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Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8: Part Two

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8

Language
English

Contents

Part Two

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*With an Explanatory Text by* G. YAZDANI, M.A. DIRECTOR OF ARCHAEOLOGY, H.E.H. THE NIZAM'S DOMINIONS

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*and an Appendix on Inscriptions by* JOHN ALLAN OF THE BRITISH MUSEUM

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Coat of Arms of the Nizam of Hyderabad

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PART II TEXT

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PUBLISHED UNDER THE SPECIAL AUTHORITY OF HIS EXALTED HIGHNESS THE NIZAM

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Oxford University Press logo

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OXFORD UNIVERSITY PRESS LONDON HUMPHREY MILFORD

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PRINTED IN GREAT BRITAIN BY JOHN JOHNSON AT THE UNIVERSITY PRESS OXFORD

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THE welcome offered to Part I of the book by readers in all parts of the world, and the highly appreciative reviews published by the press have been a great encouragement to me personally, and a source of eminent satisfaction to His Exalted Highness the Nizam's Government, who have shown very keen interest in this undertaking from the beginning, and financed it most liberally, even at a time when the retrenchment axe is at work in all places. For this policy credit is due largely to Sir Akbar Hydari, the able Finance Minister of His Exalted Highness the Nizam's Government, whose interest and solicitude for the preservation and study of the Ajanta paintings are well known.

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In the preparation of Plates for Volume II, I have followed, as far as possible, the advice of some of my able critics to reproduce the important subjects on a large scale, so that the technical or artistic detail, which sometimes suffers by reduction, may remain clearly apparent. This principle, although duly observed in the printing of Part I, wherein detailed reproductions of the two Bodhisattvas (Plates XXV and XXXII) and the Black Princess (Plate XXXIII) are given, has been followed in a more liberal manner in this volume, and four colour plates (XIII b and XXXI b) give detailed reproductions of subjects which, on account of their exceptional qualities, will appeal to the artist or to the general reader.

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This volume is devoted to the frescoes of Cave II only, and as on account of the occupation of the Cave in comparatively recent times by hermits and people of other faiths than Buddhists, the frescoes have suffered much by smoke and fires lit by these unsympathetic occupants, the reproduction of the paintings has been a very difficult problem for us. If it had been a layer of smoke only, the removal would have been an easy matter, but because of the heat of the fire and constant contact with smoke, the colours have perished in many places, and it seems to be absolutely impossible now to restore them by any scientific process. A great deal of damage has also been done by birds and the inclemencies of the weather, and in judging the plates included in this volume, I request my critics kindly to bear all these facts in mind. If some of the plates are found too dark, or indistinct as regards detail, the fault is not to be found with the photographer or with the process-workers, but with the charred surface of the paintings. Again, if in some plates unsightly scars offend the eye of the artist, he should kindly remember that we have reproduced faithfully the fresco as it is, the damage in the original having been done by birds or insects.

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In the making of the colour plates of this volume, Messrs. Henry Stone & Son, Ltd., of Banbury and London, are associated with Messrs. Bruckmann AG., of Munich, and of the eighteen plates, nine (Nos. VII, IX, XXIX, XXXII, XXXV, XXXIX, XL, XLI, and XLVII) have been made by the former firm, and nine (X, XX, XXI, XXII, XXX, XXXVII, XXXVIII, XLII, and XLV) by the latter. I take this opportunity to thank the Directors of

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both these firms for their unfailing attention and kind interest in the accomplishment of this difficult work. The monochrome plates, the printing of the text, and the binding of the volume, have been done by the Oxford University Press, under the able direction of Dr. John Johnson, Printer to the University.

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Mr. Sayed Ahmad, the Artist-Curator of Ajanta, has prepared the ‘colour guides’ for this Part, and he has also given most valuable assistance in comparing the proofs of the colour plates with the originals on the spot. The photographing of some subjects, which were left out by Mr. E. L. Vasey, has been done by Mr. E. Franswah, the Photographer of the Department, and how far his work has been successful may be judged from the Colour Plates XXI and XXXVIII, showing ‘A Princess’ and ‘A Procession’ respectively.

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The inscriptions painted in this cave have been most carefully studied by Mr. J. Allan, Keeper of Coins and Medals in the British Museum, and are published in the form of an Appendix to the Explanatory Text. It is hoped that Mr. Allan’s scholarly remarks on the palaeography of these inscriptions will be of interest not only to students of this subject, but to the general reader who is anxious to know the probable date of the paintings of this cave.

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As I am not a Sanskrit scholar, the spelling of Sanskritic names and terms was a difficult task for me, but fortunately I have been guided in this and other matters by kind friends, and in this connexion I have to thank Mr. C. A. Rylands, Lecturer in Sanskrit at the School of Oriental Studies, London, and also Mr. C. E. A. W. Oldham, C.S.I., who has assisted me in passing the proofs through the Press. Mr. Rylands has kindly prepared for me a summary of the Pūrṇa Avadāna, which has been incorporated in the form of a footnote.

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I am also indebted to Dr. L. D. Barnett for expert advice and help in the preparation of this work.

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G. YAZDANI

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FOREST HILL, S.E. 23 20th September, 1932

Chapter I

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The extent and military force of the empire in the age of the Antonines.

