Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s18: Story of a Serpent King : Cāmpeya Jātaka
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s18
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Story of a Serpent King : Cāmpeya Jātaka
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The subject is painted on the back wall of the inner aisle, above the doors of the cells. It is reproduced in three plates, two of them being in colour and one in monochrome.
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T HE artist has delineated the story in four scenes, following the version of the *Jātaka* in the main,¹ but deviating from it now and then in order to add a touch of romance. In the first scene we see a rājā in low spirits; he has placed his right hand for support on the knee
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¹ The *Jātaka* version in an abridged form is as follows: At a time when the Bodhisattva was one of a poor family, he used to go to the river Campa whereby there lived a Serpent King named Cāmpeya, whose glory impressed the Bodhisattva gradually until he desired to be reborn as the Serpent King. In course of time the Bodhisattva was so reborn, but when this happened his heart was filled with remorse and he observed, ‘As a consequence of my good deeds, I have power laid up in the six chief worlds of sense. . . . But see, here am I born in this reptile shape; what care I for life?’ The Bodhisattva thought of putting an end to his life, but a young female serpent, named Sumanā, perceiving him so dejected, came to amuse him and gave the lead to others of her kind, who all came and made offering to him, with all manner of musical instruments in their hands. ‘That serpents’ palace of his became as it were the palace of Sakka; the thought of death left him; he put off his serpent shape and sat on the couch in magnificence of dress and adornment.’ In the company of the *Nāginīs* the Bodhisattva often violated his rule of virtue, so he thought of leaving the serpent-world and going to the world of men, where he could perform his fasting vows. Accordingly one day he went beyond the frontier village and laid himself on an ant-heap by the high road, saying, ‘Those who desire my skin, or any part of me, let them take it, or if any would have me as a dancing snake, let them make me so.’ A young Brahman of Benares who had learned the charm for catching a snake happened to pass along that road that day, and on beholding the Serpent King, he recited the charm and approached to catch the Snake. The Serpent King thought that his poison was powerful enough to kill the Brahman, but if he did that his virtue would be violated; so he submitted himself to the Brahman. The latter seized the Snake by the tail and tormented him in various ways, taking out his teeth and squeezing him in order to weaken his strength. Afterwards he laid the Snake in an osier basket and brought him to King Uggasena in Benares. The King watched the dance of the Snake amid a great concourse of people, who were all struck by his performance and showered jewels on him.
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Now the *Nāginī* Sumanā, not having seen Cāmpeya for some time, went to the ant-heap, and not finding him even there, thought that he must have been caught by a snake-charmer. She therefore made inquiries, and learning that the Serpent King had been carried by a Brahman to King Uggasena of Benares, she resorted to his court and held herself in the air. The Serpent King as he danced saw Sumanā in the air and being ashamed of his feat suddenly crept into the basket. The King of Benares, noticing the action of the Snake, looked around, and beholding Sumanā poised in the air inquired who she was. Sumanā:
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‘No Goddess I, nor Titaness, nor human, mighty king!
A female of the serpent kind, come for a certain thing.’
‘On holy days the Royal Snake
At the four-ways used to take
Holy vows: a juggler caught him:
Free my husband for my sake.’
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On hearing this King Uggasena addressed the Brahman snake-charmer thus:
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‘Justly now and gently, see
I buy the Serpent liberty
With gold, a hundred kine, a village,
That will merit win for me.’
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The snake-charmer, learning the virtues of the Bodhisattva in thus humiliating himself, observed:
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‘I want no gifts, your majesty,
But let the Serpent now go free;
Thus I now release the Serpent.
The deed will meritorious be.’
