Abstract
The composition and iconography of Parinirvana scene remained unchanged in India since its first appearance on Gandharan reliefs, but later in Central Asia it took a new turn. Analyzing the painting in Kizil caves, the present author convinced that the parinirvana scenes should chronologically be divided into four types; the first and earliest type is a simple reflection of the Gandharan narrative scene, while the second type shows that the scene in question came to occupy among all paintings in a cave a central importance, or the idealistic position. During the following stage the Bodhisattva Maitreya in the Tusita heaven, depicted exclusively on the inner wall above the entrance, inevitably became a counter part of the Buddha's death scene: “soteriology” may be recalled here. In the latest stage the scenes following parinirvana, i. e. Ajatasatru legend, Cremation, distribution of the relics, and the First council, appeared in addition to the parinirvana and Maitreya images. The themes of the Ajatasatru and First council, found only in Kizil, are based on the Mulasarvastivadin's texts. Therefore the final stage of the parinirvana compositions in Kizil has a special relationship with the Hinayanist communities.
