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Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s2: Story of the Pigeon : Śibi Jātaka

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s2

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English

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.

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