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The Serpent King, being released by the Brahman, crept into a flower and reappeared as a young man magnificently arrayed. Sumanā, coming down from the air, joined him, and they both thanked Uggasena for his courtesy. The of his consort and with the left hand he is making a gesture indicating the wretchedness of his plight. He can easily be identified as the Serpent King, Cāmpeya, of the *Jātaka*, when he puts off his serpent shape and in the enjoyment of a royal life violates the rule of virtue and then deeply regrets his conduct. The expression of the face is dull, which, however, fits in with the remorseful mood of Cāmpeya, but the poorness of the drawing as regards physical features cannot be accounted for, and the treatment of the legs is particularly clumsy. The hair has been delineated in a conventional style, resembling that of the prince prostrating himself before the Pacceka-Buddha in the earlier subject, ‘A Rājā going out to attend the Sermon of the Hermit’ (Plate XIV).¹ The clayey complexion also is not attractive, and the only relieving feature is the loin-cloth, with its artistic blue border falling in folds on the right leg. The design of the cloth of the cushion on which Cāmpeya is sitting is also interesting: small stars worked out in silk, or gold or silver thread, on a dull yellowish texture, which itself is either of gold or silver thread.
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¹ Supra, p. 19.
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At the right hand of Cāmpeya is his consort (*Nāginī*) sitting on another cushion, which, full and round in its shape, is similar to the rājā’s, but the design of the cloth is slightly different, the stars being four-pointed and worked out on a dark background. The pose of the *Nāginī* is artistic: she has placed her hand below her chin and is looking up lovingly at the Serpent King. The features of the figure are, however, obliterated, and the merits of the drawing cannot be studied with close scrutiny.
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On the left hand of the rājā is the comic figure of a dwarf, who is presenting something to his lord on a tray. The manner in which he is looking at the rājā shows deep concern. Behind the dwarf, between the pillars, is a female figure, a *Nāginī* (?); but the fresco here is so much damaged that her features cannot be made out.
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Behind the rājā are two *chaurī*-bearers, one of a clayey complexion and the other reddish. The figures of both these attendants also are much damaged, and their outlines can be traced with difficulty.
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In the corridor to the left of the rājā’s pavilion are a mother and child, whom the artist has delineated with great pathos. The mother, Sumanā (?), is grieved at the idea of Cāmpeya’s going away to the world of *men* to perform his fasting vows. She is leaning against a pillar in a state of despondency; having placed one of her hands with motherly affection on the head of the child and with the other hand expressing the difficulty of her position. The child is looking up affectionately at the mother. Behind the child there is an attendant of a reddish complexion, who is looking with concern at the *Nāginī*. The characters of the mother and
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King of Benares, being struck by the strangeness of the phenomenon, remarked:
‘Superhuman beings may
Hardly win belief, they say.
If you speak the truth, O Serpent,
Where’s your palace? Show the way.’
The Bodhisattva by his great power made of seven precious things an enclosing wall round his palace and had the approach and gates gloriously adorned, and then he conducted Uggasena to the abode of serpents. On entering the palace he offered divine victuals and drink to the guests, who enjoyed them for seven days. Afterwards, when Uggasena wished to return to Benares, the Great Being, loading his treasure in several hundred carts, sent it with the king. For the full version, see Cowell, op. cit., iv. 281-90.
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child do not appear in the version of the *Jātaka* quoted, but the artist may have adopted them from some other version of the story.
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The colours of this subject, except the blues, which are invariably fresh at Ajanta, have a faded tint, but their artistic charm is not lost when showing the autumn effect in the leaves of the tree behind the mother and child.
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The second scene represents Rājā Uggasena of Benares watching the performance of the Snake amidst a great concourse of people. The artist has omitted here the portion of the story relating to Cāmpeya’s laying himself on an ant-heap and his being caught and tormented by the Brahman snake-charmer, apparently to avoid repetition, a similar episode having already been delineated on the back wall of the left aisle in the Śaṅkhapāla Jātaka (Plate XI).¹
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¹ Supra, pp. 13-14.
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On the rock wall this scene is separated from the last by red and white blocks, representing conventionally either hills or rows of buildings. The figure of Uggasena is damaged, the head being totally missing and layers having peeled off from several parts of his body. His amazement at the performance of the Snake is, however, clear from the gesture of his right hand, and the artist will be interested also in the beautiful folds of his *dhoti* (loin-cloth) and the fish-head design of the back of his throne.² In front of the rājā is a reddish figure, probably the chief minister. He is squatting on the floor, with both legs crossed, and while listening to the rājā he is looking sideways at the Snake and expressing wonder by his hand. The pose and features of this figure show great ingenuity on the part of the artist. At the left-hand side of the minister is another courtier, whose features also have been delineated with great cleverness. He is looking with rapt attention at the rājā, and sitting in a posture different from that of the minister; his right leg is resting, folded up, on the ground, while the left is doubled up, the foot being placed flat on the ground and the knee raised. The frilled ends of the loin-cloths of both these figures are interesting.