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In the second century of the Christian era, the empire of Rome comprehended the fairest part of the earth, and the most civilized portion of mankind. The frontiers of that extensive monarchy were guarded by ancient renown and disciplined valour. The gentle but powerful influence of laws and manners had gradually cemented the union of the provinces. Their peaceful inhabitants enjoyed and abused the advantages of wealth and luxury. The image of a free constitution was preserved with decent reverence: the Roman senate appeared to possess the sovereign authority, and devolved on the emperors all the executive powers of government. During a happy period of more than fourscore years, the public administration was conducted by the virtue and abilities of Nerva, Trajan, Hadrian, and the two Antonines. It is the design of this, and of the two succeeding chapters, to describe the prosperous condition of their empire; and afterwards, from the death of Marcus Antoninus, to deduce the most important circumstances of its decline and fall; a revolution which will ever be remembered, and is still felt by the nations of the earth.

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The principal conquests of the Romans were achieved under the republic; and the emperors, for the most part, were satisfied with preserving those dominions which had been acquired by the policy of the senate, the active emulation of the consuls, and the martial enthusiasm of the people. The seven first centuries were filled with a rapid succession of triumphs; but it was reserved for Augustus to relinquish the ambitious design of subduing the whole earth, and to introduce a spirit of moderation into the public councils. Inclined to peace by his temper and situation, it was easy for him to discover that Rome, in her present exalted situation, had much less to hope than to fear from the chance of arms; and that, in the prosecution of remote wars, the undertaking became every day more difficult, the event more doubtful, and the possession more precarious, and less beneficial. The experience of Augustus added weight to these salutary reflections, and effectually convinced him that, by the prudent vigour of his counsels, those boundaries which nature seemed to have placed as permanent bulwarks to the empire, might be defended by the smallest force, and would be the most secure from the attacks of the barbarians. Instead of exposing his person and his legions to the arrows of the Parthians, he obtained, by honour-able treaty, the restitution of the standards and prisoners which had been taken in the defeat of Crassus.

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Plates I-VI

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TO appreciate the romantic beauty of the valley where these Buddhist shrines are hewn in solid rock, the visitor must go to Ajanta immediately after the rains, when the waterfall presents a glorious spectacle, and the Waghora river attains a breadth and volume which can never be imagined in summer (*Frontispiece* and Plate II). The rich variety of trees and shrubs with their magnificent foliage and flowers adds to the charm of the landscape, and the panorama might well inspire spiritual thought and artistic expression now, as it did in the Buddhist fifteen hundred years ago.

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Cave II, which forms the subject of this volume, is a *vihāra* (monastery) like Cave I, and although it is a little smaller and not so magnificent in style as the latter, it shows a richness of imagination and a love for decorative detail which are very characteristic of Indian art, and which are not so evident in the paintings of Cave I. The plans of both the *vihāras* are similar (Plate I), but the veranda of Cave II is rather narrow, having a width of 7 ft. 9 in. against a length of 46 ft. 3 in. The pillars, on the other hand, are lavishly carved, and their design is somewhat different from that of the pillars in Cave I. They are circular in form, and slightly decreasing in girth towards the top, where they are surmounted by three lotus flowers in succession, the middle one being full-blown and bell-shaped. The surface of the pillars is fluted, and the flutes being continued to the top appear like petals drooping from a flower, the effect being most artistic (Plate III). At the top of the pillars are thin abaci, and above them is an architrave which projects nearly five feet towards the front of the *vihāra*. The appearance of the façade has been spoiled by the necessary insertion of masonry columns, which we had to build recently for the support of the architrave, because it had developed a large crack. There was originally, however, no carving in the form of a frieze on the façade of the *vihāra*, but the presence of square holes cut into the rock above the line of columns indicates provision for some kind of woodwork.

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The ceiling and walls of the veranda are beautifully painted, and, on account of ample daylight, colours can be studied accurately there. The artist will notice several tints of *terra verde*¹, and the freshness of the blues² despite the passage of time will surprise him. Some interesting technical details may be observed as well. For example, the high lights on the noses and chins of the dark brown figures are not produced by wiping out the colour, but by applying a light yellow tint over the brown. Again, below the eye-lids of some figures, blue streaks have been painted to represent shade, which serve their purpose extremely well. The effect of roundness is produced by deepening the colours along the outline and in some places perspective is gained by the insertion of dots. All of these particulars are noticed in detail in the descriptions of the frescoes which follow this chapter.

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¹ Finely powdered silicate containing iron.

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² Ultramarine obtained from lapis lazuli.

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The veranda has a chapel at each end, towards the right and left. The façades of these chapels are beautifully carved, and the figures of the *Nāga* kings with attendants, and of portly *Gaṇas* disclose fine workmanship (Plate IV). Each of these chapels has a cell at its back.

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The plan of the interior of the cave can be best explained with the help of Plate I. The hall is almost square, measuring 48 ft. 4 in. by 47 ft. 7 in., and its roof is supported by twelve massive pillars, which are elaborately carved (Plate V). There are corridors on all four sides of the hall and ten cells for the accommodation of the *Bhikshus*, three being attached to each of the right and left corridors, and two to each of the front and back ones.

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The shrine itself measures 14 ft. by 11 ft., and has a colossal figure of the Buddha posed in the *dharmacakra* or teaching attitude. The doorway of the shrine and antechamber are profusely carved, and the figure-sculpture shows much vivacity. The pillars of the antechamber are also exquisitely sculptured, although the figure-brackets springing from them appear to be freakish from an architectural point of view (Plate VI).

