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Yamabe: Practice of Visualization and Visualization S¥tra 14718. Yamabe, “The S¥tra on the Ocean-Like Samådhi,” pp. 427–97.19. After Miyaji, “Turufan, Toyoku sekkutsu no zenkankutsu hekiga nitsuite: Jødozu, Jødo kansøzu, fujø kansøzu, part 2,” Bukkyø geijutsu 223(1995), plate 3.20. Miyaji, “Turufan, Toyoku sekkutsu no zenkankutsu hekiga ni tsuite,part 2,” pp. 24–27.21. Concerning the numbering of the paintings, I follow the system used byMiyaji, “Turufan, Toyoku sekkutsu no zenkankutsu hekiga ni tsuite:Jødozu, Jødo kansøzu, fujø kansøzu,” parts 1–3, Bukkyø geijutsu 221(1995): pp. 15–41; 223 (1995): pp. 15–36; and 226 (1996): pp. 38–83. In thissystem, the rows are numbered in Roman numerals from top to bottom,and the columns in Arabic numerals from rear to front.22. Detail of Miyaji, “Turufan, Toyoku sekkutsu no zenkankutsu hekiga nitsuite, part 3,” p. 56, figure 13.23. Detail of Miyaji, “Turufan, Toyoku sekkutsu no zenkankutsu hekiga nitsuite, part 3,” p. 56, figure 13.24. The original inscription is found in Miyaji, “Turufan, Toyoku sekkutsuno zenkankutsu hekiga ni tsuite, part 2,” p. 24. The English translationis the author’s.25. One illegible character is supplied by Miyaji, probably correctly,as hsing .26. One character is illegible in the original inscription. Ch’i (seven) issupplied by the author from the context.27. Taishø, vol. 12, p. 342b7–9; Miyaji, “Turufan, Toyoku sekkutsu nozenkankutsu hekiga ni tsuite, part 1,” p. 24.28. We should also note that the inscriptions do not follow the text of theVisualization S¥tra word for word. Since, however, deviation of inscriptionsfrom texts is not an unknown phenomenon elsewhere (Sarah ElizabethFraser, “The Artist’s Practice in Tang Dynasty China [8th–10th Centuries],”Ph. D. Dissertation, University of California, Berkeley [1996], pp. 89–90), we should not put too much emphasis on this point. Perhaps thescribe who wrote these inscriptions was referring to casual excerptsfrom the sutra.On the disagreements between the inscriptions and the paintings, andbetween the inscriptions and the Visualization S¥tra, Miyaji (“Turufan,Toyoku sekkutsu no zenkankutsu hekiga ni tsuite, part 3,” pp. 69–70)considers two possibilities: (1) the inscriptions were added later based oninsufficient knowledge, or, more likely, (2) there were collections oficons and passages excerpted from various texts intended as manualsfor practice.