Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s8: A Palace Scene : Dancing Girls : Mahājanaka Jātaka (?)
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s8
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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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¹ The event is narrated in the Jātaka as follows: ‘The queen Sivalī sent for seven hundred concubines, and said to them, “It is a long time, four full months, since we last beheld the king (Mahājanaka). We shall see him to-day; do you all adorn yourselves and put forth your graces and blandishments and try to entangle him in the snares of passion.” Attended by them all arrayed and adorned, she ascended the palace to see the king, but although she met him coming down, she knew him not, and thinking that it was a Pacceka-Buddha come to instruct the king she made a salutation and stood on one side; and the Bodhisattva came down from the palace.’ Cowell, op. cit., vi. 30-1.
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² The pearl drops of the necklace, worn between the large strings of pearls (mālā) and the small necklet (kaṇṭhi), showing apparent movement, look extremely artistic.
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Despite this ensnaring environment, the rājā’s face indicates a calm, meditative mood; he is unshaken in his resolve and convinced of the transitoriness of the world—the gestures of his right hand expressing the last idea. At the back of the rājā, outside the pavilion, is a female chaurī-bearer, the expression of whose face indicates anxiety. Below the chaurī-bearer a lady of rank is sitting on a cushion and watching with deep interest the attitude of the rājā. She may be the mother of Mahājanaka or Sivalī. The drawing of this figure shows great skill. The check pattern (of black and white squares) of the cloth of the cushion is interesting; it is a silken stuff specially manufactured for cushions.
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In the royal pavilion, besides the rājā and the queen, are four figures, two female attendants standing behind the throne and two dwarfs seated in front of it. Of the female attendants, one is of a grey complexion; she holds a chaurī and is standing behind the queen. The other maid is of a pinkish complexion, and she is holding a conch-shaped tray of flowers. The expression of her face and the treatment of her fingers show considerable thought and care on the part of the artist.
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The figures of the dwarfs are delightful, particularly the one sitting below the queen. His sweet features and long curly hair are absolutely charming. The pose of the body and the treatment of the fingers also exhibit much artistic feeling. His complexion is pinkish, but the palm of his hand has been painted darker (greyish). At Ajanta palms and soles are frequently painted of a darker tint, apparently to indicate the use of henna (*Lawsonia alba*) or some other pigment.¹
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¹ Indian ladies to this day paint their palms and soles with henna and other pigments to enhance their beauty.
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In contrast to the beautiful features of this dwarf, those of the other are somewhat irregular and betray perplexity of mind; his eyes are wide open, teeth exposed, and fingers twisted into a curve. It is interesting to note how the artists of Ajanta observe the greatest care in painting even minor figures, giving each a distinctive character in the general scheme of the fresco.
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The floor of the pavilion bears the conventional carpet design, and between the dwarfs an urn-shaped fruit-dish (?) is placed.²
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² Dishes of this form are frequently to be found in the paintings of Ajanta.
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In the narrow corridor, in front of the pavilion, four female figures have been delineated. Two of them, standing by the pillars, are engaged in a *tête-à-tête*. One of them is holding the other by her shoulder; the artist is cramped for space, but he masters the situation by adopting this pose. Another, of a pinkish complexion, is standing near the feet of the queen and listening with attention to the conversation between her and the rājā. The pose of the fourth, who is of a greyish complexion, is somewhat unusual: she is crouching in front of the queen, but in order to watch the dance she has turned her head round. The outline of her back has been drawn with consummate skill.
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To the right of the royal pavilion we notice another, in front of which the dance is proceeding. The principal dancer is most artistically attired. She is wearing a long jacket with full sleeves; but for freedom of movement its sides have been so cut that the lower ends of the jacket hang absolutely loose. The sleeves and bust are on the contrary close-fitting and look very *chic*. The colour-contrast of the jacket is also happy—the sleeves are of dark-red brocade, while the middle part is apparently of white silk. Her skirt (*ghagrī* or *peshwāz*) is quite long, and the striped design of the cloth is very pleasing.³
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³ The Indian *ghagrī* (or *ghaghrī*) of the present day is an elaborately pleated skirt reaching down to the ankles. At Ajanta the *ghagrī* is generally short and has no pleats or ruffles; perhaps the idea of ruffles or pleats had not developed at that time. The cloth is generally a striped material similar to the silk of Burma of the present day.