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² The artistic frill of the *dhoti* will be better appreciated by looking at the monochrome reproduction (Plate XXXVI *a*).
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Behind the minister are two attendants, one of a ruddy complexion ³ and the other dark greyish. These figures are much damaged, but the portions which are intact show great skill. To the right of these attendants there are two guards, dressed in long coats; one of them is armed with a sword and the other with an incurved dagger. These figures are also much damaged.
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³ In the upper part of his ear he is wearing small rings, such as are still in vogue among the Hindus in certain parts of India.
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Below, near the right corner, we see the snake-charmer with a basket and a white serpent in front of him. His pose is rather unusual; while sitting on his haunches his left leg is bent and he is kneeling on it. The artist has aimed at showing the different poses adopted by Indians when sitting on the ground. The snake-charmer seems to be a young man, his delineation agreeing with the description of the young Brahman snake-charmer of the *Jātaka*, but, the head of the figure being somewhat damaged, further remarks on this point cannot be hazarded.
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Below the throne of the king are two figures whose racial traits and dress are very characteristic. The features of one of them, the nose, the eyes, the moustache, and the tuft of hair on the crown of his head, are so typical that even to-day he might be taken for a citizen of Benares. His *angrakhā* of silver brocade, with floral patterns of silk worked out in it, again, is reminiscent of the dress and special brocade industry of the place. The features of the other figure are like those of a Brahman of Orissa. The style of his hair and the manner in which he has thrown a part of his *dhotī* over his shoulder are also characteristic of the Orissa people. The poses of these figures are extremely interesting, particularly the homely way in which the Oriyā is sitting and looking at his Benares comrade.
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Behind the rājā we notice a group of ladies, among whom a mother and child are prominent. According to the *Jātaka*, Sumanā, the favourite consort of Cāmpeya, appears at the snake-dance which is performed before Uggasena, King of Benares, but she holds herself in the air like a divine being. Here the artist has painted Sumanā like a human being, walking on the ground with her child and talking to the ladies of the palace about the release of her husband. The head of the mother is damaged, but the manner in which she is looking up and in which she holds the child clearly shows that she is appealing to the rājā in a human vein, saying something like this: ‘If for no other consideration the Bodhisattva can be released, he should be released at least for the sake of this child.’ The pose of the two female figures near the mother indicates that they are deeply stirred by her pathetic appeal. One of these ladies is dressed in a long robe, the texture and design of the cloth of which are worthy of notice. It appears to be a very thin fabric, and the patterns, consisting of small flowers arranged in diagonal belts, are interwoven in it.¹ The treatment of her hands seems somewhat crude, but by her gesture the artist has designed to show the commotion of her feelings. The coils of her hair are very artistic, as is the hair of the mother, whose blue bodice is also very effective. The child is wearing a pair of socks or long boots, the upper ends of which are marked by a dark line.²
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¹ The patterns of the cloth cannot be traced in the reproduction, but they are distinct on the fresco.
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² The use of socks and long boots indicates the influence of the foreigners, *Yavanas* and *Śakas*.
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The third scene of the story is painted below the first and second. Commencing at the left side we notice a grove of beautiful trees, among which the banana, areca-nut, and *aśoka* are prominent. A pink elephant also is to be seen here, the *mahāwat*, holding a goad, still perched on its head, but Cāmpeya and his royal guest Uggasena have descended from the animal and they are to be seen outside a white doorway of Dravidian style.³ The fresco being damaged, the figure of Uggasena is indistinct, but Cāmpeya can be recognized by the halo of *nāga* hoods.
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³ The architecture of this doorway and of the hall inside is reminiscent of the rock-hewn and structural temples of the Deccan even up to the 10th century A.D.
