Chapter IV (5)

Gautama (Buddha, Śākyamuni),
scenes from Life of, 5, 6, 25, 51;
Chinese treatment of, 7, 23;
Conception of, 52;
Birth of, 52;
Bath of, 52;
Seven Steps of, 52;
Four Encounters of, 23 sq., 51;
Search for, 24;
Farewell from Kaṇṭhaka, 24;
Enlightenment of, 27;
First Sermon of, 24, 27;
as teacher, 6;
Miracle of Śrāvastī, 27;
on Gṛdhrakūṭa, 25, 27, 48, 49;
_see_ Buddha, Jātakas, Śākyamuni.

Giles, Dr. L., xii.

glass bowl, 43.

Graeco-Buddhist art, x, 12, 15, 20, 23, 26, 27, 28, 52, 59, 60.

Gṛdhrakūṭa, _see_ Vulture Peak.

gryphon, 12.

Guardians of Regions, _see_ Lokapālas.

halo,
flame-bordered, 15;
transparent, 21, 22.

hands, pair of colossal, 26.

Hāritī, 31.

harp, 12, 16, 45.

hats, shape of, 17.

head-dress, of donors, 19, 23, 30, 32;
_see_ coiffure.

Hell, Kṣitigarbha Regent of, 37, 54.

Hellenistic art, influence of, 4, 20, 59.

Heracles, on seal, 4.

hermit, picture of, 47.

Herzfeld, Prof. E., 40.

high lights, 9, 21, 22.

hills, 14, 17, 19.

Hīnayāna Buddhism, 4.

Hindu mythology, 31.

Horiuji Temple, 3.

horse,
drawing of, 19;
types of, 20, 25, 39.

horse’s head, 54.

horse-dragon, 47.

‘horse-millinery’, 20, 39.

Hsüan-tsang, pilgrim, 6, 27.

human form, Chinese treatment of, 7.

iconography, Buddhist, x.

India, Buddhist painting in, 3.

Indian art, genius of, 8.

Indian garb, of divinities, 7.

Indian type, of Bodhisattvas, 28, 29, 36, 42, 47, 59.

Indians, dark-skinned, 14, 15, 29, 53.

Indra, 12, 30.

infants, 12, 16, 22, 36, 61.

Infernal Judges, 37, 38, 55.

Iranian,
art motifs, 4;
influences, 58;
emblems, 39, 60;
_see_ Persia.

iris of eyes,
blue, 39;
yellow, 62;
green, 62.

Japan,
Buddhist art of, 5;
Buddhist paintings of, 3.

Jātakas, scenes from, 5, 6, 8, 23;
_see_ Gautama.

Jizō (Kṣitigarbha), 37.

Kābul, 27.

Kakemonos, paintings mounted as, 2, 39, 53, 59.

Kālika, 47.

Kalyāṇaṃkara, legend of, 16, 17.

Kaṇṭhaka, Buddha’s horse, 23, 24, 53.

Kapilavastu, 52.

Kapiśa (Kabul), 27.

Kāshgar, 1.

Kashmir, 1, 4.

Kāśyapa, 49.

Khotan, 1, 4;
mural paintings of, 28;
painter from, 10;
Vaiśravaṇa’s worship at, 39.

Kings, Twelve, protectors of the Law, 13, 51.

knee-caps, 35.

Kṣitigarbha,
in paintings, 5, 8, 16, 17, 37;
patron of travellers, 38, 54, 55;
Regent of Hell, 37, 54.

Ku K‘ai-chih,
painter, 6, 7;
style of, 8.

Kuan-yin, Chinese name of Avalokiteśvara, _q.v._

Kubera, 39.

Kwan-non, Japanese name of Avalokiteśvara, _q.v._

Lamas, hoods of, 46.

landscape,
treatment of, 7;
dividing scenes, 13;
_see_ hills.

_laṅgōṭī_ (loin-cloth), 42, 58.

Laufer, Dr. B., 41.

leather,
armour, 42, 62;
scales, 41.

linen, paintings on, 3, 46.

lion, 15, 41, 49, 55.

Littlejohn, Mr. S. W., 2.

_Ló-shen-fu_, painting, 6.

Lokapālas, 5, 12, 13, 14, 15, 31, 36, 39, 40, 41, 53, 58, 60, 61,
62.

Lop desert, 5.

Lorimer, Miss F. M. G., xii.

lotus-lake, 12, 17, 18, 22.

lotus-seats, 20, 50, 55.