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On either side of the antechamber is a chapel, the front of which is adorned with delicately carved pillars and pilasters. The chapels contain figures of *Yakshas* designed with a feeling of reverence perhaps akin to that shown in the carving of the figure of the Buddha himself. In the right chapel are *Pāñcika* and his consort *Hāritī*, while the left has two male figures, one holding a mango and the other a purse. The majesty of these two figures is at once felt. They are attended by fly-whisk bearers and fat cherubs, the latter bringing offerings.

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The reader may gain an idea of the richness of the decoration of this *vihāra* from Plates V and VI, showing how Indian genius has run riot in the display of colour and form. The designs in general are highly artistic, and the thorough knowledge of the painter and the sculptor in matters of technical detail deserves the highest praise, but the lack of restraint and of nobility of thought cannot be ignored. The general impression is that of effervescence resulting from feebleness of spirit. It may be that the high ideals of self-control and breadth of vision which Buddhism had preached in earlier days were growing dim, and that the artist's mind was prepossessed with such outburst of emotion and exuberance of feeling as appear in the doctrines of later schools.

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The sculpture of this *vihāra* has a considerable number of figures with four hands, among which the several *Gaṇas* on the back row of the pillars¹ and an ogress attacking the Buddha in the chapel on the right of the antechamber are prominent. The presence of these figures indicates a comparatively later period for the age of the *vihāra*, which view is confirmed by the inscriptions painted in this cave. Mr. J. Allan, Keeper of Coins and Medals in the British Museum, has studied these inscriptions most ably, and according to him they belong to the period 500-550 A.D.² In Part I, I have stated that the fifth century is the probable date of the frescoes of Cave I, and although there is a resemblance in one or two frescoes of that cave to the style of some of the paintings of Cave II, yet the majority of those in the former cave are different in spirit and technique from those of Cave II. In the latter cave, the artist's For further information, *vide infra*, pp. 53-55.

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¹ One of these *Gaṇas* is reproduced in Plate XLIX *c*.

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² *Vide* Appendix.

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chief delight is in decoration. Whether he is depicting flowers or birds or animals or even human beings, his love of ornamentation is apparent. The beautiful lotus-flowers, the lovely geese, the richly caparisoned horses and elephants, and the charming jewellery, coiffures, and poses of the women, all show the painter’s extreme fondness for adornment. In general, however, the paintings of this cave have not the nobility of treatment which characterizes such a subject as ‘The Padmapāṇi’ or ‘The Bhikshu at a Palace Door’ in the frescoes of Cave I, and from this difference one may assign an interval of fifty years between the dates of the frescoes in the two caves.

Arhats, Kinnaras, and Other Mythical Beings Adoring the Bodhisattva

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Plate VII a–b

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*The subject is painted on the back wall of the veranda, to the left of the door. The reproduction is in colour.*

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THE fresco is much damaged, but the portions which are intact show an exquisite sense of colour and a highly developed technique in the rendering of natural objects and human figures. Commencing from the left top corner, we see two celestial Sādhus (*Arhats*), apparently in the act of adoration before the Bodhisattva, whose colossal head is delineated below. The face of the *Arhat* at the extreme end shows great calm, which expression is confirmed by the position of his hand on his breast. The lobe of the left ear is elongated in a conventional fashion, an elongation apparently due to the Sādhus wearing large heavy ear-rings. In the right ear of this *Arhat* also, a large ear-ring may be seen. He is dressed in a light-green robe with stripes which have been indicated by fine white brush lines. The complexion is dark brown with a golden tinge, and the shading on the right shoulder and hand is prominent. The high lights on the nose and chin are also very marked, and a close observation of the original fresco shows that this effect has been gained by putting a whitish-yellow tint on the otherwise dark-brown colour of the face.

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The other *Arhat* has his hands joined in the customary attitude of adoration, and his hair is gathered in a tuft on the top of the head, in the style of the Sādhus of the present day. He is dressed in a whitish robe, but the right arm and breast are bare. The head of this figure is too much damaged to indicate the expression of the face. The white and blue wreaths of conventional clouds will interest the artist as showing a close affinity to the Chinese and Persian renderings.

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Below the figures of the *Arhats*, the fresco has almost perished, but a discerning eye may trace the outline of two heads. They are, however, too fragmentary for purposes of study.

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To the right of the *Arhats*, amidst conventional hills, represented by red, green, and white blocks, are a *Yaksha* and *Yakshiṇī*, bringing offerings of lotus flowers to the Bodhisattva. These two figures have been painted with great care and feeling. The head of the *Yaksha* is unfortunately damaged, but the treatment of the other limbs, particularly of the fingers, is extremely artistic. The pose is also most graceful; he has placed one hand on the shoulder of his consort, and with the other has made a loop indicating the mystery of life or the wheel of faith, *dharmacakra*. In the delineation of the hair and the pearl jewellery the artist's skill is marvellous, the brush lines showing a fineness peculiar to Eastern art. The effect of the body being painted in the round has been produced by dark-brown washes along the outline, and a deep-green background has enhanced the perspective. On the golden-brown skin of the *Yaksha* the pearl-white jewellery looks very beautiful, and the ribbons of the hair knot flying at the back suggest an idea of movement.

