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Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5: Explanatory Text

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5

Language
English

Contents

Explanatory Text

General Remarks

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Plates I–IV

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THE beauty and charm of Ajanta are absolutely marvellous; the Buddhist monk could have selected no more appropriate place for his meditations.¹ Precipitous rocks, sometimes bare, sometimes clad with the most luxuriant foliage, guard a vale of surpassing loveliness, on the bosom of which the stream of the Waghora pursues a sinuous course, through bush and bramble interlaced in an impenetrable mass (Plate I). The cliff, where the caves commence, is 250 ft. high, and within sight of the caves is a cascade of seven leaps (Sāt Kuṇḍ) forming the source of the Waghora. The air resounds with the sweet notes of birds, great flocks of which, among them parrots and blue pigeons being prominent, are seen flying about. Apes also are abundant, and, although mischievous at times, their nimble movements and wild antics please the eye. The hoot of the motor-car and the rush of visitors have driven away the wild denizens of the valley; but even now, when the crops are ripe, herds of deer are seen grazing in the fields, and the hyena and his comrades, wolf, black bear, and leopard, sometimes also the lordly tiger, resort to their old haunts in search of water and prey.

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¹ The caves of Ajanta are situated on the north-western frontier of the Nizam's Dominions, fifty-five miles north of Aurangābād, which is the head-quarters of the division and has a large station on the Nizam's State Railway. Motors are available at this station. For Ajanta a nearer railway station is Jālgaon, on the main line of the G.I.P. Railway. It is in British territory and lies thirty-seven miles south of the caves. For other routes see Map.

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In the neighbourhood small hamlets still survive, where the Bhikshu in olden days went with his alms-bowl to beg food. There also in striking contrast would have been seen rājās and rānīs in rich clothes and jewellery and with all the paraphernalia of royalty, richly caparisoned elephants and horses, and long trains of smartly dressed followers, coming to pay homage to the anchorites of Ajanta. The common platform of religious devotion would enable the humble to sit down with the lordly, the craftsman with the scholar, and the peasant with the statesman; and it is this chequered pattern of human life which in its spiritual aspect is so admirably portrayed on the walls of Ajanta. The charms of natural scenery and animal life made an equally deep impression on the mind of the artist, and inspired him to these exquisite drawings of geese, peacocks, antelopes, bulls, and elephants in varied scenes of marvellous beauty, among woods and groves, lakes and pools. The human vein, running through the birth-stories (Jātakas) and the legends of the life of the Buddha, vibrates also in the frescoes of Ajanta, and it is this feeling, that the gods of Ajanta were living human lives, which appeals so much to the imagination of every class of people.

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The walls, ceilings, and pillars of nearly all the twenty-nine caves were once adorned with paintings; but the remains are now found in thirteen caves only, the fragments which are of special interest occurring in Caves I, II, IX, X, XVI, and XVII. The material used for these wonderful paintings is remarkably simple—lamp-black, red ochre, yellow ochre, and lapis-lazuli formed the principal colours. The last evidently came from outside the Deccan, but in early days it seems to have been very popular, necklaces of lapis-lazuli beads having been frequently found in the cairns of the Deccan. A layer of clay mixed with rice-husk and gum was first put on the rock, and thereupon a coat of lime, and the surface was smoothed with a trowel. The subject was then outlined in pinkish brown or black, and afterwards colours were filled in by washes and detail accentuated by streaks and dots.

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It is difficult to speak with any precision as to the beginnings of Indian painting, but in the second century A.D., as represented by some of the frescoes of Cave X at Ajanta,¹ painting was a fairly developed art; it reached its climax in the fifth and sixth centuries, after which decline set in, so that by the eighth century, as represented by some of the frescoes at Ellora, it seems to have lost all its grace and vitality.² With the extinction of the Buddhist religion in the seventh century the noble traditions of art seem to have been destroyed; but although painting in its pristine beauty and vigour never revived, the sister art of sculpture, a few centuries later, was stirred into new life. After the sudden downfall from the golden age of the Guptas it is not until the tenth century that Hindu sculpture rises to any artistic significance; and then it assumes a different character, being rather an expression of inner strife than of peace, of violent emotion and exuberance of feeling than of mental calm and spiritual repose.

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¹ In his *Cave Temples of India* (Plate XXIX), Fergusson has reproduced some figures from the early paintings of this cave. He remarks, ‘As far as sculpture can be compared with painting, the costumes found here resemble those of the sculptures at Sanchi of the first century of our era.’ But as there is a second-century inscription on the arch of Cave X, the early paintings in it are coeval with this record.

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² On this point see *Annual Report of the Archaeological Department of Hyderabad* for 1927–8, pp. 20–4.

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Cave I, which forms the subject of this part, is considered architecturally to be the finest *vihāra* (monastery) among the rock-hewn temples of India. This praise will not be considered as exaggerated on seeing and rejoicing in the exquisite beauty of the sculpture with which the cave is adorned. The exterior view of the *vihāra* has been somewhat marred by the destruction of the porch which was the prominent feature of it (Plate III). The façade has several bands of carving, among which the scenes from the life of the Buddha, the elephant-fights, and hunting expeditions have been delineated with consummate skill.

