Wall Painting Fragment from Cave 224
The depiction has been slightly diminished due to the gradual weathering over time but the main aspects of the three heads remain. Shown are three heads next two each other. Each image is colored with a vibrant bright blue and green. The figures have oval faces with elongated narrow noses. Additionally, their eyes are depicted as half open and all three have small mouths and lips. All three are shown with three-quarter view, which means as opposed to being painted from the front of the face they are all turned about a quarter of the way to the side. The figure on the left has grayish skin outlined and shaded with a peach orange tinge. This face is shown ordained with an ornamental headdress with beads and a flower on the top. Since erosion over time has eliminated the surrounding areas of this figure's face, we are unable to tell if this head was depicted with a halo or not but nonetheless, due to the artistic characteristics that we can see we can characterize it as a Buddha head.
The figure in the center is shown similarly to the first one but with slightly less deterioration. We see a similar color scheme as far as the skin color, shading, and surrounding headwear goes. We see this figure with a third eye in the center of its forehead and a slightly different style of headdress. This headdress is a geometric form, with two or more protruding decorations concluded with a circular shape over the figure's deep blue hair. Due to the less erosion surrounding this figure, we can see a halo composed of those vibrant blue, green and turquoise colors encompassing the head. Additionally, there is a glimpse into other garments and accessories this figure may have been adorned in. Along the neckline, there is what may have either been a necklace or a decorated neckline of an article of clothing shown by similar beads or sparkles as on both of these figures headdresses.
The final head is potentially the most interesting and different. We see this figure depicted with blue skin and none of the adornments of the previous two figures. We can also see facial hair in a burgundy or dark red color which differs from the others as well. This face is also facing in the opposite direction as the other two and it seems while the other faces are looking almost into the distance, this blue one is looking at the other faces. Additionally, this face is not shown with the ornate elaborate headwear as the others. The third head is shown with a simple white turban that drapes down the right side of his face. There may have been a jewel or decorations on the front center of his turban but due to the deterioration of the wall we are unable to tell. The blue color of his skin is often associated with the medicine Buddha used for healing and other medicinal properties and prayers.
A similar work that we can analyse is a similar wall painting fragment however this one is from Khotan. Khotan was also in China, similar to the Kizil Caves, but on a different part of the Silk Route so there are different influences and styles utilized. The primary difference is the significant drop off in deterioration on this second fragment. This allows for a much more full and comprehensive analysis of the art. We are able to see almost the full body for these figures, both of whom have the grayish white colored skin similar to two of the figures from the Kizil Caves. The figures however, are not nearly as ornamentally decorated. We simply see them with the traditional Buddhist hairstyle of a widow's peak and a bun. Additionally, both these figures have simple robes, one is black and one in the traditional orange color used in a lot of Buddhist artwork. We cannot compare this aspect to the other work however due to the fact that the bodies in the first piece were eroded. Finally, the figure in the black robe, and potentially the other figure as well, both have their hands clasped in a Buddhist mudra.
However, there are some discernible similarities when comparing the two discussed wall fragments. For example, the facial features remain relatively constant. The viewer can see the partially closed eyes, elongated nose, and small mouth with a soft smile on all of the figures. Additionally, all of the faces are shown in a three quarter view. There is also a similar color scheme used. While the fragment from Khotan does not have the vibrant blue and green from the first piece, or it is not visible anymore, we do see a similar orange shade used in both paintings. This orange color was a commonly used shade in Buddhist artwork specifically painting. We often see it used as figures’ clothing, background decorations, and shading.
-Devin Pruthi