Lumbinī garden, 6, 52.

Lung-mên, relievos of, 22, 43.

lute, 16, 17, 18, 45, 53.

Magadha, 27.

Mahākāla, 30.

Mahāsthāma, 18, 20, 22, 49.

Mahāyāna Buddhism, ix, x, 4, 28.

Maheśvara, 31.

mail-coat, 41, 59.

Maitreya,
Buddha, 5;
Paradise of, 19.

_Maitreya-vyākaraṇa-sūtra_, 18.

Maṇḍala, compositions, x;
of Avalokiteśvara, 13, 36, 57.

Manichaeism, 5.

Mañjuśrī, 5, 12, 14, 15, 29, 40.

manuscripts,
at Ch‘ien-fo-tung, 1, 8;
rolls, in paintings, 20, 48.

Māra, attack of, 27.

marginal scenes, 13, 16, 17, 47, 51.

Māyā, 52.

Meru, Mount, 17, 40, 61.

Milne, Mr. J. C., xi.

Mīrān, mural paintings at, 4, 21.

mirror,
metal, 19;
magic, 38.

Mithras, worship of, 4 sq.

modelling, in two tones, 10.

monkey, 53.

monks, 17, 30, 38, 47, 49.

Moon,
Bodhisattva of, 30, 57;
disc of, 47.

mouth-organ, 14, 15, 16, 36.

musical instruments, 12, 16 sqq.

musicians, 12, 15, 16, 17, 18, 45, 51.

Nāga-tree (coral), 40.

Nāgas, 31, 40, 52, 57.

Nara, frescoes at, 3.

Nativity, of Gautama, 52.

Nepalese miniatures, 27;
paintings, 3, 9.

‘Nymph of Virtue’, 31, 57.

Nymphs, 12, 15, 50, 60.

officials, dress of, 37;
_see_ dress.

ox-headed demon, 45.

palanquin, 20, 52.

Pāpaṃkara, legend of, 16, 17.

paper paintings, 36, 47 sq., 61.

Paradise,
of Amitābha, _see_ Western Paradise;
of Bhaiṣajyaguru, 50;
of Maitreya, 19;
of Śākyamuni, 15, 16.

pavilions, 13.

peacock, 12, 18, 22, 31.

pearl, of Kṣitigarbha, 37.

Pelliot, M. Paul, 2.

Persia, 4;
_see_ Iranian.

Petrucci, M. R., viii, x, xi, xii, 14, 16, 17, 19, 27, 30, 37, 50.

phoenix, 12, 22, 31.

pipe, 12, 14, 16, 25;
_see_ whistle-pipe.

Planets, divinities of, 8, 53.

plectrum, 53.

portraits, of donors, 7, 16, 21.

_pretas_, 31, 38.

processions, 14 sq.

psaltery, 12, 17, 18, 45.

Rājagṛha (Rājgir), 27, 48.

rat-king, 58.

_ratnām_, _see_ seven.

Rawak Vihāra, 27.

reborn souls, 12, 16, 18, 22.

reed-organ, 12, 17.

Roman Empire, silk trade to, 4.

‘royal ease’, pose of, 35, 58.

saddles, 20.

‘Sage of the Air’, 31, 57.

Śakti, of Avalokiteśvara, 45, 46.

Śākyamuni, 17;
in pictures, 5;
legend of, 6;
Paradise of, 15, 16;
type of, 4;
_see_ Gautama, Buddha.

Samantabhadra, 5, 12, 14, 15, 29, 45.

sandals, 41;
of string, 37.

Śāriputra, 25, 49.

Sassanian relievos, 40.

‘Sassanian’ textile motifs, 40, 45, 60.

scabbard, lacquered, 62.

scale armour, 39, 41, 42, 53, 59 sq., 62.

Schlesinger, Miss K., 12, 53.

_Serindia_, ix, xi.

Seven Jewels, 53.

Seven Steps, of Gautama, 52.

shading, method of, 15.

shoes, of string, 62.

Shōsōin Collection, 12.

silk, of paintings, 2;
gauze-like, 23;
trade from China, 4.

_siṃhāsana_, 36.

Śivaitic divinities, 30.

slab for inscription, 21, 22, 38.

spacing, Chinese, 9, 46, 60.

Śrāvastī, ‘Miracle of,’ 27.

stag, white, 61.

statues, of Buddhas and Bodhisattvas, 26;
_see_ Vulture Peak.