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The plan of the cave comprises a verandah, great hall, and shrine. The verandah is 64 ft. long, 9 ft. 3 in. wide, and 13 ft. 6 in. high, and it has a cell at each end. A large door in the centre, with beautifully carved jambs and entablature, leads into the great hall, which is 64 ft. square; its ceiling is supported by a colonnade of twenty pillars, leaving aisles of about 9 ft. 6 in. wide all round. At the back of the hall is an antechamber 10 ft. by 9 ft., leading into the shrine, which is 20 ft. square approximately. There are fourteen cells in the interior of the cave, four each in the right, left, and back aisles, and two only in the front aisle, one at each end of it.

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The columns of the verandah and the hall are most richly carved, the devices being in some cases fantastic, but always cleverly executed. The shafts have vertical and spiral fluting, encircled by belts of exquisite tracery, and the bases and capitals are ornamented with mythical animals, religious stories, and floral designs in great variety. The girth of the pillars of the hall and the interspacing between them may appear to some a little out of proportion in relation to the height of the ceiling. Again, the ornamentation of the capitals may seem rather overdone; but the fondness of the Indian for ornament is proverbial, and profusion of decoration is not confined to this cave.

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A good example of the artistic fancy of the sculptors of Ajanta is the delineation of four deer on the capital of a column in this cave (Plate XL b). They have been so carved that the one head serves for the body of any of the four. The poses of the bodies are most graceful and absolutely realistic, showing close study of nature combined with high technical skill. The colossal statue of the Buddha in the shrine is, on the other hand, strictly conventional; the artist in the treatment of the body has apparently followed some fixed canons (Frontispiece). The expression of the face is, however, marvellous, betokening great internal calm and majesty of feeling. The groups of minor figures around the Buddha and the foliaged sculpture of the doorway form an admirable setting, and show much imagination and ingenuity on the part of the artist.

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There is no inscription in this cave to fix its age with precision; but from the details of architecture and sculpture it may be assigned to the end of the fifth century A.D.¹ The style of the painting is analogous to that of the sculpture, and the majority of the frescoes seem to have been executed shortly after the completion of the carving. Some paintings, however, like Plates V and XXXVIII, seem to be of a later period (sixth century), betraying as they do signs of decadence as regards accuracy of drawing.

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¹ The representation of four deer with one common head carved in this cave also occurs at a cave at Ghatotkach, and the general plan of the cave is almost identical with that of the vihāra of the latter place. The caves of Ghatotkach bear an inscription belonging to the end of the fifth century A.D. Again, Cave II at Ajanta, which is excavated adjacent to Cave I, and in style seems to be of a later period, bears some inscriptions in an alphabet assignable to the sixth century A.D.

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All the walls and ceiling of the cave were once adorned with painting, but owing to moisture, the depredations of insects and birds, and in rare cases to the vandalism of the art-collector, the frescoes near the floor and the ceiling have been totally destroyed; those which survive are in the middle of the walls or on the ceiling, in serrated patches, as may be seen in Plate IV, which shows the interior of the cave. In describing the frescoes I commence from the wall to the left of the door, following the Buddhist practice of perambulating from left to right.²

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² The positions of the frescoes on the wall-surface have been marked out on the Key Plan accompanying the plates.

Story of the Pigeon : Śibi Jātaka

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*This subject is painted on the wall of the front aisle, between the main doorway and the window to the left of it. The fresco is considerably damaged, and as the colours are not very clear it is reproduced in monochrome.*

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It is interesting to note that the delineation of this story at Ajanta tallies with the earlier version of it in the *Mahābhārata*, wherein Indra and Agni assume the forms of hawk and pigeon for the trial of Prince Śibi.¹ In Buddhist literature several stories are related of the charitable disposition of Prince Śibi, his giving away his eyes or the flesh of his body to the ‘hawk’; but the full pigeon and hawk anecdote, with balances for weighing an equivalent amount of flesh, is not to be found except in later works, such as the *Sūtrālaṅkāra* or the *Bodhisattvāvadāna-kalpa-latā*, wherein it seems to have been adapted from the *Mahābhārata* version.² At Ajanta we notice a pigeon in the lap of a rājā, whom afterwards we see standing by a pair of scales and encircled by a bevy of ladies who are lamenting. The hawk, however, does not appear; evidently he has assumed a human form when demanding justice from Prince Śibi.³

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¹ In the *Mahābhārata*, Vana Parva, the story is narrated something like this: Indra and Agni, to test the fidelity of Prince Śibi to the laws of righteousness, assume the forms of hawk and pigeon. The latter (Agni), pursued by the former (Indra), seeks and receives Prince Śibi’s protection. The hawk demands the pigeon as his lawful prey, but the Prince replies, ‘He that giveth up an affrighted creature seeking protection, unto its foe, doth not obtain protection when he is in need of it himself. O Hawk, let the people of Śibi’s tribe place before thee a bull cooked with rice instead of this pigeon.’ The hawk declares that it is not the law of his nature to eat such things. The Prince then says that he will not give up the pigeon, but he will give anything else in his power which the hawk may demand. The hawk replies that he can only accept a quantity of the Prince’s own flesh equal in weight to the pigeon’s body. Śibi gladly accedes to this substitution. The Prince cuts off a piece of his flesh that appears large enough, but it is insufficient; he cuts again and again, but still the pigeon outweighs his piled-up flesh. Finally, all his flesh gone, the Prince gets into the scale himself. The two gods then resume their divine shape, and announce to Śibi that for the sacrifice he has made he will be glorified in all worlds throughout eternity. For the full version see *Mahābhārata*, Vana Parva (English translation by P. C. Roy), pp. 596–9 (Calcutta, 1884).