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The *Yakshiṇī's* face shows amazement, evidently resulting from the vision of the Bodhisattva or the devout teaching of her consort, and it may also be noticed that a tremor has caused the fall of the blue lotus flowers from her tray of offerings and the sudden parting of her fingers. She is wearing a tight bodice (*cholī*) of blue silk, the short sleeves of which are edged with strings of pearls. In the Deccan it is still a fashion among ladies to attach strings of gold beads to the short sleeves of their *cholīs*. The coiffure of the *Yakshiṇī* is most artistic, and an aigrette resembling a *jhūmar* of modern times adorns her forehead.

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To the right of the *Yakshiṇī* in the background, the beautiful clusters of *aśoka* (*Saraca indica*) leaves and flowers in various tints show the artist's fondness for the study of Nature. The pale brown of the decayed leaves with the light green of the young shoots and splashes of white flowers in different stages of bloom delineate admirably the variety of colour which this tree offers in spring.

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Below the pair of the *Yaksha* and *Yakshiṇī*, two heavenly musicians (*kinnaras*) may be seen. They are dwarfish in size, and have the bust of a human being and the wings and tail of a bird. One of these is playing on a blue flute, while the other is apparently beating time with cymbals. The hair of the flute-player, cut short on the forehead and dressed with a matted effect, is extremely charming. The head of this figure also represents a fine piece of drawing. The wings of these quaint creatures are rather conventional, and are shown by whitish dots, but the tails are quite realistic, resembling those of the male birds of the domestic fowl.

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The fresco continues towards the right, and the portion shown as part *b* of this plate is painted there.

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Commencing again from the left, we see the head of a Bodhisattva whose figure was originally delineated on a colossal scale, but almost the whole of it, excepting the few fragments of the head, has perished. The richly bejewelled diadem with its fine pearl strings shows considerable artistic skill, but the subject must have become quite common so as to require no originality, as it is repeated in every representation of a prince. The eyebrows of the Bodhisattva are raised in the conventional style, and the eyes would have been meditative, but they cannot be seen in this fresco because of its damaged condition.

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PLATE VIIa-b

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To the right of the Bodhisattva the artist has painted another *aśoka* tree, the enthusiasm and care shown in its delineation being the same as shown in the depiction of the previous tree. The branches of this tree spread behind rocks which are shown conventionally by whitish blocks. On the rocks, two male figures of a different type of features may be seen, perhaps representing aboriginal inhabitants of India. The head of one figure is badly damaged, but that of the other, which is more or less preserved, shows sunken temples, prominent cheek-bones, a dumpy nose, and a thin moustache. The hair of the head seems to be lanky, but as it is adorned with a band of flowers, it cannot be studied closely. The stature is short, and the muscle of the left arm, in which a bow and some arrows are held, shows a developed physique.¹ The wooden plug placed in the hole in the lobe of the ear to prevent its closing up is interesting.

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¹ This figure resembles very much the figure of the Bhil studied in Part I (Text, p. 33, Plate XXX).

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To the right of these semi-barbarous people (*Kirātas*), whom, as shown by the sculptures of Sāñchī and Amarāvatī and the early paintings of Ajanta,² Buddhism embraced in its fold, is a pair of flying figures. The female is gracefully held in the arms of her companion, who has a broader frame, and both are floating in the air, judging by the movement of their pearl jewellery. The female is wearing a long skirt of striped silk, but the upper part of her body is almost nude, the *cholī* (bodice) being of transparent material. The artist has, however, adorned the bust with an abundance of pearl jewellery, splashes of which on the golden-brown skin look charming. The coal-black hair is similarly decorated with jewellery and white flowers.

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² Frescoes of the Chaitya Caves, Nos. 9 and 10.

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Below these flying figures, along the green band, are two more figures, one of which represents an old monk. The head of the monk is bald, except for thin grey hair on the back of the skull. The body is bare to the waist, and the drawing of the shoulder and the curved back is excellent. Of the other figure, only a part of the head and a portion of the torso are visible; the rest has perished.

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The artistic merits of this fresco do not fall much below those shown in the paintings of Cave I. The colour taste of the artist is exquisite, and the several groups of figures are charming, not only when judged separately, but as forming an impressive ensemble in depicting the ecstasies of the pious Buddhist.

Votaries Bringing Offerings and Adoring the Buddha

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Plate VIII *a-b

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The subject is painted on the back wall of the veranda, to the right of the door. As the fresco is much damaged, it is reproduced in monochrome only.

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ON walls adjoining the main doorway, the artists of Ajanta have invariably painted votaries, human and celestial, bringing offerings to the Buddha or adoring the Great Being. The subject of this Plate would seem to have been an attractive scene of this kind, for the few traces which remain exhibit much grace and beauty.

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Near an *aśoka* tree, which is admirably painted, we notice a pair of flying figures; the male figure has almost perished, but the bust of the female (*Apsaras*) is preserved, and the doubled-up arm, elbow resting on hip, and the curve of the waist, gracefully inclined in the act of flying, are veritably a *tour de force* of the Ajanta School. The body has been painted in the round, the effect being gained by washes of deeper tints. The delineation of the fingers also shows much feeling and skill, but the abundance of jewellery attracts the eyes from the charm of a gracefully developed body, which is painted almost nude.

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To the right of the *Apsaras* were the figures of some votaries in the act of adoration. These have almost perished, and what is left now is the hand of a woman making a loop with her fingers, and a monk squatting on the ground with legs crossed (*b*). The drawing of the hand of the woman is exquisite, showing suppleness and feminine charm, but a greater feat is the delineation of the back of the monk, which is absolutely masterly. The care of the artist in attending to the minutest detail may be judged from the drawing of the toes of this figure.

