradise painting is identified as that of Maitreya by the several texts from the Maitreya sutra inscribed in cartouches accompanying scenes at the top and bottom of the painting. ![]()
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