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² *Jātaka* (Cambridge ed.), iv, pp. 250 ff.; *Avadāna Çataka*, iv. 4 (34) and the note on p. 127 of Feer’s translation (Musée Guimet); *Jātaka Mālā*, No. 2, Çibi Jātaka; *Chariyā Piṭaka*, No. 8, Siviraja—C; *Milinda-pañha*, iv. i. 42 (p. 179 of the translation).

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³ In the New Variorum edition of the *Merchant of Venice*, pp. 309–10 (12th impression), the learned editor has quoted the *Mahābhārata* version of the story along with other legends, but regarding their connexion with the *Merchant of Venice* he observes: ‘However interesting all these stories and their geographical distribution may be in an archaeological way, surely their connexion with Shakespeare’s Shylock and Antonio is the thinnest gossamer.’

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The whole story is depicted in three episodes. To commence at the top left-hand corner of the painting, we notice first a *dvārapāla* (doorkeeper) standing between two pillars. His complexion is dark grey and he is wearing a long-sleeved garment, of white and black check pattern, which is tightened round his waist by a broad girdle. The pillars at his back are painted black, showing flutings and ornamentation with precious stones and gold. Two ladies are standing there; one of them is wearing a short skirt of striped silk and elaborate jewellery on her body. Her complexion is silver-grey, and the face indicates that she is occupied in some deep thought; the manner in which she has raised her finger to her lip is very characteristic of Indian ladies. The face of the other lady does not show so much feeling, but her anxiety is apparent by the position of her hand on her breast.

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To the right of these ladies a rājā is sitting on a low throne, the back of which has a support with square posts decorated with gold-work and jewellery, in which blue stones are prominent. To show that he is the hero of the story, the artist has painted him of greater size than the other figures. The jewellery on his body has been shown with great care and taste. On the head is an elaborate crown of chased gold work with jewels set therein; round the neck there is first a short necklace of large pearls with a blue stone (sapphire) in the middle; and then a large necklace consisting of several strings of pearls; the apparent movement of the latter is highly artistic. He is also wearing elaborate armlets and wristlets set with jewels. The face of the figure has unfortunately been damaged, but the pupil of the left eye, turned as though looking to the side, is extremely interesting. The left hand, twisted unnaturally, shows surprise, as if the rājā has been confronted with some dilemma. In his lap there is a blue and white pigeon, the head and tail of which are intact. The complexion of the rājā is fair, and has been painted a silver-grey tint.

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Two small figures, or dwarfs, are sitting at the foot of the throne. One, of dark-brown complexion, is holding a ewer of graceful shape. The high light on the nose of this figure and the treatment of the hair exhibit much artistic skill. The other dwarf, who is of somewhat larger size than the former, is looking up at the rājā in a respectful attitude, with folded hands.

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Behind the rājā’s throne are two figures. One is a female of greyish complexion, between whose lips a red (carmine) line apparently indicates the colour of the betel (pān). To the left of this figure is the head of a servant with grey hair. The face has been obliterated, but the nose and lips are well marked out and show masterly skill in drawing. To the right of the throne we notice a greenish chaurī-bearer¹ standing. The manner in which she is holding the handle of the chaurī shows much artistic delicacy, particularly the treatment of the fingers.

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¹ Chaurī, a fly-whisk.

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Proceeding towards the right, there is a pavilion in which a prince and princess (?) are sitting. The prince is wearing a high crown and a string of pearls across his body, like the sacred thread of the Brahmans. The treatment of his ears is conventional. The princess (?) is of greenish complexion, and her features are of a peculiar type, the nose being prominent. She is looking upwards towards the pavilion, in which the rājā is sitting. The prince has the first and second fingers of his right hand erect, probably suggesting some solution to the dilemma with which the rājā has been faced. To an artist, the contrast of the black and blue pillars of this pavilion will appeal. The blue colour has been laid in streaks, the paste used was somewhat coarse, but the effect is most artistic.

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Proceeding farther to the right, we enter an open court where the green leaves of a pīpal tree against a light vermilion horizon show exquisite taste as regards colour effect. Here the rājā has been represented standing by a pair of scales. One of his hands is open and hanging low, showing in a conventional manner that he is prepared to make a sacrifice. The treatment of this hand up to the wrist is splendid, but the elbow and arm do not show a correct knowledge of anatomy. With the other hand the rājā is holding the strings of one of the scales. Near the cross-bar of the scales stands a red male figure, wearing a long white coat (*aṅgrakhā*), tightened by a girdle, three folds of which near the waist-line may be noticed. In his left hand he holds a long stick, and his right hand is raised in a peculiar manner, perhaps suggesting that the vow must (or must not) be fulfilled. Unfortunately the head is damaged, so that we do not catch the correct expression of the face and cannot decide whether he is the ‘hawk’ of the story, in a human form, demanding the fulfilment of the vow, or a devoted servant of the rājā imploring him to refrain from such an action.¹ The artist’s delicate brush-lines, indicating the creases in the garment of this figure, are very interesting.

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¹ According to the *Sūtrālaṅkāra* version (xii. 64) the rājā orders one of his servants to cut off from his body the amount of flesh necessary to satisfy the hawk, but the servant, through affection and respect for his master, refrains from doing that. The figure painted may, therefore, be identified with the servant of this version.