Indra and the Four Yakshas

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Plate IX

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This subject is on the back wall of the veranda, to the right of the doorway, beyond the window in that direction. The reproduction is in colour.

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THE fresco represents seven figures, two of which, on the left side, are clad like hermits, the hair of one of them being done up in the style of the Sādhus. Another figure, to the right of the latter, represents a youth with long curled hair. Farther to the right is a prince dressed in a robe of brocade, and wearing a crown.¹ Below, in the middle, is Indra (Śakra) the Hundred-eyed,² one of whose eyes of wisdom is clearly indicated on his forehead. A green dwarf is wielding a *chaurī* behind him, and on the left is the head of a female figure, perhaps representing his consort Śachī. The Mahāyāna School adopted many legends and deities of the contemporary cults, and this group represents the supernatural beings which are mentioned as Yakshas in later Buddhist literature.¹ The style of drawing combines vigour with grace, and the heads of Indra and of the figure behind him are admirably delineated. To show worldly majesty, the painter has given to Indra a robust physique with a very broad chest and highly developed shoulders, while his spiritual glory is expressed by high lights on the forehead, nose, and lips, and the dignified expression of the face.

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¹ The design of the brocade, although indistinct in the reproduction, can yet be traced in the original fresco. It is a star pattern on a white background.

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² ‘Sakka the Hundred-eyed thou seest, for so the gods me call When they are wont to assemble in the heavenly judgement hall.’ *Jātaka* (Cambridge ed.), iv. 202.

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¹ Besides Indra, Śachī, and the green chaurī-bearer, the remaining four deities may be the four Lokapālas, or guardians of the four cardinal points, who dwell on Mount Kailāsa at the gates of the heaven of Indra. They assisted at every important event in the life of the Buddha, and were present at his birth, the great renunciation and death (parinirvāṇa).

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The figure with curled locks behind Indra is an excellent example of modelling, which some critics have failed to notice in the paintings of Ajanta. The dark-brown washes along the chin, neck, and shoulders of this figure make it look round and detached from the background. The treatment of the hair of this figure, as well as of the green chaurī-bearer, shows fine brush-work. The features of the green figure are outlined in dull red in the original fresco, but they look somewhat indistinct in the reproduction.

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The artist has also succeeded to a remarkable degree in producing an effect of movement in this painting. The pose of Indra and of the green chaurī-bearer are particularly striking in this respect.

Flying Figures, Floral Designs, and Other Artistic Motifs

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Plates X a-b and XI a-b

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The subject X a is painted in the middle of the ceiling of the veranda, and X b adjoins it towards the left. Both are reproduced in colour. The figures XI a and XI b are delineated to the right of X a, and as they do not show much colour, they are reproduced in monochrome.

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THE ceiling of the veranda of this cave is painted, and shows a large variety of decorative motifs, such as flowers, fruits, birds, fantastic and sportive figures, geometric patterns, and jewellery designs. Among flowers, the lotus is prominent, and several varieties are noticed, but the large white and the blue are the loveliest. The fruits include mangos, pomegranates, and pine-apples, and are painted either as separate bunches, or shown hanging from branches in the midst of very pretty surroundings. Among the birds, parrots, geese, ducks, and cranes may be mentioned, to which the artist, in the zeal of his decorative mood, has sometimes given fanciful forms. The sportive figures include dwarfs, buffoons, jugglers, wine-bibbers, foreigners in quaint dresses, and many similar characters, all admirably portraying the artist's sense of light humour.

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Apart from their decorative merits, these designs exhibit many a nice technical detail. For instance, the effect of light and shade on the skin of human figures is shown by light-yellow and dark-brown washes (Plate X a). Again, in designs in deep tints, such as dark green or dark brown, the outline is marked by white dots, and to bring the subject into relief, the background has been given a still darker tint.

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Among the subjects reproduced, Plate X *a* represents a quarter of the middle panel, showing a pair of flying figures amidst white and green clouds. The delineation of the female figure is extremely graceful; in one hand she holds a double string of pearls with a pendant, as an offering to the Bodhisattva, while she has placed the other hand in a most charming manner on the shoulder of her consort, apparently to support herself. Unfortunately, the heads of both figures are damaged, so the expressions of their faces cannot be studied, but the gesture of the hand of the male figure shows that he is explaining some doctrine of the faith to his consort, who is listening to him with attention, as indicated by the inclination of her head. The poses of the body and the drawing of the limbs show much artistic feeling.

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Below this celestial pair, the panel has a series of decorative bands, among which may be noticed in the Plate a design of white and blue lotus creepers, intertwined and showing the flowers in various stages of bloom. The artist has marked out the petals by red lines, which have been used also to show the stamens of the small flowers. But in painting large white flowers he is more realistic, as he has shown the stamens with fine pale brush-lines, and above them has given a dark shade to indicate pollen. This fine detail has been lost in reproduction, but in the middle of the large flower darkish lines may be noticed.

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A white belt separates this design from another which is rather conventional, combining floral and jewellery patterns. It is, however, most interesting to study the method of the artist, who has marked out the design in white dots on a surface of red ochre. Afterwards, to give the effect of perspective, he has given a darker shade to the background, and has inserted dashes of blue here and there to add colour to the scheme. The design, though apparently most intricate, is very easy to work out once it has been conceived.

