Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s21: Vidhurapaṇḍita Jātaka

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s21

Language: English

Vidhurapaṇḍita Jātaka

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The story is painted in several episodes on the wall of the right corridor,¹ above and between the first and second cell doors. It is reproduced in six colour plates and one monochrome.

¹ On the pilaster between the back and right corridors is a painting which has been much damaged, and is therefore not reproduced in this volume. It has several figures, the most prominent being that of a lady who is almost nude down to her waist. The curves of the upper part of her body are extremely graceful. Of the other figures, one represents a male attendant who is armed with a baton having a round fluted design at the top. Another figure represents a female attendant (*dāsī*) who is bringing flowers to her mistress.

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THE painter has selected the principal incidents of the *Jātaka*² according to his fancy, and delineated them with a grace of style and clearness of expression which are rather rare in the history of art until the fourteenth century of the Christian era. The sequence of events, apparently through consideration of space, is not in strict conformity with that of the *Jātaka* version, so in describing the various scenes we shall follow the order observed in the fresco.

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² The *Jātaka* (546) may be summarized thus: In Indraprastha, the capital of the Kuru kingdom, there once ruled a rājā named Dhanañjaya. He had a sagacious minister called Vidhurapaṇḍita, who fascinated all the kings of Jambudvīpa by his eloquence, and taught the Law with a Buddha's wisdom. Dhanañjaya, although famed for his skill in the game of dice, was a pious king, and gave alms and kept the moral law and observed the fast. In those days, there were three other kings who were equally pious, and the question arose as to who among them was most virtuous. They approached Vidhurapaṇḍita for the settlement of the problem, and stated their respective virtues in this manner: "The Nāga king preaches forbearance, the Suparṇa king gentleness, the king of the Gandharvas abstinence from carnal lust, and the king of the Kurus freedom from all hindrances to religious perfection." The minister on hearing that, observed that the four virtues mentioned by them were like the spokes of a wheel and that he alone, who was endowed with these four virtues, was a perfect ascetic. This reply of Vidhurapaṇḍita satisfied all four kings, and each of them presented him with a precious gift; the gift of the Nāga king, Varuṇa, being a jewelled ornament off his own neck. When Varuṇa returned to the Nāga world, his queen Vimalā asked him where the jewel was, and he described to her the skill of Vidhurapaṇḍita in discoursing on the Law. The queen, on hearing the pre-eminence of the minister, grew eager to listen to his discourse, and feigning illness told her husband she would die if he would not secure her the heart of Vidhurapaṇḍita. Varuṇa had a most beautiful daughter, Irandatī, who noticing trouble on the countenance of her father, inquired from him the cause of it. The Nāga king told her the desire of her mother, and asked her to seek a husband who could bring Vidhurapaṇḍita's heart. She attired herself in the choicest manner, and spreading a couch of flowers she performed a dance, and sang a most sweet song. At that time the Yaksha general, Pūrṇaka, was riding in heaven on his magic horse, and when he heard the sweet song of Irandatī, he fell in love with her and promised to fetch her the heart of Vidhurapaṇḍita. Afterwards he took Irandatī to the Nāga king and asked for her as his wife. The Nāga king consulted his kinsmen and wife, and ultimately fixed the minister's heart as the necessary condition for the marriage. The gallant Yaksha readily agreed to that condition, and as he had heard of King Dhanañjaya's fondness for the game of dice, he thought he might be able to entice the king to play with him. As Pūrṇaka knew that the Kuru king would not play for a small wager, he secured a jewel worthy only of a universal king, and showing its magical qualities, persuaded Dhanañjaya to play with him. Dhanañjaya lost the game, and Pūrṇaka won from him Vidhurapaṇḍita as a wager. Afterwards Pūrṇaka flew with the minister on his magic horse, and on the way to the Nāga world made several attempts to kill Vidhurapaṇḍita in order to secure his heart. The Yaksha general failed in all his attempts. At last the minister himself pointed out how he could be killed, but when he discoursed on the duties of good men the Yaksha was highly pleased, and brought the minister alive to the Nāga world. Vidhura-

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Commencing as usual from the left side, we notice the court scene in which Pūrṇaka is showing the magnificent jewel¹ to King Dhanañjaya in order to induce him to play a game of dice (Plate XXXV). King Dhanañjaya is painted in a homely attitude, sitting on a low throne which is covered with a striped cloth of zigzag design. The drawing of the figure shows a firm outline, careful shading, and conspicuous high lights. The expression of the face has been somewhat dimmed owing to the partial obliteration of the features, but the gesture of his fingers—the thumb of his right hand placed on the second line of his middle finger—suggests that, barring his own person and the ‘white umbrella’ (emblem of sovereignty), he is prepared to stake everything to win the magical jewel.