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At the right hand of the rājā is a group of five women. Three of them, in the upper row, are showing grief at the decision of the rājā. One, with a fair complexion, is beating her breast; another, of greenish complexion, has raised her hand in excitement; the hands of the third, who has a reddish complexion, have been damaged. The remaining two, seated below, are of fair complexion. One of them has a child in her lap, and her face shows anxiety. The other is leaning on her right hand and looking back at her child, who is staring at the mother. The child has been clumsily drawn, nor do the female figures exhibit any artistic skill.

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Above the leaves of the *pīpal* tree are shown hills, from the top of which two *yogīs* are watching with interest the drama which is being enacted below. The treatment of their plaited hair is good, and the features of their faces are also not devoid of skill. At the right-hand end of the painting, above the scales, three figures (deities?) may be seen, watching the proceedings from conventional clouds. The figure in the front, who has a greenish complexion, is wearing a crown, a pearl necklace round his neck, and a red jacket with short sleeves on his body. Behind him is a female figure, only the head of which is visible. The knot of her hair merits close scrutiny. Behind her is another male figure of dark-grey complexion, wearing a crown. The faces of this trio indicate no anxiety, but rather exhibit amusement, and bear a strong contrast to the panic-stricken group of women at the right hand of the rājā. The drawing of these three figures is good.

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Above this scene we notice two seated figures, one with the first and second fingers of his right hand raised and the other with folded hands, probably representing a Pacceka-Buddha, in the teaching attitude, with his votary. Behind them are two attendants, one male and the other female, both damaged. The red brush-lines showing the joints of the Pacceka-Buddha’s toes are artistic.

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The third episode of the story has been delineated below the first two. Commencing at the left side, we notice first a male figure wearing a crown and holding a long staff. He has long hair, which is hanging loose on his shoulders. The lower part of the body is damaged. To the right of this figure there is a group of eight *yogīs*. The treatment of the hair of each of them is different. The two at the extreme right have plaits tied in knots over the head;

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the hair of the third is parted in the middle; the fourth has his hair combed back from the forehead; the sixth has his hair sticking to the scalp; while the seventh and eighth have their hair dishevelled. Three of them have red complexions, two are somewhat fair, one is greenish, another silver-grey, and another dark-grey. The heads of these hermits are nicely drawn; but the limbs are not proportionate. For instance, the hand of the *yogī* at the extreme right corner is much too long. The brush-lines showing the patterns of their loin-cloths may interest the artist.

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Between the group of the *yogīs* and the figure wearing the crown and holding the staff the traces of a peacock dancing with joy may be seen. The red plumes of the wings and spotted feathers of the tail are clear, but the body has been destroyed. The dance of the bird apparently suggests the joy of the animal world at the successful test of the rājā.

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On the right of the group of *yogīs* are a tree (banana?) with long leaves and flowers and the traces of a building,¹ probably a sanctuary. It appears that the *yogīs* are bringing offerings of flowers to the sanctuary as a token of thanksgiving at the resolution and merciful behaviour of the rājā.²

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¹ Above the banana (?) tree the lower part of the body of a female figure may be seen. Near her right arm the hand of another figure may also be traced.

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² The *Yogī* in the middle (figure damaged) has stretched out his right hand to demonstrate something. In his other hand he holds a vessel, resembling the *lotā* (brass pot) of the present day.

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The drawing of this subject on the whole may appear crude, but here and there some bits may be found showing excellent modelling, fine brushwork, and exquisite colour-taste. For example, the little dwarf at the foot of the rājā’s throne is a perfect gem. Again, the general effect of the picture is not wanting in dramatic qualities: the earnest and resolute attitude of the rājā, the impatient wailings of the ladies of the palace, and the calm but interested mood of the gods show great ingenuity on the part of the artist.

A Palace Scene : A Lady Reclining on a Couch

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Plates VIa and VIIa

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*The subject is painted above the window, on the wall of the front aisle, to the left of the main doorway. The fresco is much damaged, but owing to its artistic qualities it has been reproduced both in colour and monochrome.*

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THE scene represents a lady (princess?) having a bath while reclining on a couch. Her languid mood betrays that she is broken-hearted through grief. She may be identified with the wife of the Buddha at his great ‘Renunciation’, or with Princess Sivalī, who felt deeply grieved at Mahājanaka’s becoming an ascetic and ultimately herself renounced the world.³

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³ If the latter identification is correct, then the scene delineated on the rock wall refers to this episode of the *Jātaka*: ‘When Prince Mahājanaka was wishing to make the queen (Sivalī) turn back, he saw some *munja* grass near the road, so he cut a stalk of it and said to her, “See, Sivalī, this stalk cannot be joined again”, and he repeated this half-stanza, “Like to a *munja* reed full-grown, live on, O Sivalī, alone”. When she heard him, she said, “I am henceforth to have no intercourse with King Mahājanaka”, and being unable to control her grief, she beat her breast with both hands and fell senseless. Her ministers came and sprinkled her body with water and rubbed her hands and feet, and at last she recovered consciousness.’ Cowell, *Jātaka*, vi. 37.

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The lady is resting on the couch with a pillow under her head and another under her left foot. Her head is inclined towards the right side, but the legs, although folded up, are not inclined in that direction, so there is a contortion in the body near the waist-line. To a European this pose may look inelegant, but the Ajanta artists rejoiced in showing such poses; evidently they aimed at producing by them an impression of suppleness. The treatment of the figure in other respects is excellent; the legs have been purposely drawn thin to show that she has been pining for love. Again, the expression of the face is sad, and the pale brown tint of the body indicates her anaemic condition.