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Plate X *b* represents a few more of the large variety of designs with which the ceiling of the veranda is adorned. Among them the blue and white lotus creeper and fruits like pineapples and pomegranates are particularly striking, and the ingenuity of the artist, the prettiness of his detail, and the purity of his colours are highly admirable.

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The Plate shows three more floral designs, each of which is a gem in its own way. There is also a bunch of fruit, probably of the custard apple, but the colours given to the fruit are more fanciful than realistic.

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To the right of this bunch, a greenish band representing the key pattern may also be noticed. Side by side with most elaborate scrolls, there are also very simple devices consisting of check patterns or wheel and star designs, done in black and white, probably to relieve the eye when fatigued by studying the intricate detail of the former subjects.

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Interspersed in such ornamental panels of varied design are sportive figures, and the one reproduced in this Plate (X *b*) is that of a snake-charmer. He is looking upward in an attitude of feigned carelessness, while with his hand he is holding the neck of a hooded cobra, which stands erect from a basket. The crouching pose of the charmer, with one knee bent to the ground, apparently suggests alertness in playing with the snake, but as the head of the figure is damaged, the comic effect of the expression of his face cannot be fully appreciated.

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PLATES X a-b, XI a-b & XII-XIV

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The artist's love of humour is better illustrated in subjects XI a and b. In the former, we see a pair of wine-bibbers, one of whom is apparently a foreigner, as shown by his features and dress. His sunken cheeks and the tuft of beard on his chin have given him a somewhat comic appearance, and although he is offering a cup of wine to his boon companion, the latter, judging by the gesture of his hand, feels more inclined to pull his beard than to take the cup. The dress of the foreigner is also more or less in the style of the jokers of the present day. He is wearing a conical skull cap with a tassel, which is seen hanging behind his head. The coat and trousers are tight, and on his feet are socks with flaring blue stripes. A scarf appears to be tied round the neck, for its borders are seen flying at the back of the figure.

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The other figure is dressed in the same style, but his features present a great contrast to those of the foreigner. The former appears to be an inhabitant of Magadhadeśa, while the latter evidently hails from Bactria or some other neighbouring country. In the palmy days of Ajanta, votaries would have assembled there from different Buddhist countries, and the artist found ample material for his fantastic studies in the variety of their features and the quaintness of their manners and dresses. In this subject the thick, flowing moustache of the Bihārī and his plump oval face are as typical as the thin moustache, sunken cheeks, and scanty beard of the Bactrian.

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The other subject in this Plate (XI b) represents two pot-bellied friends of dwarfish size, both being in a serio-comic mood. The figure on the right is making a loop with his fingers to denote the dharmacakra or the riddle of life. His companion does not understand the significance of the symbol, and in joke has protruded his middle finger, as vulgar people are apt to do in India to this day. The style in which the aṅgochhā (scarf) is worn round the shoulders by the right figure is very characteristic of the practice of the Bihārī and Oṛiya Brāhmans even now.

The Exile of a Lady: Not Identified

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Plates XII-XIV

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*Of these three plates, the subject of Plate XII (a-b) is painted on the left wall of the chapel at the right end of the veranda. The scene of Plate XIII is on the back wall of the same chapel, to the left of the cell door, and the subject of Plate XIV is depicted on the right wall of the chapel. As the frescoes of this chapel are badly damaged, they are reproduced in monochrome only.*

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THE Jātaka depicted in these frescoes has not been identified as yet, but the scenes reproduced in Plates XII and XIII show a lady in exile with two robbers, or executioners, and the birth in the jungle of a child who is ultimately thrown into a lotus-pond. The various incidents have been depicted with great pathos, and though the frescoes are badly damaged, yet the skill and vision of the artist cannot escape notice.

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Beginning at the left, we notice a Bodhisattva in the bhūmisparśa mudrā,¹ his right hand hanging low towards the earth. The features are refined, and the expression of the face shows that he is occupied in deep thought. He is sitting on a throne, but the hermit's girdle for the support of the back and legs is seen round his knees, apparently to indicate that he is meditating.¹ The feet of the Bodhisattva rest upon a low stool, whose supports in the form of tigers' paws are interesting for their design. The check-pattern with stars at the corners on the cloth of the cushion is pleasing to the eye. To the left of the Bodhisattva is an attendant dressed in a green robe like a monk, while on his right is a *dāsī* (female servant), wielding a fly-whisk. The scene is depicted in a pavilion, similar to the ‘perfumed chamber’ of the Buddhist stories.² The pavilion is apparently built in a higher part of the royal abode or monastery, for we notice below a line of *caitya*-windows and carved railing, indicating the lower apartments of the building.

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¹ For information regarding the various mudrās, or attitudes, see Ajanta, i. 34 (footnote 2).

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¹ Ajanta, i. 19 (text).

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² See Warren's *Buddhism in Translations*, pp. 91-5.

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Outside the pavilion, towards the right, we notice a large palanquin which is being carried on the shoulders of four attendants. The design of the palanquin is like that of the upper part of an Indian bullock-cart—a semicircular bamboo frame-work resting on a base of wooden planks. In this case, two strong bamboos are attached to the bottom as well, one on each side, and projecting at the ends of the palanquin to allow the bearers to lift it up and carry it. The top frame of the palanquin is apparently covered with cloth, and there are horizontal, vertical, and diagonal bands showing decorative work.

