A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c14.s4.12

c14.s4.12

The date of the frescoes in the closing years of the fifth century is fixed with sufficient accuracy by the known limits of the reign of Kāśyapa I, A. D. 479 and 497. They are, therefore, practically contemporary with the paintings in Cave XVI at Ajaṇṭā; and all critics recognize the fact that the art of Sīgiriya is closely related to that of Ajaṇṭā. For instance, the lady carrying a lotus in Plate LIX, may be compared with the similar figure in Cave II at Ajaṇṭā, as reproduced in Griffiths, Plate XXXI. But the limitation of the colours and the total absence of blue in the Ceylonese paintings are important differences, and I do not think that the Sīgiriya work equals the best at Ajaṇṭā. Mr. Havell is bold enough to credit the ladies of Sīgiriya with 'Botticellian grace', a criticism which may not meet with universal acceptance. But, whatever may be the final verdict of experts as to the intrinsic merits of the Ceylonese paintings, there can be no doubt that they are extremely remarkable productions of their age, and well deserving of careful study and serious criticism. There is nothing to indicate who the Ceylonese artists were, whence they came, or how they learned their skill.