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To the right of the king is the figure of a lady, probably his wife, who holds a mirror or some round object in her right hand. The pose of the lady is graceful, and the drawing of the limbs shows a fine sense of proportion. The colour of her head has been partly bleached, and the features are obliterated; still, an expression of sadness is noticeable on her face.

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Behind the king are two female *chaurī*-bearers, whose figures are rather blurred on account of the decay of the fresco. A little lower than these is the figure of a doorkeeper, which is in a comparatively better state of preservation. His long coat with tight sleeves (*aṅrakhā*) is apparently his uniform dress, while the long staff which he holds is also a part of his outfit. The features of this figure also have become dim, but the short clipped hair of the head and the drooping moustache are visible.

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In front of the door-keeper, below the throne of the king, are two more figures, one male and the other female. They are apparently the personal servants of the king. The male servant has made a loop with his fingers, perhaps to suggest that in gambling success is always doubtful. The female attendant has parted three of her fingers in a significant way as if to point out that a third thing, besides the two already reserved by the king, should be protected against the loss of the wager. The coiffure and pose of this figure are very elegant, the latter being the *anrju* (the back view) of the *Viṣṇudharmottara*.²

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The two figures just in front of the king are those of his ministers. One of them seems to be of a care-free temperament, for he has raised two of his fingers simply to repeat the two objects which have been reserved by the king. His face also, although turned towards the king, does not show any anxious thought, and the high lights placed on his forehead, lips, and chin give a similar impression. The pose of the figure, three-quarter profile in a squatting attitude, is very graceful, and the delineation of the features is most vivacious. The lower part of the body, however, seems rather small when compared with the upper part.

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paṇḍita fascinated Varuṇa and his consort Vimalā also by *Jātaka* (Cambridge ed.), vi. 126-56. his wise discourse, and when he had stayed six days in the ¹: For the magical qualities of the jewel, see *ibid.*, vi. Nāga world, Varuṇa gave Irandati to Pūrṇaka and per- 135-6. mitted Vidhurapaṇḍita to return to the Kuru kingdom. ²: Kramrisch, p. 13.

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The minister painted above this figure holds his right hand in the attitude of meditation, to show that his mind is occupied with the vicissitudes of a game of chance. The pose of this figure is almost full-face, but the painter has delineated his features so skilfully that the result is most happy. The careless fashion in which the large strings of pearls are worn makes a beautiful contrast with the elaborate style in which his dark hair is coiled.

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The figure of Pūrṇaka is at the extreme right end of the group. He is painted stooping down in an attitude of respect while showing the jewel to the king. One familiar with the etiquette of Oriental courts will find the pose most realistic. The delineation of the bust and right arm shows much delicate feeling and remarkable skill in drawing. The Sindh horse of Pūrṇaka is noticed behind him.¹ The body of the horse has been damaged, but the head is preserved, and is very well drawn.

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¹ For information regarding the magical powers of this horse see *Jātaka* (Cambridge ed.), vi. 131, 136-7. the contest between Dhanañjaya and Pūrṇaka. *Ibid.*, vi. 137.

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To the right of this scene is another, evidently enacted in an adjoining room of the palace, the ‘gaming hall’ of the *Jātaka*. In the latter scene Dhanañjaya is shown engaged in a game of dice with the *Yaksha* general Pūrṇaka. The dice-board is prominent in the middle. It has twenty-four divisions, in two rows. Three dice are lying in front of the king, and as his hand is stretched towards them, it appears that he has just thrown the dice. The upper part of the fresco being broken, the heads of the two kings who watched the game² are broken, and the features of Dhanañjaya himself are so faint that it is difficult to get an impression of his inner feelings from them. The delineation of his toes, which are contorted, however, shows the agitation of his mind at the defeat.

