Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s20: Hāritī and Pāñcika(?): Sculpture
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s20
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Hāritī and Pāñcika(?): Sculpture
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Plate XXXIV
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*These figures are carved on the back wall of the chapel to the left of the antechamber, and are reproduced in monochrome.*
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As the sculpture is somewhat conventional in character, it may not appeal to an artist, but the figures of the two female attendants in it who are holding the *chaurī* are quite graceful. The features of the principal figures, Hāritī and Pāñcika, would not have been so rough when covered with fine plaster, as they originally were. The sculptor has apparently been guided by tradition in giving them pot-bellies and hippopotamus-like limbs, for their cult was associated with abundance of food, wealth, and progeny.² Hāritī holds a purse in her right hand, and a child is seated on her left knee, the purse being symbolical of wealth, and the child of fecundity. It is interesting to note that in the Gandhāra sculpture the money purse is often held by her consort, Pāñcika, although in the Buddhist texts this *Yaksha* is never referred to as ‘Bestower of Riches’.³ In this sculpture Pāñcika holds a fruit, which, being broken, is difficult to identify. It may be a pomegranate, the symbol of fecundity, which is generally associated with Hārītī.¹ He has also an attendant, who holds a flower in her right hand and a bird (parrot?) in her left.² The bird and a lance are the distinguishing marks of Pāñcika in other places, but here he has no lance. Below, we see the children arranged in two groups. Each group is of five, thus figuratively representing the five hundred children of these two deities. Of the first group, three children are seen writing on tablets, while the remaining two are engaged in a boxing match, and the teacher, who is seated at the extreme right end in the sculpture, is flourishing a thick stick because of their misbehaviour.
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² Hāritī was originally an ogress, and once she wished to devour all the children in Rājagṛha. Her brother remonstrated with her in vain, and hoping to turn her from her evil design, united her with the *Yaksha* general Pāñcika. Hāritī had five hundred children as the result of this marriage, and of these the youngest was called Priyaṅkara. But in Rājagṛha there were bitter lamentations, for all the children of the town had disappeared, and a spirit told the bereaved parents that their children had been devoured by the Yakshiṇī Hāritī, and they must go to the Buddha and ask for his help. The people of Rājagṛha went to the Buddha, who was moved by their wailings, and on the following morning he proceeded towards the house of Hāritī, and lifting her youngest son Priyaṅkara, hid him under his begging bowl. Not finding the boy, Hāritī was much agitated, and searched for him in all directions. Afterwards she was advised to wait on the Buddha and to put her faith in him. The Yakshiṇī in the beginning seems to have shown temper, but ultimately prostrated herself before him and pleaded respectfully: ‘O Bhagavat, I beseech you to let me have my son Priyaṅkara.’ The Buddha replied that she must first promise to follow his precepts and accord security to all the people of Rājagṛha, after which Priyaṅkara would be restored to her. She acceded to the command of the Buddha and forswore cannibalism. *Vide* Getty, *The Gods of Northern Buddhism*, pp. 84–5; Waddell, *Evolution of the Buddhist Cult*, p. 148; Hsüan-tsang, *Buddhist Records*, vol. i, pp. 110–11; and I-ching, *Record of the Buddhist Religion*, pp. 87–8.
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³ Foucher, *l’Art Gréco-Bouddhique*, vol. ii, p. 115, and Stein, *Report of the Archaeological Survey of India*, 1911–12, p. 8.
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¹ According to tradition, the Buddha cured Hārītī of cannibalism by giving her a diet of pomegranate, the red fruit of which was supposed to resemble human flesh. *Vide* Getty, *The Gods of Northern Buddhism*, p. 86.
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² This figure may be seen between Hārītī and Pāñcika.
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The other group of children are occupied with a ram-fight. Three of them are urging a ram from one side and two provoking its rival from the other. The figures are roughly carved, but the dramatic effect is perceptible to a degree.
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Above the principal figures, on the right side, we notice a scene in which the Buddha is attacked by Hārītī. The latter has four arms; in the two right hands she holds a club and a chopper, while in the two left she has a mace (? or a *vajra*) and a serpent. She is flourishing these weapons at the Buddha, who is not at all affected by her violence, but on the contrary is soothing her in a complacent mood, the attitude being that of assurance (*abhaya*).
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On the left side, we notice Hārītī kneeling before the Buddha. She has a child in front of her, who is also adoring the Great Being. The two scenes represent the conversion of Hārītī by the Buddha. The child is Hārītī's youngest son, Priyaṅkara, who was given back to her after she had foresworn cannibalism.
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The head-gear of Hārītī is interesting, containing a band of pearl strings with an aigrette-like ornament in the middle. To match the rich adornment of his consort, Pāñcika is wearing a richly bejewelled crown, and, below it, the luxuriant curls of his hair add to his princely magnificence.
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The sculpture, when studied carefully, discloses many a beautiful detail, and it is not so devoid of artistic merits as it appears to be at first glance.³
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³ The ceiling of this chapel, like that of the chapel on the left, is most beautifully painted, and the figures of the dragons in the four corners of the central panel show much ingenuity and skill.