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The ornaments of this dancer have also been painted with care, and among their large variety the *ārsī* (thumb-ring set with a miniature mirror), the *karanphūl* (ear-rings with elaborate design) and *sarāsarī* (ornament of the head, comprising gold or pearl strings) should not be overlooked. The coiffure also exhibits much imagination, and the intertwining of the flowers with the plaits is most pleasing. The pose of the dancer is typical; one familiar with Indian steps of to-day could say that very little change has taken place in this art since the fresco was painted, almost fifteen hundred years ago.
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At the right hand of the chief dancer there are two more of a coppery complexion, playing on flutes. The orchestra comprises five artistes; two of them are playing cymbals, one a pair of drums (dhol), another a mirdang (a double drum with a narrow ring in the middle) and the fifth apparently a guitar, for a gourd-like thing is visible in her lap. The complexion of one of the two musicians playing cymbals is pallid, and the chief attraction of this figure is the black trimming of the collar of her cholī (half-sleeved bodice). The complexion of the other artiste playing cymbals is pinkish brown, while that of the drum-player is brick red. The waist-strip of this woman is like the modern brassière of Europe, and it is, perhaps, the earlier form of the Indian cholī and aṅgiyā.¹
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¹ The cholī is a tight bodice with half-sleeves; the back is covered and strings are tied in front. The aṅgiyā is so shaped in front as to support the breasts, but on the back it is open and has only strings for adjustment.
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The features of the woman who is playing on the mirdang are coarse, and show deep lines, evidently indicative of old age. At the back of the orchestra a lady of dark-brown complexion is standing. Her pose is extremely graceful, but her face betrays sadness. Near the flute-player are two dwarfs. The face of one has been damaged; the other is looking up with interest at the dancing girls.
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Below the royal pavilion we notice a shed supported on four wooden posts (Plate XII). The roof of this shed is of small rectangular wooden planks which resemble brickwork in the painting. In this shed a woman is pounding spices. Her features are exquisite. The curry-stone and the pose of the woman remind one of the Indian habits of to-day. By the side of the curry-stone there are four utensils: a brass pot, a drum-like earthen vessel (or basket?), an urn-shaped vessel similar to that in the royal pavilion above, and a circular dish (chaṅger) with a ring at the bottom. At the other end of the curry-stone there is another woman, who holds a conch in her left hand and whose right hand is raised to her ear, as if to catch the words of some one who is speaking to her. The gesture is natural, but the hand is clumsily drawn. At the back of this woman is another who holds a rectangular frame. The scene represents very well the domestic life of early India.
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The style of architecture, as shown in this painting, seems to be that of wooden buildings; although in several caves at Ellora and Ajanta stone pillars and brackets of this type are to be found, they, again, are based on wooden models. The decoration of the building with pearl tassels seems to be a favourite motif, and, apart from the frescoes, it is frequently to be found in the carving of the pillars. Pearls must have been quite abundant in those days, for the artistic fancy does not readily work on imaginary themes.
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elephant is a large retinue, among whom is prominent the figure of an attendant of red complexion, who is holding upright an unsheathed sword with an incurved blade.¹ He is apparently the bodyguard of the young prince,² who is riding on a bay horse,³ and is overshadowed by a canopy. The horse is prancing so that a passer-by has been seized with fright. The figure of this terror-stricken pedestrian may be noticed to the right of the prince. To the prince's left there is another bodyguard, and beyond him the heads of two more attendants may be seen, with their hair treated fancifully. The hair of one has been shown in clusters of matted locks, while that of the other has been dressed and knotted at the crown in the fashion of the yogīs. The attendant with the matted locks is armed with a shield, the hide of which has a check pattern.
