152 Figures of Deities and other 'Religious Drawings, pfo. 2 



commencing at the 20th, parts equal to 4, 4, 4, 12, 4, 12, 4, 8, 4, 4, 4, 

 4, 4, 4, are laid off in the above succession, and the points connected 

 by lines which will be all parallel to the 1st (No. 20). The square 

 for the face is similarly formed by laying off from the same scale parts 

 6 and 2 on either side of X, the outer part 2 delineating the breadth 

 of ears, and a part equal to 2 laid off on either side of Y defines that 

 of the nose and mouth by lines drawn to X from those points. 



The mouth is placed half-way between 14 and 15, and its width, as 

 well as that of the nose, is defined by the lines XE2 and XF 2 . The 

 arc of a circle described with a radius from centre of mouth to E2 or 

 F2 defines the chin. The part between the lines 15 and 16 within the 

 square DCEF is divided into four parts by horizontal lines, the 

 lowest part (I) gives marking of nostrils, the third defines the eyes, 

 the outer and inner corners of which are determined by lines drawn as 

 in the accompanying plan. 



The eye-brows lie on 10, as also the top of the ear, the long lobe of 

 which reaches to 14 on a level with the chin. A curve from H2 G 2 

 rising to J 8 defines the crown of the head ; the circular glory EST round 

 which is described from as a centre, between the eye-brows. A second 

 glory (as it may be termed,) EK and LT is described round the body 

 from the point P on line 7. These glories are in the paintings coloured 

 differently. Lines from the intersection of I and 14, J and 14 to 

 B form a triangle, and on 4, 5, 6 give the sides of the alms dish, rest- 

 ing on the palm of the left hand. Another triangle being made with 

 its angles at T and the points on the line KL where the perpendiculars 

 through J and I intersect it, the nipples of the breast lie on its two 

 sides where they are intersected by line 10. A third triangle, apex at 

 AB17 to L 3 K 3 gives the slope of the thighs in a sitting posture, while 

 again lines I 3 to J on KL, and J 3 to I on KL give direction of shin 

 and instep to points of the great toes. On reference to the plates it 

 will be seen that many other parts of the body are made to fall on the 

 intersections of the different lines. 



These figures are seen in every monastery painted on both canvass 

 and silk, the latter being generally brought from Llassa ; they are often 

 remarkable both for their richness of colouring and sharpness of outline. 

 Many similar figures scratched on flat stones are put as offerings on 

 the Mani Walls and are to be seen all over the country, more espe- 

 cially in Zaskar. 