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A fair attendant is pouring water from a pot on her head and another on her legs. Between these two figures there is a third attendant, whose head is destroyed, but the bust, clad in a tight bodice of white material, is intact. This attendant holds a stick in her right hand. A male servant, with a pitcher on his shoulder, is standing at the door of the chamber.

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At the right side of the bed a maid with a fly-whisk is sitting and another is looking in an anxious manner at the lady. The figure of the latter maid is destroyed and only the head is intact, but its delineation shows masterly skill. There was a third maid on this side of the bed, whose grey hand removing the pearl-string from the neck of the lady may be traced.

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The pose of the maid who is pouring water on the legs of the lady is extremely graceful, although the treatment of the waist and the bust may be considered as somewhat exaggerated, but exaggeration of these parts is a common fault of Indian artists, sculptor, painter, and poet alike.

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The striped material of the cushions on the couch of the lady, and the floral design of the cloth of the bodice of the attendant with the fly-whisk, will interest the student of old Indian textiles.

A Bhikshu at a Palace Door

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Plates VI *b*, VII *b*, and VIII

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*The subject is painted on the wall of the front aisle, between the window and small door to the left of the main entrance. It is reproduced both in colour and monochrome, and the figure of the Bhikshu is also reproduced as a separate plate on a large scale for study in detail.*

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THE painting apparently represents a scene in the life of the Buddha, or in one of his previous births, when as a mendicant he goes to the door of a palace, perhaps his own, the human love for his wife attracting him there while he is resolute in renouncing the world. The exact identification of the subject may be uncertain; but it has been delineated with such perfect skill and artistic feeling that the help of a text is not necessary to appreciate its merits. At the threshold we see a *Bhikshu*, divinely calm and serene, with exquisite features and most graceful pose; the head with curled black hair is slightly tilted, and the beautifully moulded right hand raised as if to explain by gestures of the fingers the solution of some mystery.

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Proceeding farther from the door, we notice a pillared corridor in which a male servant is announcing the arrival of the hermit. The tense expression of his face, and the tips of the fingers of his right hand all joined together, indicate that he is impressed by the demeanour of the *Bhikshu*. This servant is wearing a long coat with full sleeves. The cloth of the coat bears an elaborate design, the patterns being treated in bands. Farther up in the corridor is a maidservant bringing to the hermit offerings or food on a tray. The style in which she has dressed her hair, a knot fixed awry on the side of the head, is interesting.

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Passing beyond the corridor, we enter a pavilion, in which a princess is occupied in conversation with a maid of honour. The treatment of the hair of the princess and the maid is extremely effective and shows a highly developed coiffure. The maid is wearing a white full-sleeved jacket, while the bust of the princess appears to be bare, as she is wearing thin raiment. At Ajanta princesses and ladies of position are often delineated wearing almost transparent apparel (gauze),¹ while maidservants and women of middle class have their busts properly covered by costumes and materials of various designs.

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¹ Dacca was noted for its fine muslins, so fine that several yards of the material could be passed through a finger-ring.

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Behind the princess there are two more attendants, one of a pinkish complexion and the other of greyish—the coiffure of the latter being interesting. All the women of this picture have circular marks on their foreheads, resembling the *ṭīkā* or *bindī* put there by Hindu women at the present day.²

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² The red ochre or saffron religious mark.

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The expression on the face of the princess shows much pathos; and to bring it into further relief the artist has accentuated such of her features as indicate her youth: the fully developed breast, the dangling locks, the short and tight kirtle, and the bewitching jewellery.³ The colour-scheme of the picture also shows refined taste, the ash-grey⁴ complexion of the *Bhikshu* being contrasted with the golden-brown of the princess, and the dark red of the floor placed in juxtaposition to the turquoise blue of the background. The whole composition shows much imagination and artistic feeling, and represents the high-water mark of the Ajanta school.

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³ Two different kinds of ear-rings are to be noticed in this painting: one of them a large wheel-pattern worn in the lobe, such as is worn by *Yogīs* of the present day; and the other a small gold-wire circlet with pearls strung thereon (*bālī*), worn in the upper part of the ear, and still in fashion in some parts of India.

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⁴ The hermits (*Sādhus*) of India smear their bodies with ashes, primarily to conceal the beauty of their skin, but also to protect themselves from climatic effects from which their scanty clothing does not guarantee them.

A Palace Scene : Continuation of the Previous Story

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Plate IX

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*The subject is painted on the wall of the front aisle, above the small door to the left of the main entrance.*

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THE subject has not been identified with certainty;⁵ but it is a continuation of that of the previous painting (Plate VIII *a*), as is apparent from its situation close to the latter and from the resemblance in the styles of toilette and costume to those of the figures of the previous story. To describe the painting: If we commence from the left side, first we see the figure of a grandee or general (?), wearing rich jewellery,¹ and in a state of great excitement, his eyebrows raised, eyes bulging out, teeth exposed, and right hand stretched out with the palm open, indicating that he wants to say something to relieve his feelings in view of the gravity of the situation. The bearing of the general has cast gloom and consternation on the beautiful inmates of the palace: two maids of honour, who are sitting in the corridor where he has appeared, look at one another in deep sadness. Their faces have been partly destroyed, but the features which have remained intact are extremely sweet. The head just below the general’s hand is particularly graceful, although the eyes are somewhat conventional; the artists of Ajanta evidently aimed at producing a meditative, dreamy, spiritual effect in their creations, and therefore they have painted the eyes almost half closed. The coiffure also of these two ladies is extremely pretty, and where the hair parts they have decorated their heads with pearl-strings. One of them, who is leaning against the pillar, is wearing a tunic of silk (?); its blue stripes on a white ground are very effective.