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To the right of the doorway is the royal hall filled with ladies and attendants. In the middle Cāmpeya is initiating Uggasena into the mysteries of the faith, as is shown by his teaching attitude. The features of these two figures are obliterated, but those of some of the ladies are fairly well preserved and illustrate the imagination and skill of the artist. For example, the figure of a young lady above the right shoulder of Cāmpeya is most charming. Her features are exquisite, and the high light thrown on her chin, lips, nose, and forehead has given almost a divine effulgence to her face. The pose is equally graceful: with the right hand she is balancing a stick, while the left is raised in a pretty manner towards her chin; the fingers of this hand are most artistically delineated. Below this lady is another of a reddish complexion, who is listening with great attention to the esoteric teaching of Cāmpeya. Her face also is very sweet, and the way in which she is looking up at the Serpent King is most effective.
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Behind the Serpent King we notice the comic face of a dwarf, who has twisted his eyebrows in order to show his indifference to the serious sermon of Cāmpeya. The features of the dwarf are somewhat flat, his hair is curly, and he is holding a sword with a jewelled handle much too long for his tiny stature. At the left hand of the dwarf behind Cāmpeya is a lady of reddish complexion, holding a pearl necklace in her right hand and a tray with a cover in her left. A cobra hood above her head indicates that she is a *Nāginī*, and the jewels in her hands are apparently to be presented to Uggasena. The features of this lady are somewhat obliterated, but her head-ornament (*jhūmar?*)¹ is clear, and will interest a student of Indian jewellery.
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¹ This ornament may be a *kalghī* (crest), but that is generally worn by men.
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On the left-hand side of this lady, behind King Uggasena, is a guard; although his features are somewhat indistinct, his cap, with a round brim and peaked top, clearly indicates that he is a foreigner. He is dressed in a long coat with tight sleeves,² and armed with a sword, the jewelled handle of which is prominent.
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² The cloth of the coat seems to be silk (*mashrū*) with a pale background and flowers interwoven in it. It might however, be *kamkhwāb* (gold or silver brocade).
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Behind Uggasena, at the right-hand side of the fresco, is a group of five women, two of whom are sitting and three standing. Of those who are sitting one is of a fair complexion, and she is listening with interest to the conversation going on between Cāmpeya and his royal guest. The other woman is of a pale-brown complexion, and her features are exquisitely drawn, the treatment of the fingers being particularly charming.
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Among the women who are standing, two are carrying trays, and their poses are extremely graceful. The figure of the third standing woman is somewhat obliterated, so that it is difficult to judge her bearing with certainty, but one of her hands seems to be closed, while the other is stretched out in an appealing fashion.
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Behind the two women who are carrying trays there is a male servant, whose features and head-gear and the three horizontal paint-streaks on his forehead are interesting. His face is typical of the Brahmans of Kāśī, and such caps (*kanṭop*) are still in use on ceremonial occasions.
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According to the *Jātaka* the story ends with the return of Uggasena to Benares, after he had received choice gifts and vast treasures from the Serpent King; but on the rock wall the sequel of the story is painted in another scene (Plate X *b*), the purpose of which cannot be determined with certainty, for the fresco is much damaged. It may represent the fulfilment of Cāmpeya’s wish after his great sacrifice in the *Nāga* world to be reborn as man:
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'Not for life or sons or pelf
Do I wrestle with myself;
'Tis my craving, if I can,
To be born again as Man.'
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We see a rājā without any halo of cobra hoods, from which it may be gathered that the Bodhisattva is reborn as man, while to show his association with the Nāga world in his previous birth the artist has painted several Nāga chiefs and queens,¹ who are paying homage to the Bodhisattva. One Nāginī is presenting him with a short sword.
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¹ The hood of the cobra is the distinguishing sign for a Nāga.
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As the fresco is badly damaged in all the four scenes the skill of the artist cannot be fully estimated, but some of the figures which are intact prove him to be an artist of great merit. For example, the pale-brown lady standing at the right hand of Cāmpeya in the third scene (Plate XXXV) is a masterpiece; again, the delineation of the citizen of Benares and the Oriyā Brahman in the second scene (Plates XXXIV b and XXXVI a) is very successful, and shows close study of their ethnographic features.