Stone & Son, Messrs. Henry, xi.

Stūpa, consecration of, 20.

Śuddhodana, 25.

Sukhāvatī, _see_ Western Paradise;
type of, 22.

Sun, Bodhisattva of, 30, 57;
disc of, 47.

Sung period, art of, 7.

Syrinx, 16.

Taki, Prof., xii.

Taklamakān desert, 5.

T‘ang period, art of, 5, 6, 7.

Tantra doctrines, 46;
emblems, 58.

Taoist monk, at Caves, 1 sq.

Tārā, goddess, 45, 46.

Tejaḥprabha, Buddha, 53.

tempera, painting in, 46.

textile patterns, 54;
_see_ Sassanian.

Thunder god, 26.

Ti-tsang (Kṣitigarbha), 37.

Tibet,
Buddhism of, 46, 58;
Buddhist art of, 9, 46.

Tibetan paintings, 3, 9.

Tibetans, at Tun-huang, 45, 46, 47.

tiger, 48.

tonsure, 19.

trees, in paintings, 11, 16, 20, 22.

‘triple cord’, 42.

Tun-huang,
oasis and town, 1 sq.;
chiefs of, 36;
Tibetan conquest of, 9.

Turfān, 5;
painting from, 21.

Turkestān,
Buddhist art of, 3, 4;
pictorial style of, 9;
under Chinese rule, 4.

Tuṣita Heaven, 18.

Urushibara, Mr. Y., 2.

Vaiśravaṇa, 58;
paintings of, 6, 39, 59;
emblems of, 40;
flag of, 60.

Vajra, 43, 47.

Vajrapāṇis, 31, 43, 58, 63.

_vara-mudrā_, 41, 46, 49.

vase, glazed, 36.

Vignette, portrait in, 21.

Virūḍhaka, 15, 36.

Virūpākṣa, 40, 58, 62.

Visser, Prof. M. W. de, 37.

_vitarka-mudrā_, 11, 14, 16, 18, 20, 22, 28, 29, 32, 35, 47, 50.

votive inscription, 2.

Vulture Peak (Gṛdhrakūṭa), 25, 27, 48, 49.

Waley, Mr. A. D., xii.

warrior kings, 12.

Western Paradise (_Sukhāvatī_), of Amitābha, 5, 6, 11, 17, 18, 20,
21, 22, 44, 52.

wheel, of sovereignty, 53.

whistle-pipe, 15, 16.

willow spray,
of Avalokiteśvara, 28, 30, 32;
Aval, under willows, 36.

Winter, Miss E. A., 2, 49.

‘Worlds of Desire’, 37, 38, 54.

Wu Tao-tzŭ, painter, 8.

Yabuki, Mr., xii.

Yakṣas, 39, 60;
_see_ demons.

Yaśodharā, 53.

Yün-kang, relievos of, 8, 22, 23.

Footnotes

[1] Cf. _Serindia_, p. 1420. For a distinctively ‘Indian’ representation of Mañjuśrī, see below, Plate XXVII.

[2] Cf. _Serindia_, Appendix E, p. 1410.

[3] See _Serindia_, Appendix _A_, pp. 1434 sqq.

[4] See particularly the painting, Ch. lv. 0023, of A.D. 864 reproduced in Plate XVI.

[5] Cf. _Serindia_, pp. 850, 885, 888.

[6] See _Serindia_, p. 1410.

[7] For an interpretation of the symbolic meaning of this representation, cf. M. Petrucci’s ‘Essai’ (Les Maṇḍalas), _Serindia_, Appendix _E_, p. 1411.

[8] See _Serindia_, p. 835.

[9] Cf. _Serindia_, p. 850 sq.

[10] See _Serindia_, pp. 899 sq., 984 sq., Pls. CIX, CX.

[11] See _Serindia_ pp. 890, 1082 sq., Pl. LVIII, and M. Petrucci’s notes in Appendix _E_ ibid., p. 1408 sq.

[12] Cf. _Serindia_, pp. 835, 890, note 38.

[13] See above, p. 17.

[14] See, e.g., Plate XXII.

[15] Cf. Stein, _Ancient Khotan_, ii. Pl. LIX.

[16] For details of the antiquarian evidence concerning the date of these pictures, cf. _Serindia_, pp. 885, 896.

