Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s9: A Palace Scene : Rājā Going Out on Horse-back : Mahājanaka Jātaka (?)
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s9
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A Palace Scene : Rājā Going Out on Horse-back : Mahājanaka Jātaka (?)
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Plates XVI-XVIII
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*This subject is painted on the back wall of the left aisle, between the doors of the third and fourth cells. The entire fresco is reproduced in monochrome only, but the conference of the rājā with the queen is printed in colour, and for the study of detail the retinue of the rājā is reproduced on a larger scale as a separate plate.*
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THIS episode is apparently connected with the events delineated before, for we notice that the rājā is engaged in a serious conversation with his consort, expatiating perhaps upon the merits of renunciation, after having heard the sermon of the hermit. The subject, although differing in environment from the version of the Jātaka, fits in with its main theme, for Mahājanaka, after the exhortation of Migājina, counsels Sīvalī thus:
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‘I’ve left behind my subjects all, friends, kinsmen, home, and native land;
But th’ nobles of Videha race, Dīghāvu trained to bear command—
Fear not, O Queen of Mithilā, they will be near to uphold thy hand.
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And again,
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If thou would’st teach my son to rule, sinning in thought and word and deed,
An evil ending will be thine—this is the destiny decreed;
A beggar’s portion, gained as alms, so say the wise, is all our need.¹
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¹ Cowell, op. cit., vi. 34.
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The artist of Ajanta has depicted the theme beautifully. After the sermon of the hermit the scene lies in the interior of a palace. Commencing from the left side of the fresco we see a pavilion in which an elderly lady, probably the mother of the rājā, is initiating the young rānī into the secrets of the doctrine (renunciation). The former has clasped the folded hands of the rānī in order to console her. The expression of the queen-mother betrays sadness, apparently in consideration of the youth of the rānī. The dress of both these ladies is interesting; the queen-mother is wearing a robe of white muslin,¹ while the rānī is clad in a bodice of transparent gauze, the fine texture of which has been delineated by white dots and lines. Behind the queen mother is a chaurī-bearer (female) wearing a low-necked garment (frock?) of striped silk. The treatment of her hair is very beautiful. Below the figure of the queen-mother there is another maid, who is looking up in an excited mood; she is wearing a bodice of dark-grey brocade.
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¹ The style of the garment indicates that it is not a sārī. In Bengal until quite recently the only dress of woman was a single sheet (of about 5 or 6 yds. in length), a part of which was tied round the loins and another part worn over the head and bust. In Rājputāna, on the contrary, the orhni (covering for the head), the angiyā (short tight bodice) and the lahaingā or ghagri (skirt) have been in fashion for a long time. It would appear that the dress of the early inhabitants of India was of the simplest character, like that of the Bengal peasants of today, and that the dresses which we see at Ajanta were adopted when foreigners (Yavanas and Śakas) settled down in considerable numbers in the country.
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In front of the pavilion of the queen-mother is the apartment of the rājā, in which he is shown deeply occupied in a religious discourse with his wife. The conventional treatment of his fingers indicates that he is explaining some intricate problem. The attitude of the rājā expresses earnestness mixed with tender feeling, and in drawing his portrait the artist has shown much poetic sense. The face of the queen has been spoiled by the peeling of a piece of the fresco, but her pose is quite graceful and shows that she is listening with attention to the counsel of the rājā. The transparent cloth of her bodice can be discerned with greater certainty here, for the white dots and lines showing the texture of the gauze are clear. Behind the rājā is a chaurī-bearer of fair complexion, the sad expression of whose face is very striking.
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Behind the rānī also is a chaurī-bearer, the colour of whose skin, silver-grey, is charming. She is wearing a blue bodice. Her features are beautiful and resemble to some extent those of the ‘Mother’ in the ‘Mother and Child’ group in Cave XVII. The drawing of her right arm and the beautiful fingers show exquisite taste.
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Behind the cushion of the rānī another female figure is to be seen. The expression of her face shows astonishment; perhaps she does not understand the esoteric teaching of the rājā. The way in which she is clinging to the cushion is very effective. There are two more female attendants behind the rānī, who look rather puzzled about the future life. One of them is holding a bunch of lotus-flowers in her right hand; but the prospect of life seems so dismal that in her melancholy mood she is about to drop them.
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A dwarf is sitting below the rājā’s throne, looking up at him.
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The palms of the rājā and rānī, as well as of several maids of honour, are painted with henna and the lips are stained either by pān (betel leaf) juice or by missī. The hair has been dressed in various fashions, and in some cases is bedecked with flowers and jewels.
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In the second part of the story the rājā is represented as coming out of his palace riding on a white palfrey, the head and neck of the horse being drawn with realistic effect. The expression of the rājā’s face and the gesture of his right hand show that, although riding, he is deeply absorbed in some religious thought. The prince is riding on a bay horse, and between him and the rājā there is another prominent figure draped in a blue coat with tight sleeves. He has made a loop with the fingers of his right hand and he is looking up. In front of the rājā’s horse is a chaurī-bearer wearing a long coat¹ of white silk, into which figures of ducks have been woven.
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¹ This seems to be different from the Indian *angrakhā*, which has an opening and laces on the breast.
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Behind the chaurī-bearer there are three figures; one at the extreme right corner, with a beard, has a very peculiar expression. The upturned eyebrows and wild looks indicate some danger or calamity looming over the rājā.
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Alongside the rājā’s horse, in the lower part of the painting, we first notice a flute-player, then a drummer, and a little higher up a conch-blower, whose cheeks are puffed and eyes bulging out in the exercise of his calling. Above the figure of the conch-blower is another musician, who is playing on cymbals. Below him and to the right of the conch-blower is perhaps the royal herald, the quickness of whose movement may be judged by his stretched-out hand. This is perhaps the earliest known delineation of the hand expressing rapidity of action. In later Hindu sculpture and bronzes such a position of the hand is quite common, becoming almost conventional.²
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² Compare South Indian bronzes and sculptures representing the ‘Dance of Siva’.
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The lower part of the fresco is damaged, but we see a pavilion of the rath (chariot) model, and near it the head of the rājā can be traced among several obliterated figures. He is apparently bidding adieu to the denizens of the palace. A little farther to the right we see him again with some male attendants: here he is perhaps saying good-bye to the servants of the court. In the extreme right corner we see the rānī walking alone under a canopy. This scene probably represents the stage when Mahājanaka had left Sīvalī.
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The colour-scheme and the grouping of figures in this fresco show a highly refined taste, and for these qualities it may be compared with some of the best Italian work of the Renaissance period.
Cites (3)
- Jātakatthavaṇṇanā — Pāli
- Jātaka — Pāli
- Ajanta