338 Field Museum of Natural History — Anth., Vol. X. 



period, thus, e. g. in the right hand of a Mafijucii by Wu Tao-tse. 1 As 

 far as I know, this symbol never occurs in the Gandhara sculptures nor 

 in any Chinese-Buddhist sculpture from the Wei down to the T'ang 

 period, but in painting exclusively. In the case of Mafijucri, it might 

 be appropriate to assume that the Ju-i takes the place of the sword 

 which is his usual attribute; but a good many variations occur placing 

 certain reservations on too premature conclusions of this kind. The 

 Japanese painter Sesshu (1420-1506) pictured a Mafijucri astride a 

 lion, holding a Ju-i in his left hand and nothing in his right, while he 

 is always holding the sword in his right. In two other paintings, by 

 Mincho and Sanraku Kano respectively {Kokka, Nos. 82 and 117), this 

 Bodhisatva is holding the Ju-i in his right and a book-roll in his left. 

 Again, in a Chinese painting ascribed to Chang Se-kung {Kokka, No. 149) , 

 he is holding the Ju-i in his uplifted right and leaning its end on the 

 palm of his left. Again turning to No. 168 of the same Journal, we 

 find a splendidly painted Mafijucri attributed to the Kose School of 

 the twelfth century, in which the attributes of the god are a sword in 

 his right and the sacred lotus-flower in his left. It will be noticed here 

 that the stem of the lotus describes the same curve as the handle of 

 the Ju-i, and that the flower is shaped very much like the upper part 

 of our iron Ju-i (in Fig. 1, Plate L/XVIII); 2 the lion, on whose back 

 the god is placed, has a lotus-blossom under each foot, the petals being 

 of a conventional geometric form, such as is found also in the upper 

 parts of the Ju-i. The lotus-flower with long stem is frequent in the 

 hands of Bodhisatvas, conspicuous e. g. on the sculptures in the cave- 

 temples of Lung-men in Honan (see e. g. Chavannes, Mission arche- 

 ologique dans la Chine septentrionale, No. 397), and certainly in the 

 Indian sculptures, and in the Nepalese and Tibetan paintings (many 

 examples in A. Foucher, Etude sur l'iconographie bouddhique de 

 l'lnde, and L'art greco-bouddhique; A. Grunwedel, Collection Uchtom- 

 ski, Part II, p. 13). I do not mean to say that the Buddhist emblem 

 called Ju-i has developed from the lotus, though I think that the 

 alternation of both is suggestive. But it is not necessary at all to 

 assume that the Chinese Ju-i in general is of Buddhist origin, as sup- 

 posed e. g. by W. Anderson, Catalogue of Japanese and Chinese Paint - 



1 Celebrated Paintings of China, Vol. I, Plate II (Tokyo, Shimbi Shoin, 1907). 

 The upper part of this Ju-i shows a spiral-shaped cloud-pattern and a knob with 

 coral; the blade is adorned with four studs. In the same volume is reproduced a 

 Samantabhadra by Ma Lin, holding in his right a Ju-i on which the figure of a 

 Buddha is represented. 



2 Compare A. Foucher, fitude sur l'iconographie bouddhique de V Inde, p. 115, 

 Paris, 1900, and II. Part, p. 43, Paris, 1905. 



