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This painting of Bodhisattva is done on a rough silk banner. It is painted in simple colour. Here the deity is

� 58 depicted as standing erect. His hands are in namaskara mudra placed in front of his chest. Here the image is decorated with princely raiments and ornaments. But the design of his bangles, necklace, and armlets bear the marks of simplicity. The hair dresses of the deity though not very remarkable, it is also not devoid of artistic beauty. The crown of the deity looks beautiful although its design is not intricate. There appears a special halo behind the head. The folds of the drapery contain natural look, The erect body and rythmic composition of the figure and the plasticity of the whole composition are worth mentioning. It exemplifies the techniques of 'Kuca-style' and the *Linear style" of the Tang dynasty. T'ang period. We may cite here another example of the T' This is the figure (Pl.X, Fig.2 ) of Cintamani Cakra. This six-handed image sits on a lotus pod. His six hands are either exhibiting mudra or holding different attributes. head-dress and ornaments are like that of a Bodhisattva. The There are also many other representations and references of Brahmanical and Buddhist deities in China. But many Brahmanical divinities have lost popularity and many of them have gone into oblivion in the minds of the Chinese people. But these Brahmanical deities in Buddhist garb are still, held

$ 59 in great reverence by the people of Japan. Buddhism in China has on the one hand absorbed many foreign ideas and has mixed many elements of Hinduism without perhaps being conscious of them, since the Chinese and the Indian Buddhist monks and a considerable number of Hindu monks in China were responsible in transmitting a new mixed idea and which is why Chinese Buddhism appears to be "as a strange and 6 corrupt degeneration, a comixture of Indian and foreign ideas" 1. But in China the traces of Hinduism proper are no doubt slight.