Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s5: A Palace Scene : Continuation of the Previous Story

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s5

Language: English

A Palace Scene : Continuation of the Previous Story

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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.*

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.

Cites (2)

Jātakatthavaṇṇanā — Pāli
Jātaka — Pāli