[17] See above, p. 9. Of my other pictorial ‘finds’ from Central Asia only the mural paintings of Mīrān, approximately dating from the third to fourth century A.D., show this use of ‘high lights’; cf. _Serindia_, pp. 504, 508, Pls. XL-XLV.

[18] These two-lobed tufts of hair recall those shown on the heads of the angels and _putti_ in the wall-paintings of the shrines excavated by me at Mīrān; see _Serindia_, Figs. 134, 138, 140; Plates XL, XLI.

[19] Cf. _Serindia_, p. 850 sq.; also below, p. 23.

[20] See above, p. 21.

[21] For details on these points and on the question of style, cf. _Serindia_, p. 847 sq.

[22] Cf. _Serindia_, p. 848.

[23] Cf. _Serindia_, p. 850; Chavannes, _Mission archéologique en Chine_, i. Planches 207–10.

[24] Cf. _Serindia_, p. 849, note 18.

[25] This is against the fixed iconographic convention of Indian tradition which shows the _right_ hand raised and the _right_ shoulder uncovered by the under-robe. The explanation may be sought for in the fact that in the case of banners both sides of the silk gauze had to be painted. Here and in the Buddha of the banner in the middle of the Plate we have obviously cases of a mistake made by the artist as to which side was to be treated as the one intended for contemplation and properly finished.

[26] Cf. _Serindia_, p. 858, and the reproduction of the banner, Ch. lv. 0012, Pl. LXXV.

[27] Cf. _Serindia_, p. 947 (_sub_ Ch. 0039).

[28] Cf. _Serindia_, p. 880.

[29] See Petrucci, _Annales du Musée Guimet_, xli, pp. 121 sqq.

[30] Plate LXX of _Serindia_ shows the left half of the painting as originally opened out and mounted at the British Museum. As regards certain slight modifications of the arrangement effected in the course of the final mounting and now seen in our Plate, the detailed description of the painting in _Serindia_, pp. 1024 sqq., may be referred to.

[31] Cf. Petrucci, _Annales du Musée Guimet_, xli. p. 122. The figure at the first opening of the picture at the British Museum was found as a detached fragment. To its left upper edge there adhered the inscribed cartouche subsequently, on mounting, inserted in the blank space between the two standing figures at the bottom; cf. _Serindia_, p. 1025 sq.

[32] See _Ancient Khotan_, i. 493, Figs. 62–4.

[33] Cf. Foucher, _Beginnings of Buddhist Art_, p. 172.

[34] Cf. _Iconographie bouddhique_, i. 40 sqq.

[35] For the willow-spray symbol cf. below, Plate XXIV.

[36] See Plates XIX, XXIX, XLI.

[37] For a reproduction in colours, but on a much smaller scale, see _Desert Cathay_, ii. Plate VIII.

[38] For such Bodhisattva banners of the type conveniently designated as ‘Chinese’ see Plates XIX, XXIX, XLI.

[39] Cf. M. Petrucci’s readings, _Serindia_, p. 1416 sq.

[40] For specimens of this ‘Indian’ type of Bodhisattvas see Plates XXI, XXII; for detailed references concerning banners of this type, particularly numerous among those on linen, cf. _Serindia_, p. 862.

[41] Cf. M. Petrucci’s notes, _Serindia_, p. 1398.

[42] See above, p. 16.

[43] Cf. M. Petrucci, on ‘Maṇḍalas de Kouan-yin’, _Serindia_, Appendix _E_, pp. 1411 sqq.; and for a full description of our painting, ibid., pp. 1077 sqq.

[44] See M. Foucher’s brilliant essay on ‘La Madone bouddhique’ in _The Beginnings of Buddhist Art_, pp. 285 sqq.

[45] See M. Petrucci’s explanations in _Serindia_, p. 1397. The other two inscriptions seem to contain metrical invocations of the all-merciful Kuan-yin.

[46] For scenes somewhat similar, see the side of Bhaiṣajyaguru’s Paradise in Plate I.

[47] Cf. Mr. Binyon’s note in _Guide to an Exhibition Paintings, Manuscripts, and other Archaeological Objects collected by Sir Aurel Stein in Chinese Turkestān_, British Museum, 1914, p. 12.

[48] Cf. Chavannes, _Dix inscriptions chinoises de l’Asie centrale_, pp. 80 sqq.; _Serindia_, p. 1338 sq.

[49] See _Serindia_, p. 864, with note 16.