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⁵ The scene may refer to this episode of the Mahājanaka Jātaka: ‘Having made this firm resolution (to become an

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¹ He has a pearl-band or tiara on his head, and a collar of pearls and sapphires and a gold chain round his neck. He is also wearing gold bangles (*karās*) and pearl and sapphire armlets (*bāzūbands*). The pearl drops of the latter are artistic.

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To the right of the corridor where the general is standing is a pavilion (a princess’s?), where four female attendants are prominent. The most striking of these is the *chaurī*-bearer, standing behind the pillow—in attendance on the princess, whose figure has been destroyed. The drawing of her head shows great skill; the features are also charming, although the figure shows a touch of plumpness; but this artist seems to be fond of stout figures, none of his creations being slender. The treatment of the fingers of the *chaurī*-bearer is also extremely artistic; they are drawn with meticulous care as regards their curves. The manner in which she is holding the handle of the *chaurī* and, again, that in which she places the index finger of her left hand below her chin are most charming. Indian women, while talking, often place the forefinger on their lips or chin to express wonder or astonishment. On the little finger of the right hand a sapphire ring is prominent.

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Close to the *chaurī*-bearer is a head, the face of which is completely destroyed, but the elaborate coiffure and the conventional lines of the neck may be noticed. At the extreme right corner of the pavilion is another *chaurī*-bearer, whose bust is intact. The expression of her face shows a sweet innocence. Her complexion is fair, silver-grey. She is dressed in a jacket with a floral design, the pattern being apparently in the texture of the cloth. The gold and silver brocades of Paithan,² like those of Benares, have been famous from a very early time. Below this *chaurī*-bearer there is another maid of a pale-brown complexion, who is looking at the princess (figure destroyed) with rapt attention. She also has placed her

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² Baithana of the Greek writers (the ancient *Pratisṭhāna* and modern Paithan) is situated on the left bank of the river Godāvari, its distance from Ajanta being nearly a hundred miles. It is still noted for its brocades.

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ascetic), Mahājanaka entered the city, and standing at the door of the palace, sent for his commander-in-chief and said to him, “O General, from this day forth let none see my face except one servant to bring my food and another to give me water for my mouth and a tooth-brush, and do you take my old chief judges and with their help govern my kingdom: I will henceforth live the life of a Buddhist priest on the top of the palace.”’ Cowell, op. cit., vi. 29.

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forefinger under her chin. The figure of this woman is the plumpest among the group, but still it does not approach the proportions of the creations of Rubens. At the back of this maid there is another, whose head has been partially destroyed. Below the last two figures a head may be noticed, but the fresco being damaged the body of the figure has been effaced. Near this head the chequered pattern of a garment is interesting.

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All the ladies in the painting have the religious or decorative circular mark (*ṭīkā*). Again, a deep mauve or black streak between their lips indicates the use of *missī*,¹ with which ladies in India paint their gums and lips as an enhancement of beauty. The artist who has painted this subject is the same who has delineated the previous one, ‘A Bhikshu at a Palace Door’ (Plate VI *b*).

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¹ A powder made of yellow myrobalan, gall-nut, blue vitriol, and other ingredients.

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The story seems to have been continued on the wall farther to the right, although the fresco, being much damaged, has not been reproduced in these Plates. Four figures, however, may be made out; one of them is a woman, sitting on the ground, and her hand is held by another who is standing. There are traces of the figure of a chief (?), behind whom there is a female *chaurī*-bearer.

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This scene has been separated from the previous one by a column and wall, in the same way as the corridor in which the general is standing has been separated from the princess’s pavilion. In the partition-walls on either side are openings with grill-work of triangular pattern, and brass water-vessels placed in the middle of them may be seen. The design of the grills betokens woodwork.

A Palace Scene : Not Identified

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Plate X *a

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*This scene is painted on the left wall of the front aisle. The fresco is much damaged, and as the colour and drawing of some portions are faint, the outline of the middle part only of the fresco has been traced by Mr. Syed Ahmad and is reproduced here. The description given below relates to the delineation of the complete scene on the rock wall.*

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ON the extreme left of the painting is a dark-green gateway, in which a blurred pale-brown figure may be noticed. Beyond this gate we see a portico, in which a male figure with ugly features is prominent. Below him is a female dwarf, with a long trunk and short legs, carrying a tray of sweets or flowers. Close to these two deformed figures is a young maid of extraordinary elegance and beauty holding a *chaurī*. Her body is poised in a most graceful manner, the curve of the waist-line and the positions of the hands being extremely artistic. It is interesting to note that the painter has aimed at enhancing the artistic effect by introducing contradictory elements in his composition—grouping a most handsome figure side by side with ugly and stunted creatures.

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Beyond the portico is the royal chamber, where a *Nāga*² king and queen are seated on a throne, and a musical performance with dance is going on in front of them. To indicate that he is a *Nāga* king, the artist has painted a halo of seven cobra hoods over his head, while the queen’s head is overshadowed by one hood only. The features of the king are refined, and among his rich jewellery the design of the gold chain, worn between a pearl and sapphire necklace and long strings of large pearls, is very effective. The features of the queen are not so beautiful, but her pose is extremely graceful, the curves and long sweeps of brush-lines intermingling in perfect rhythm. The attitude of the king and queen betrays dalliance, but this, according to the notions of those days, seems to have been permissible in chambers where only private attendants could be present. The delineation of woman in scenes where she appears in public is on the contrary extremely modest; for instance, in the subject, ‘Padmapāṇi’ (Plate XXIV), the dark princess has turned her face to one side, just as an Indian woman of the present day will do when appearing in public.

