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152Pacific World72. In this table, “Corresponding Item in the Visualization S¥tra” refers tothe items of visualization listed in the previous note 71.73. The identification of the subject of II.2 is uncertain, but the identificationof II.5 and III.3 are based on the inscriptions and thus very likely. Further,note that if II.3 is also meant to be a representation of “4. jewel trees,” thenwe have three paintings of the same topic on the same wall.74. At Tun-huang also, there are some transformation tableaux that deviatesignificantly from the Visualization S¥tra. Nevertheless, they certainlydeviate to a lesser degree than the completely disorganized paintings atToyok. Further, we should note that at Tun-huang, the degree of deviationbecomes greater in the paintings from later periods (see Sun Hsiu-shên,“Tun-huang shih-k‘u chung tê Kuan Wu-liang-shou ching pien-hsiang,” in1987 Tun-huang shih-k‘u yen-chiu kuo-chi t‘ao-lun-hui shih-k‘u k‘ao-kupienwên-chi [Liao-ning Mei-shu Ch‘u-pan-shê, 1990], pp. 230–33; Tunhuangyen-chiu yüan, ed., Tun-huang shih-k‘u ch‘üan-chi, vol. 5., Ê-mit‘o-chinghua-chüan [Hong Kong: Shang-wu Yin-shu Kuan, 2002], pp. 227–28, etc.). This is an important phenomenon, but it is probably an issue to beconsidered separately from the paintings at Toyok.75. Also, I myself have some personal experiences in meditation inJapanese, Sri Lankan, and Taiwanese traditions. Everywhere initialinstructions are given orally. I have even been expressly discouragedfrom reading books (even those on meditation) during retreats in Japanand Sri Lanka.76. I thank Professor Valerie Hansen for her helpful suggestion on this point.77. Fraser (“The Artist’s Practice in Tang Dynasty China,” pp. 86–98) pointsout that the artists who painted the murals and the scribes who wrote theinscriptions were separate people during the T‘ang period. If that is thecase here also, the existence of the inscriptions does not prove the literacyof the painters.78. It is noteworthy, however, that in the oldest extant transformationtableau on the Visualization S¥tra at Tun-huang Mo-kao Cave 431, a monkis visualizing the objects, as in the paintings at Toyok Caves. See KatsukiGen’ichirø, “Tonkø hekiga no kangyø hensø j¥rokkan zu ni miru jinbutsuhyøgen ni tsuite,” in Higashi Ajia bijutsu ni okeru hito no katachi, Heisei5–6 nendo Kagaku Kenky¥hi hojokin (ippann kenky¥ A) kenky¥ seikahøkokusho (1994), pp. 59–62.79. Yamabe, “The S¥tra on the Ocean-Like Samådhi,” pp. 488–493.