[50] Cf. Mr. Binyon’s remarks in _Guide to an Exhibition of Paintings, MSS., &c., collected by Sir Aurel Stein_ (British Museum, London, 1914), p. 7 sq.; also M. Petrucci’s account of Kṣitigarbha’s ‘Maṇḍalas’, _Serindia_ p. 1422 sq.

The history of Kṣitigarbha’s cult in China and Japan forms the subject of a full and very instructive monograph, _The Bodhisattva Ti-tsang (Jizō) in China and Japan_, by Professor M. W. de Visser, with numerous illustrations (Oesterheld & Co., Berlin, 1915), to which reference may be made for all details.

[51] For a brief summary of the facts bearing on the iconographic history of the Lokapāla figures in their transition from India and Central Asia to China, cf. e.g. _Serindia_, pp. 870 sqq., where the principal authorities are indicated.

[52] See _Ancient Khotan_, i. pp. 158, 252 sq.

[53] The treatment of the scales, apparently represented by three-armed crosses, is peculiar and differs from the several methods of scale armour which other Lokapāla figures (see e.g. Plate XLVII) usually display. But it is found again on Vaiśravaṇa’s armour in Plate XLV and may possibly be meant for a special kind of mail.

[54] For some of such indications, see _Serindia_, pp. 871 sq., 874.

[55] Cf. Herzfeld, _Am Tor von Asien_, p. 87. To the examples there quoted in note 141 may be added the painted panel from Dandān-oilik, D. vii. 5, shown in _Ancient Khotan_, ii. Pl. LIX.

[56] For more detailed observations on the two groups among Lokapāla pictures, cf. _Serindia_, pp. 872 sqq.

[57] See _Serindia_, pp. 873 sq., 939 sqq., &c. Questions closely bearing upon armour and costume such as our Lokapālas exhibit have been discussed with much critical learning by Dr. B. Laufer in his _Chinese Clay Figures_, Pt. 1: _Prolegomena on the History of Defensive Armour_ (Chicago, 1914).

[58] See _Ancient Khotan_, i. pp. xvi, 374, 411; _Serindia_, pp. 246, 463 sqq.

[59] See above, pp 12, 14 sq., 29.

[60] For detailed references, cf. _Serindia_, p. 873; see also _Ancient Khotan_, i. pp. xvi, 252.

[61] For reference to works of MM. Chavannes, Foucher, Grünwedel-Burgess, see _Serindia_, p. 875, note 45.

[62] Cf. _Serindia_, pp. 904 sqq., and the embroidery specimens reproduced there in Plates CVI-CVIII, CX, CXI.

[63] Cf. F. H. Andrews, _Ancient Chinese Figured Silks excavated by Sir Aurel Stein_ (B. Quaritch, London, 1920), pp. 4 sqq., Figs. 1–3.

[64] See above, Plates I, II.

[65] We meet with exactly corresponding examples of the combination of Chinese and ‘Sassanian’ textile motifs in certain printed silks from the ‘Thousand Buddhas’; see _Serindia_, p. 911, Plates CXIII, CXIV.

[66] See above, p. 9.

[67] Owing to these causes the reproduction of the painting has presented considerable technical difficulties. Hence some of the details mentioned cannot be made out in it quite as clearly as in the original.

[68] See his Appendix _K_, _Serindia_ p. 1473.

[69] Cf. Mayers, _The Chinese Reader’s Manual_, p. 48.

[70] See above, pp. 25, 27.

[71] For full details of the iconographic evidence I may refer to _Serindia_, pp. 878 sqq.

[72] Some idea of the labour implied by the execution of the embroidery may be formed from the fact that the careful remounting of the hanging on a fresh canvas backing, which became necessary at the British Museum for its preservation, kept the expert employed on this task, Miss E. A. Winter, of the Royal School of Needlework, occupied for over three months.

[73] Some connexion might perhaps be sought with an early legend relating to Śākyamuni’s stay on Gṛdhrakūṭa. While engaged in meditation within a grotto, he was believed to have pushed his right arm through its rock-wall in order to reassure his disciple Ānanda, whom Māra, in the shape of a vulture, had frightened; cf. Foucher, _L’art gréco-bouddhique du Gandhâra_, i. p. 497.

[74] See above, pp. 20 sqq.

[75] Cf. _Serindia_, p. 885.

[76] See above, p. 21.

[77] See above, p. 13.

[78] See above, p. 23.

[79] For the reasons which account for the banners with scenes from the Life usually forming small groups or at least pairs, cf. _Serindia_, p. 852.

