Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s18: Votaries Bringing Offerings
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s18
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Votaries Bringing Offerings
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The subject is painted on the left wall of the chapel to the right of the antechamber, and it is reproduced both in colour and monochrome.
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THE fresco has excited much curiosity among European visitors to Ajanta, some of whom have compared the composition with the *Primavera* of Botticelli, while others have found in some of the figures a likeness to the early Madonnas of Europe. But the feeling, ideals, and technique shown in the fresco are so different from the European, that such comparisons, instead of helping towards a correct appreciation of the subject, are rather apt to have a contrary effect.
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To describe the composition. We notice a group of five ladies in the middle. Their scanty dress, tight *cholīs* of a diaphanous material, and short *sārīs*, contrasted with their rich head-dresses and elaborate coiffures, give a most pleasing effect. The painter seems to have followed the actual styles, for such garments and such decoration of the hair are still in fashion among certain classes in the Deccan. The coiffure of the lady at the extreme left end is the most elaborate of all, and the tresses seem to be intertwined with strings of flowers, the whole falling in a rich mass on the shoulders and making a beautiful pattern. The figure of this lady is slim, and the fingers and toes are charmingly drawn, but the delineation of the arms and the legs is not pleasing, and there can be no comparison whatever between this figure and that of any of the nymphs of Botticelli in the *Primavera*.
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Owing to the damaged condition of the fresco, the features and expression cannot be studied properly, but the doubling of the left arm of this lady and the gesture of her fingers show a serious mood, perhaps somewhat of amazement. She holds a basket(?) of offerings in her right hand. The basket has a greenish band round it, which may represent its side or bottom.
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The painter has drawn the figures in this subject with a dark-pink outline and modelled them with shades of the same colour. No other tint has been added to show the complexion.
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The next figure, to the right, is wearing a peculiar head-dress. It may be a striped scarf decorated with embroidery, tied round the head in the style of the women of Palestine. The ribbon-like scrolls seen on her shoulders may be only the ornamented borders of the scarf. Head-gear of this type is frequently to be seen in the sculptures of Ajanta as well as of Ellora, and it may either represent an independent local type, or may have been borrowed from Western Asia through the *Yavanas* who were present in the Deccan in considerable numbers during the early centuries of the Christian era.¹ This head-gear has, however, led some visitors to compare this figure, as well as the one to the right of it, with some of the Madonnas of Europe.
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¹ See *Ajanta*, i, pp. 46 and 49.
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The head of this figure is partly injured, but the expression of the eyes shows a sweet innocence. The drawing of the arms and legs does not show a fine sense of proportion, the artist evidently having concerned himself more with detail than with general symmetry.
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She holds a small casket with a semicircular lid. The lid shows ornamentation which may represent chased metal-work. The curves of the waist are most graceful, and the delineation of the pearl strings is equally charming.
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The limbs of the third lady, who is in the middle, show a better sense of proportion, though her left arm is rather exaggerated. Her pose shows great ease, and the position of the legs shows much more artistic skill than do those of the two ladies on either side of her. The head of this figure is unfortunately damaged, and the refinement of her features cannot be appreciated.
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The fourth lady from the left side seems to be of a nervous temperament, for she has given a peculiar bend to her right leg, and has also twisted her left foot to one side. The left arm, which she has bent up, and the gesture of the fingers also give the same impression. She holds a small tray in her right hand. The delineation of the pearl jewellery shows fine brush-work. The head of this figure is also broken.
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The fifth lady of the group, who is seen near the conventionalized rocks, is leading a boy with her right hand, while the forefinger of her left hand is raised in a significant way, perhaps to warn the other boy who is following her. Both these boys have sticks between their legs, as if they were pretending to ride. The delineation of the boy who is being led by the lady is very realistic. The head of the latter figure is damaged in parts, so the features, except for the eyes, cannot be studied. The eyes have a dreamy expression. The head-gear of the lady is very peculiar. It is a conical cap, either embroidered or decorated with flowers and jewels. The style in which she had tucked up her *sārī* is rather intriguing.
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Below the group of ladies are four girls, evidently playing some game, as shown by the positions of their hands. The girl on the extreme left has raised her right hand as if giving directions regarding the laws of the game. The girl next to her, in compliance with the instructions, has taken up a special pose, having doubled up her legs and joined them together while sitting on the ground, and joined her hands together, interlocking the fingers. The third girl, in front of the latter, has assumed the same pose, except that her hands are apart. The fourth girl is seated cross-legged like the first, but her hands are apart from one another. The features of the third and fourth girl of the group are rather coarse, and the nose and lip of the fourth are of the ‘Dravidian’ type. The elaborate coiffures of all four confirm the surmise that they represent young girls of the Deccan of the period, who were not much different from the girls of the present day.
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In the upper part of the fresco, above the blocks of conventional hills, is a pair of ascetics (*Arhats?*) on the left side, and two celestial beings (*Gandharvas*) on the right. Of the two ascetics, one has made a loop with her fingers, while the other has joined his hands as if in the act of adoration. The heads of the *Gandharvas* are broken, but the delineation of the lower parts of their bodies shows considerable movement.
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Between these two pairs of heavenly bodies, in the middle of belts of rocks, is a rectangular opening, apparently suggestive of the door of a monastery (*vihāra*). The recesses of the side walls of the door have been admirably shown by a dark-bluish wash.
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The most notable feature of this painting is, however, the excellent painting of the banana tree to be seen on the left side of the fresco. The unfolding of a young shoot of leaf, and the curled edges of some which have been torn by a strong wind, are most accurately painted, and show not only close observation, but remarkable skill in execution. The drawing of the *aśoka* tree on the right side of the fresco is equally faithful.
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The colour-scheme of the subject also shows a refined taste. The dark green of the banana and *aśoka* is artistically contrasted with the light pink and white of the belts of hills, while the human figures outlined in a red-ochre tint stand out well on a dark-brown foreground.