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In front of the palanquin, and above the palanquin-bearers, are two figures representing monks, one of whom is a youngish man with very fine features. The head of the other monk is damaged, but its heavy jaw and large wheel-pattern ear-rings are still very prominent.

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The second episode of the story, Plate XII *b*, represents a scene in the jungle. Commencing from the left, we notice two figures, one of whom is a stalwart man of green complexion with very fierce looks. The features of his companion are obliterated, but his frizzled woolly hair is suggestive of his wild temper, and further, he holds a blue poniard in his right hand and a cup or tray in his left. At the feet of these two ruffians, who are either robbers or executioners commissioned by the king to murder the lady inside the palanquin, we notice a figure lying prostrate, as if beseeching for the life of the lady. The fresco is badly damaged here, but the curve of the back of the prostrate figure can be discerned.

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In the middle of the painting is a tree of colossal size with dark-green foliage, below which the palanquin has been placed. Three ladies may be seen, one of whom is lying on her left side, apparently seized with acute pain, and another is either rubbing some ointment on her back, or tying a bandage round her waist. Something like the roll of a bandage may be noticed near the waist of the lady who is lying down. The third lady is still inside the palanquin, but her figure is visible through the opening. Her emotion in this situation may be observed from the gesture of her hand. Near the lady who is seized with pain, there is another figure lying flat, with face turned to the ground, evidently through excessive sorrow. The long full-sleeved coat and belt show the figure to be that of a man. The fresco is much damaged, but the few pieces which remain exhibit fine technique in the rounding of forms, and in the delineation of plants with their rich foliage and abundance of flowers.

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In the third episode, the scene changes to a delightful lotus-pond, at the edge of which the palanquin is placed, and we notice the green-complexioned ruffian and also the newly born baby, who has been set afloat in a cradle on the waters of the lotus-pond, probably by the ruffian. A lady is sitting in a pensive mood in front of the palanquin. She is evidently the mother of the child, and is smitten with grief at the loss of her baby. The painting of the lady is indeed a masterpiece (Plate XIII *b*), and shows what high standards of grace and beauty in the treatment of female figures the artists of Ajanta attained.

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Below this scene we see a *Nāga* king with an elaborate halo of seven hoods, and two *Nāgis*, apparently his consorts, and two more female figures. The *Nāgas* being spirits often dwelling in lakes,¹ it appears that their king has been touched by the grief of the mother, or struck with amazement at the sight of a lovely child floating in the pond, and he has rescued the babe. The fresco is very much damaged in this part, and it is possible that the conjecture about the *Nāga* king rescuing the child may not be correct, and that the scene with the *Nāga* figures belongs to another story.

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¹ *See Ajanta*, i. 11-12 (footnote 2).

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As the frescoes on the other walls of this chapel are also much damaged, it can only be conjectured that the previous story has been continued on them. However, on the back wall, to the right of the cell door, the outlines of one white and one pink elephant can be made out, as well as the figure of a horse. The fresco on the right wall of the chapel is, comparatively speaking, better preserved, and we notice a court scene in which a rājā is shown sitting on a throne. He is wearing an elaborate crown and rich jewellery, which are in keeping with the Indian ideals of the dignity of a king. The rājā holds a fruit (a mango?) in his right hand.

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On the left of the rājā is the figure of a youth, who is either saluting with both hands joined and raised towards the forehead, or announcing in a respectful manner the arrival of some important personage, for a great cavalcade waits outside the royal pavilion. Behind the youth two elephants may be seen, the heads and trunks of which are excellently drawn. The fine brush-lines depicting the folds of the skin of the lower elephant’s trunk are very ingeniously painted. On this animal we notice two figures, apparently of ladies. The bodice of the lady riding in front is very striking on account of its collar and breast bands. She is holding a disk (a shield?) in her left hand, while in her right hand is either a sword or a goad for urging on the elephant. The lady behind her is holding a sword (or a dagger) in her right hand, with the point of the weapon downward. Below the figures of these two ladies, two male figures may be made out, probably of attendants. One of them is dressed in a long coat with tight sleeves. The cloth of the coat has a circular design on it.

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On the neck of the upper elephant a stalwart male figure may be noticed, but the head of this figure is broken. Between the heads of the two elephants, the head and tusk of a third elephant with a rider may also be traced. These figures are too much damaged to study further.

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If the subject of this fresco is to be connected with the story of the ‘Exile of the Lady’, the scene will represent the honourable return of the lady to her father’s palace, with her consort and the child who is now grown up.²

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² The walls of the left chapel of the veranda also had frescoes which, except for a few tiny pieces scattered here and there, have almost completely perished. The pieces surviving now are described in the Appendix in connexion with the inscriptions which have been noticed on them.

Story of the Golden Goose: Mahāhamsa Jātaka

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Plates XV–XVI

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The story is delineated on the left wall of the front gallery of the vihāra; the two lotus-lake scenes are on the two sides of the cell door and the two palace scenes are above it. As the fresco has been much blackened by the smoke and heat of a fire, so that the colours have perished, it is reproduced in monochrome only.