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² *Nāgas* are spirits dwelling in ant-hills, wells, pools, and lakes. They generally appear in the form of a serpent, but sometimes they assume human shape. They are easily moved to anger but worthy of being propitiated, and their general inclination is for the welfare of man, especially in connexion with their power over the element of water.

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Behind the queen is a female dancer of pink complexion whose features, in the effort of keeping rhythm, show strain; the eyes are bulging and eyebrows raised. The position of her hands may appear somewhat extraordinary, but Indian dancing-girls often assume such attitudes. Close to this dancer is a female figure of greyish complexion, carrying a pair of small sticks in her right hand and a tray of flowers in her left.

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The principal dancer is in the middle, near the feet of the queen. She has raised one hand and one foot and poised herself in a most charming manner. The drawing conveys lightness of movement combined with artistic feeling. She is dressed in a jacket of blue silk (?); the blue colour is extremely fresh. Her bangles and coiffure have also been painted with great care.

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Above this dancer is a musician with a reddish complexion, holding a pair of cymbals in her hands. Behind her at some distance is the figure of a male servant who is watching the dance from behind a pillar. The tense expression of his face indicates that he is closely following the steps of the dancers. To the right of the musician holding the cymbals, between the pillars, three more figures may be seen, the most prominent of them being that shown sitting. She is wearing a long robe of blue-striped silk, figures of oxen and ducks appearing in the texture of the blue stripes. The floral design of the cloth of the bodice of the woman who is standing at the right hand of the latter figure is equally interesting. It is a thin brocade, like Benares material. The third figure of this group is a woman with a pale complexion, who while watching the dancer has twisted her finger in a curious way.

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The episode seems to have been continued farther to the right, but, the fresco being damaged, only a few figures can be made out. In the middle was a throne, only one foot of which can now be traced. Near the throne is a woman of red complexion who has elaborate ornaments round her wrist. The manner in which she is looking up at the figure on the throne (now destroyed) is extremely sweet. To the left of the throne the remnants of several other figures may be traced. First there is a head, the features of which show great excitement—

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In Brahmanical legend and Buddhist lore they are also delineated as anchorites and kings, dwelling in a world styled the *Nāgaloka*, which although contiguous to the human world is invisible. For further particulars see J. Ph. Vogel’s *Indian Serpent-Lore* (1926), or Moritz Winternitz’s *Der Sarpabali, ein altindischer Schlangencult*, *Mitteil. der anthropol. Gesellschaft in Wien*, vol. xviii (1888).

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teeth exposed, eyes bulging, and eyebrows raised. Close to this is another head belonging to a figure with a grey complexion. Above these heads is the figure of a dancing-girl, who has placed her hand on her hip in the approved fashion of the Indian dancing-girls. Her complexion is pale-brown; and although she is wearing elaborate jewellery round her waist and neck, her raiment is of the thinnest material (gauze?), the texture of which has been indicated by fine red brush-lines. Close to the dancer is the figure of an attendant, who is watching the performance from behind a pillar.

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The general style of this painting bears a great resemblance to that of the two previous scenes (Plates VI *b* and IX), and it would appear that all three frescoes were painted by the same artist. The religious circular marks (*ṭīkā*) which are the special feature of the female figures of Plates VI *b* and IX appear in this subject also, although they are not to be found in any other fresco at Ajanta.

Story of the Serpent : Śaṅkhapāla Jātaka

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Plate XI

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*The subject is delineated on the back wall of the left aisle, above the first cell-door. It is reproduced in colour.*

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THE story agrees with the *Jātaka*¹ and has been depicted in three parts. In the first part, painted in the left top corner, we see the King of Magadha, in an ascetic’s robe, imparting instructions in the Law to Śaṅkhapāla, the *Nāga* king. The figure of the ascetic king has been destroyed, but that of Śaṅkhapāla is fairly intact,² and he is shown sitting on a low cushion, while another is placed behind his back. He is wearing an elaborate crown and rich jewellery, among which pearls and sapphires are prominent. The expression of his face is one of great devotion and humility, which are further demonstrated by his folded hands. Behind the *Nāga* is a princess of great elegance—although her figure is too much obliterated for the full appreciation of her charm. She is listening with interest to the sermon of the ascetic. The style of wearing the pearl-strings (*hār*) on the sides and back is characteristic and resembles the style of wearing flower-strings (*baddhi*) in India up to the present time. Behind the princess is a maid of red complexion, but her figure has been to a considerable degree destroyed, so that a portion of the bust alone can now be traced.

