Cintamanicakra
如意輪觀音菩薩像
Tang dynasty, 9th century A.D.
Ink and colours on silk
H.111.0 cm, W.74.5 cm
British Museum, Stein painting10. Ch. xxvi. 001
See also Figs. 1-4
The six-armed figure of Cintamanicakra dominates the painting by its large size. At the sides there is only room for a scrolling lotus stem rising to support two small Bodhisattva figures in the upper corners (Figs. 1, 2). Two equally small figures (Figs. 3, 4) in the lower corners kneel and gaze upwards, offering flowers, but they are very hard to make out clearly, and the space between them is almost entirely destroyed.
Despite this damage and the loss of pigments such as the golden yellow of the Bodhisattva’s body, the painting still retains an impressive coherence. The main figure is almost entirely contained within a large white aura, bordered with lotus flowers. The nimbus has a double-peaked wave pattern, and the aureole features white triangular points over rows of multi-coloured petals; both share a tight yellow “flame” border, Most of these features are found again in a larger painting of Cintamanicakra that is at present too fragmentary to reproduce in colour (Vol.1, Fig. 68). There, however, despite the larger size of the whole painting, the central figure is in fact smaller and more space is given to the eight smaller Bodhisattvas and the four guardian kings.
唐代，9世紀後半葉
絹本設色
高111.0釐米 寬74.5釐米
英国博物館,斯坦因繪畫10.Ch.xxvi.001
參照Figs.1－4
六臂如意輪觀音非常大地被描繪在整個畫面上，僅在兩旁留下的空白處有蜿蜒豎立的蓮花莖，支撐著畫面兩个上角的小菩薩像（參照Figs.1、2）。畫面的兩個下角跪著同樣的小像（參照Figs.3、4），手捧著花仰望上方，由於褪色和變色，很難辨清。兩者中間的絹也大面積缺損。
這種損傷是非常嚴重的，再者，如觀音身上所用的金色等，顔料多以脫落，但至今此畫仍保持原作品的完整性。主尊完全被收攏在蓮花鑲邊的白色大輪裏，頭光加入波狀文，背光有交錯配飾的白色三角形和紜繝彩色花紋。頭光和背光的外緣被一圈黃色的“火焰”帶圍起。與這種特點差不多的，也可在大畫面的如意輪觀音菩薩圖（參照第1卷Fig.68）中見到，由於那幅圖破損嚴重，沒有作爲彩色圖版刊出。其畫面比此圖還大，中尊描繪得略小，周圍留出空白，配了八身小菩薩像和四天王。
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