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THE story of the Great Being as the Golden Goose, Dhritarāṣṭra, with slight variations, forms the subject of three *Jātakas* (Nos. 502, 533, and 534).¹ The version delineated at Ajanta has four episodes. In the first, we notice a lake, the waters of which, almost black, are covered with dark green leaves of the lotus (Plate XV *a*). In the reproduction, however, it is impossible to make out the circular design of the leaves, for on account of smoke and fire, the surface of the original fresco has become extremely dark, and it is difficult to discern the green patterns of the leaves on the waters even in the original fresco. But the skill and exquisite taste of the artist may still be admired from the variety of lotus flowers and the green shoots of the creepers which are springing from the rocks adjoining the lake.

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¹ The main theme of the story is as follows: ‘Queen Khemā, wife of Saṃyama, the Rājā of Benares, saw in a dream that some gold-coloured geese alighted at the Royal Palace, and with the most sweet voices preached the Law. The sermon of the miraculous birds charmed the queen, and when she awoke she expressed the rājā her anxiety to listen to the real preaching of the golden geese. The rājā took counsel with his ministers, who told him that there were golden geese on Cittakūṭa in the Himālaya, and that by a stratagem they would attract them to their city and catch them. The rājā was pleased to hear that, and at the suggestion of his ministers he had a beautiful lake dug in the north of Benares, and planted five kinds of lotus, and scattered different varieties of grain to ensnare the birds. He also appointed a fowler to watch over the lake, and to catch the golden geese when they alighted there. The news of the beauty of the lake and the safety of its waters spread among the bird world, and the flock of golden geese, when apprised of it, told their captain, Sumukha, to ask the king to go over to the lake and feed there. The goose-king, whose name was Dhata-raṭṭha, on hearing the request of his flock, observed, “The haunts of men are dangerous, let not this approve itself to you”. But as they importuned further, he agreed to their request and flew to the lake. On alighting from the air the goose-king placed his foot in a snare which the fowler had set to capture the bird. Sumukha, on noticing his chief’s plight, was much distressed, and addressed the fowler appealingly:

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In the water are two human figures, one of them apparently the fowler, and the other some important official of the palace, for his features are highly refined, and he is seen to be occupying a prominent position in the other episodes of the story as well. He has a sword hanging behind his left shoulder, as indicated by the black leather strap on his arm.² The serenity of his face and the gesture of his hand indicate that he is occupied in deep thought, caused by the sight of the two lovely geese which are floating towards the fowler. The figure of the

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² Cf. *Ajanta*, i, Plate XXXI.

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“I should not care to live myself, if this my friend were dead,
Content with one, let him go free, and eat my flesh instead.
We two are much the same in age, in length and breadth of limb,
No less for thee if thou shouldst take me in exchange for him.”

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The fowler’s heart was touched by the words of Sumukha, and he released the goose-king, but both birds asked him to take them to the rājā, lest he deprive him of the reward which he had won. When presented to the rājā, Dhataraṭṭha and Sumukha instructed him in Law, and the craving of Queen Khemā was appeased. Afterwards the two geese left the rājā and the queen, and set out for Cittakūṭa.’ *Jātaka* (Cambridge ed.), iv. 264–7 and v. 178–202.

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latter has become almost black, but his outstretched hand may be noticed, denoting his anxiety to receive the miraculous birds. The colours of the wings of the geese, if there were any originally, are bleached now, evidently by the effect of fire;¹ but the fine brush-work is intact in some places, and may be admired in the treatment of the tail feathers of the birds.

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¹ Fire has burnt the colours almost completely, except the white, which is well preserved, but has been somewhat bleached.

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Higher up, towards the left, we notice the figure of the palace official again, standing behind the range of conventional rocks. Lower down, towards the right, amidst the foliage of an aśoka tree, the fowler is seen carrying the two geese, one in each hand. The figure of the fowler has become little more than a dark daub, and is difficult to make out in the reproduction. The two geese are, however, clear, and their bleached figures can be seen. According to the story, they are now being taken to the palace to appease the craving of Queen Khemā.

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The delicate delineation of the aśoka tree, with its white flowers, young green leaf-shoots, and tender pinkish stems will interest the artist.

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The second episode is represented on Plate XVIa, where we notice a large goose, King Dhṛitarāshṭra, sitting on a throne, the feet of which seem to have been turned on a lathe. The wings of the Goose-King were originally painted of a golden colour, to tally with the story, but on account of the effect of fire the wings have become black now. By the side of the throne on which Dhṛitarāshṭra is seen, there is another throne occupied by the other goose, Sumukha, the captain of the flock of golden geese. The feet of the latter throne are visible, but on account of the blackening of the fresco, the figure of Sumukha cannot be made out. According to the story, the two divine birds are instructing Saṃyama, the Rājā of Benares, and his consort Khemā, in the mysteries of the Law. The outline of the back and shoulder of Queen Khemā may be noticed in the reproduction,² but the other figures are obscure. In the original fresco, however, Rājā Saṃyama and some of his attendants can be discerned. The rājā is shown sitting on a cushion in an attitude of adoration, with both hands joined together, and raised towards the Divine Goose.

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² The frilled ends of the ribbons of Queen Khemā will strike the fancy of the painter.

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Behind the rājā, near the door, is a figure draped in white, and making a loop (dharma-cakra) with the fingers of the right hand. There are three more figures near the rājā, one of which, pinkish in colour, has placed his right hand on the palm of his left. The artist, by this gesture, apparently means to show the earnestness of the figure in following the sermon of the divine bird. The gestures of the other two figures cannot be made out, and the head of one of them is broken, though it may be seen that he is wearing pearl jewellery.

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