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¹ It is like the short Nepalese sword, known as kukrī.
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² If the identification of the subject with the Mahājanaka Jātaka is correct, then the prince here is Dīghāvu, the son of Mahājanaka.
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³ The trappings of the horse are interesting. The saddle is of the chārjāma type with short stirrups. The reins are double and the head-harness is elaborate. There are leather straps round the throat and across the forehead, and embroidered bands round the nose and across the muzzle. The leather bands at their joints are decorated with embroidered rosettes and a large tassel hangs below the lower jaw of the animal.
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We notice another shield-bearer in front of the prince's horse, the check design of his shield being clearer. Shields of rhinoceros skin have been long in vogue in India, but the pattern here seems to have been painted upon the skin and is not indicative of scales. This shield-bearer is wearing a scarf or a shawl, the top corners of which are tied above his chest. Above him there are two figures, the nearer, who is looking up, being a female (?) dressed in a coat of brocade. The other figure has been obliterated. There are some more figures, three below the shield-bearer, and two, of dark complexion, near the elephant and the swordsman. But as the fresco is damaged the features of these figures are effaced.
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The second part of the story, representing the rājā's visit to Himavat, is painted on the upper half of the fresco. On the right side, the elephant of the rājā and the horse of the prince are to be seen. The latter is held by two dark-skinned grooms. A dark-skinned mahāwat is in charge of the elephant, and is still seated on the neck of the animal, while a charkaṭa is perched on its hind-quarters. A tiger's hide shows the vacant seat previously occupied by the rājā.
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To the left of these animals is the royal entourage. The rājā himself, in a pose of profound respect, with folded hands, is listening to the sermon of the hermit. The latter is clad in a striped loin-cloth (dhotī), and a belt of black leather (with patterns embossed or painted on it) passes round his waist and legs by way of support. The Hindu Sannyāsī and the Moslem Darwesh often use such girdles for support when crouching long in meditation. The hands of the hermit are painted in the teaching attitude, but the treatment of the fingers and the manner in which the rosary is held are conventional.
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The heads of antelopes below the hermit's seat are, as suggested above, conventional, referring to the sermon of the Buddha in the deer-park of Benares.⁴
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⁴ These features make the identification of the subject with the visit of Mahājanaka to Nārada a little doubtful.
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Below the rājā we notice a boy of grey complexion, who is kneeling before the hermit; his left hand is placed on the ground and with the right he is saluting. The treatment of his hair is conventional, but most pleasing. He is probably the son of the rājā. Behind this boy is a young woman listening to the sermon with rapt attention. She is wearing a double jacket of brocade, the upper part of which, dark red in colour, has half-sleeves and is open in front, while the lower one, of green hue, has full sleeves and is closed in front. Behind this lady there is a servant, whose face is turned towards the grooms; its expression and the gesture of the man’s hand indicate that he is saying something to them.
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At the right hand of the rājā is a grey figure, the treatment of whose fingers shows that the esoteric sermon of the hermit is being followed with attention; and two figures to the left of the rājā, one of fair complexion and the other a dark brunette, give the same impression. Above the rājā are four figures; one of them is dressed in a white robe; another is a dwarf, carrying flowers on a tray of banana or palm leaf, the treatment of his fingers being extremely artistic; the third figure is draped in a long coat of brocade, or silk, with floral designs woven in the texture; his head is treated with great skill, the long hair, the drooping moustache, and the melancholy expression of his face producing a life-like effect. The fourth figure of this group is that of a guard, clad in a spotted coat and leaning on a staff.
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Behind the hermit are three figures: one of another hermit, which is somewhat obliterated, and the other two of a prince and princess, whose features are very elegant. Although the number of figures in this painting is very large, the arrangement is most appropriate and no effect of unnecessary crowding is felt at all. The colour-scheme also shows good taste, for example, the delineation of lilies with their tender dark-green stalks and snow-white flowers is absolutely charming.