[80] This is in complete accord with the original Buddhist tradition which presents the descent of the white elephant not as a real event, but as a dream of Māyā; cf. Foucher, _L’art gréco-bouddhique du Gandhâra_, i. p. 292.

[81] For a textual reference supporting this interpretation, cf. _Serindia_. p. xxiii, _add_. to p. 855, note 50^a.

[82] See above, p. 8.

[83] See _Serindia_, pp. 933 sq., Figs. 215, 226.

[84] For a full description of this instrument, cf. Miss K. Schlesinger’s note in Appendix _H_, _Serindia_, p. 1468.

[85] Cf. _Serindia_, Appendix _E_, p. 1429.

[86] See above, p. 37 sq.

[87] See above, p. 8.

[88] Cf. _Serindia_, pp. 861 sqq.

[89] For specimens cf. _Serindia_. pp. 904 sq.; Plates CVI-VIII, &c.

[90] See _Ancient Khotan_, i. pp. 120 sq., 264 sq.; ii. Pl. LXIII; _Serindia_, iii. p. 1277.

[91] See above, p. 9.

[92] Cf. also above, p. 39.

[93] Cf. _Serindia_, p. 874.

[94] See Plates XVII, XLII.

[95] Cf. Grünwedel, _Altbuddhistische Kultstätten_, pp. 282, 351, Fig. 583; Foucher, _L’art gréco-bouddhique du Gandhāra_, ii. pp. 32 sqq.

[96] See _Serindia_, Plate C (Ch. 00158).

[97] See above, p. 40 sq.

[98] For a likely explanation of this unusual attitude, see above, p. 24, note 25.

[99] See _Serindia_, ii. p. 874; Pls. XXXVII, LIV.

Transcriber’s Note:

Text Notes:

1. Italicized text is indicated with leading and trailing
underscores. (_)

2. Superscript text is indicated with a leading caret (^).

3. Footnotes have been moved the end of each section (Preface,
Introductory Essay, and main text). Numbering is unchanged.

4. Index sub-items have been placed on their own line beneath
the main item.

5. The original printed version of this work was composed of a book
containing the text and two books containing numbered image
plates.

Change List (page numbers from original printed book):

Page 6
legend of Sākyamuni in his last life
changed to
legend of Śākyamuni in his last life

Page 40
VIRŪPĀKṢA AND MAÑJUSRĪ
changed to
VIRŪPĀKṢA AND MAÑJUŚRĪ

Page 42
crimson _langōṭī_ flowered with blue rosettes
changed to
crimson _laṅgōṭī_ flowered with blue rosettes

Page 65
Petrucci, M. R., viii, x, xi, xii, 14, 16, 17, 19, 27, 30, 37, 50.
changed to
Petrucci, M. R., v, x, xi, xii, 14, 16, 17, 19, 27, 30, 37, 50.

Printed Image Plate Dimensions (width x height in centimeters)
Plate Dimension Plate Dimension
1 38.3 x 49.3 25 54.3 x 34.9
2 33.7 x 49.3 26 40.7 x 45.1
3 32.5 x 49.6 27 38.0 x 49.5
4 25.4 x 49.4 28 37.9 x 39.8
5 19.7 x 39.6 29 42.1 x 50.3
6 32.7 x 49.3 30 45.7 x 39.7
7 37.3 x 49.3 31 30.2 x 49.8
8 35.9 x 49.1 32 50.3 x 26.2
9 49.5 x 41.9 33 52.5 x 32.5
10 36.5 x 49.6 34 17.0 x 25.2
11 41.7 x 39.5 35 21.5 x 20.0
12 54.9 x 35.5 36 20.4 x 21.5
13 42.7 x 49.5 37 20.9 x 22.8
14 36.1 x 49.4 38 12.8 x 36.0
15 35.8 x 49.9 39 20.2 x 22.0
16 32.9 x 49.5 40 20.2 x 28.3
17 37.6 x 49.5 41 25.8 x 26.3
18 29.3 x 49.3 42 18.7 x 24.7
19 38.4 x 39.7 43 17.9 x 22.6
20 26.3 x 39.6 44 20.5 x 26.2
21 18.6 x 49.4 45 17.2 x 24.7
22 47.7 x 33.5 46 27.0 x 32.8
23 33.3 x 49.2 47 21.7 x 20.8
24 40.1 x 49.5 48 23.4 x 32.5