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¹ The *Jātaka* runs as follows: ‘Once upon a time the Bodhisattva was born as the son of a King of Magadha, who ruled in Rajagaha. When the Bodhisattva came of age his father, adopting the religious life, retired to a park and lived as an ascetic. There a chief of the *Nāgas*, Śaṅkhapāla by name, visited the ascetic from time to time and received instructions in Law. The Bodhisattva once visiting his father, saw Śaṅkhapāla with a large retinue, and he was so much struck by the magnificence of the *Nāga* chief that he aspired to be born in the *Nāga* world. At the end of his life the Bodhisattva was reborn as King Śaṅkhapāla, but in course of time he grew sick of the luxury of his life in the *Nāga* world, and by way of penitence he lay on the top of an ant-hill saying, “Let those that want my skin and flesh, let them, I say, take it all.” So one day, when Śaṅkhapāla lay there, a party of hunters who had secured nothing on that day passed that way. On noticing the serpent they said to themselves, “To-day we have not caught so much as a young lizard; we will kill and eat this snake-king.” Thereafter they wounded Śaṅkhapāla and piercing his nostrils with a sharp stake inserted a cord and dragged him along. At this time a landowner, Alāra, was journeying with five hundred wagons in that direction. He was touched by the hunter’s maltreatment of Śaṅkhapāla and he offered to them coins, together with an ox to each, and had Śaṅkhapāla released. The Bodhisattva afterwards returned to the *Nāga* palace and, without any delay, issued forth with a great retinue to welcome Alāra to his abode and conferred on him choice gifts.’ Cowell, op. cit., v. 84–91.

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² There is a halo of the hoods of seven serpents over his head.

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Below the princess is a dwarf, who is bringing a tray of flowers to the ascetic as an offering. His long trunk, short bandy legs, and wild expression introduce a serio-comic effect into the picture. The artists of Ajanta often bring in such characters to soften the otherwise religious austerity of the subject.

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The most notable figure in this group, however, is the woman who is sitting in front of the ascetic. Her pose exhibits great skill and observation. She is squatting, having crossed her legs, and leaning on the left hand, which is placed on the ground, while with the right, which is curved, she is supporting her head in a graceful manner. Although the fresco is somewhat indistinct and partly destroyed, the masterly drawing of the artist in indicating the curves of the body can still be admired. She is wearing a sleeveless, low-necked bodice which looks extremely effective on her graceful form.

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The floor is painted dark red and is bedecked with flowers. The design appears at first sight to represent a carpet, but as at Ajanta the foreground of even silvan scenes is represented in this manner, we gather that the device had become conventional.

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The second episode of the *Jātaka* is painted to the right of the previous one. A large white snake, the ‘Serpent-King’ of the story, is being dragged along by a party of six hunters who have put a rope through its nose. The first hunter, while pulling the rope, has his hands stretched forward and his face turned back; the last, who is holding the end of the rope, has bent down so low that he appears to be almost touching the ground. The position of the bodies and the expression of the faces, indicating great effort, are reminiscent of a tug-of-war scene. Behind the company of hunters we see two figures watching the maltreatment of the serpent. One of them seems to have been touched, as is shown by the gestures of his hands. The head of the other figure is broken, and his expression cannot be studied.

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Just below the serpent we see a figure with a herd of oxen addressing the hunters appealingly. He is probably Alāra, who offers the hunters coins and oxen, one to each hunter, to induce them to release the serpent. The oxen have been painted in a variety of attitudes, and the artist has availed himself of the opportunity to express his knowledge of animal life. The white ox at the extreme end, although its muzzle is destroyed, has its tail raised and twisted in a peculiar manner, and the curve of the neck indicates that it is trampling the ground in fury. Another, below the white one, which is red, has raised its neck as if bellowing. Two, one red and the other white, are galloping; the treatment of the red one is particularly skilful, showing lively movement. These two have black leather collars and brass bells round their necks. Below the red ox we see the muzzle of a pale-brown one, raised up peculiarly. In front of the two galloping oxen we see Alāra going down a vale, and ultimately we notice him (at the left bottom corner of the picture) with the *Nāga* king, Śaṅkhapāla, who has now assumed human form and is showing his rescuer a lotus-lake, symbolically indicating his palace. The features of Śaṅkhapāla, as a Divine Prince (*Bodhisattva*), are extremely graceful, and show a remarkable contrast to the coarse features of the merchant Alāra.

A Palace Scene : Dancing Girls : Mahājanaka Jātaka (?)

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*Plates XII and XIII*

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*The subject is painted on the back wall of the left aisle, above the door of the second cell. The complete scene has been reproduced in monochrome; but the group of dancing-girls, being in a fair state of preservation, is reproduced in colour also.*

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TO the right of the Śaṅkhapāla Jātaka the whole of the wall of the left aisle is painted with scenes which are analogous to some episodes of the Mahājanaka Jātaka. To wit, the present subject may be identified with the episode in which Sivalī, trying to dissuade Mahājanaka from his resolve to renounce the world, invites dancing-girls.¹ We see a rājā sitting with a princess of dazzling beauty in a magnificent pavilion where all the luxuries of life have been arranged to attract him. The jewellery on the rājā’s own body is of the richest and choicest pattern, the beautiful crown, the exquisite ear-rings, the lovely pearl-strings,² the armlets, the wrist-bands, the bangles, all set with gems of the purest ray and worn in most artistic fashion. The pose, expression, jewellery, and raiment of the queen are absolutely bewitching. She is attired in the thinnest apparel, so that the graceful contour of her elegant form can be seen. The jewellery is almost ingeniously arrayed, bringing into relief the supple limbs. The expression of the face is redolent of love, which feeling is further accentuated by a coquettish pose; her right elbow is resting on the thigh of the rājā, while her left hand touches in a graceful manner his foot. The lower part of her body is stretched below the throne, and the artist has taken delight in this pose to show the long sweeps of his brush-line.

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