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² According to the *Jātaka*, one hundred kings watched

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Below the figure of Dhanañjaya, to the left of the dice-board, is the queen who is looking appealingly at Pūrṇaka. The drawing and colours of this figure have faded considerably, but what remains bears ample testimony to the fine conception of the artist.

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Pūrṇaka, like the king, is seated on a cushion, and holds some object in his right hand. It may be the magic jewel or a flower. His gaze is fixed upon the king, and the expression shows that he is determined to win from his rival the best of what he had staked.

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The complexions of the various characters of this story were originally of the same reddish-brown colour as that preserved in the lower parts of the fresco, but in the upper parts now they have different dark tints, in some cases being quite clayey. The change is due to the effect of smoke and fire.

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Below the last episode are two scenes, separated from each other by a balcony in which a rānī, evidently the wife of Dhanañjaya, is shown talking with a *dāsī* (Plates XXXV–XXXVII). The scene to the left (Plate XXXVI *a*) portrays Dhanañjaya discussing with his minister Vidhurapaṇḍita the question whether under the terms of the wager the latter could be treated as the property of the king. Vidhurapaṇḍita, being always truthful, has just observed that he was only a slave to the king, and in fulfilment of the wager might be given away to Pūrṇaka.

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The minister is painted in the middle with his head inclined to one side as if to show that he is indifferent to the displeasure of the king at his decision. The position of his right hand is, however, symbolical of the meditative mood, and the expression of his face also gives the same idea. In the fresco on the left side is the figure of Dhanañjaya, which has been somewhat damaged, and his expression of chagrin at the defeat cannot be made out. He is shown sitting on a striped cushion, and there is another behind his back. On the other side of Vidhurapaṇḍita is Pūrṇaka, declaring his second triumph, by bending his second finger, at the decision of the minister. The delineation of the fingers in the whole of this fresco is most artistic, and the great care which the painter has taken to suggest the meaning of the story by their gestures is very noticeable. The coiffure and the features of Pūrṇaka are also worthy of praise.

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Behind the minister the heads of two women may be seen. The features are somewhat obliterated, but an expression of rapt attention can still be discerned from the fresco. In front of the minister are two more figures, one male and another female. Both of them have raised three fingers, to indicate perhaps that in addition to the person of the king and the royal umbrella the life of the minister was also protected under the terms of the wager. The drawing of these figures is exceptionally good, and the poses are also most artistic. The face of the lady, painted in profile, is full of expression.

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The figure of a woman is also seen behind the cushion of the king, but the head is badly damaged. The delineation of the torso of this figure also shows a refined taste combined with excellent workmanship.

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The other scene perhaps represents Vidhurapaṇḍita discoursing to the ladies of the palace before his departure with Pūrṇaka to the Nāga world (Plate XXXVI b). The figure of Vidhurapaṇḍita in this subject is indeed a masterpiece of Ajanta art. The beautiful round face with its refined features and mystic expression is surely worthy of a Great Being such as the artists of Ajanta painted in the light of the Buddhist canon. The delineation of the right hand shows a love for beauty of form and sweetness of effect such as is often met with in the school of Raphael, though it will be only confusing to look for similarity in the two schools in other respects. Vidhurapaṇḍita is holding a lotus flower, which is symbolical of his divine birth.

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Behind Vidhurapaṇḍita are three ladies, all of whom are painted with exceptional grace and skill. The one near his right hand has a pathetic expression, which, contrasted with her youthful form, accentuates the mystic effect of the subject. The bangles on her wrists seem to be of ivory or of conch-shell. Such bangles are still in fashion among the primitive tribes of India. The other two ladies are also in a pensive mood, but their features, coiffures, and ornaments suggest the greatest care on the part of the artist for delicacy of finish.

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On the right side of the painting, near the lady who is holding a flower, another female figure may be seen in profile. She appears to be carrying a bag on her back after the fashion of tradeswomen of India. But on a close examination of the fresco it appears that the painter originally wanted to delineate a figure with a curved back, but had to change his mind owing to lack of space, and the design now looking like a bag is only the outline of a curved body.

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Whatever the object of the original design may have been, it now fits admirably with the figure of this lady, and gives the entire subject a realistic effect.

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In front of Vidhurapaṇḍita is Pūrṇaka, who is squatting on the floor and looking eagerly at the former. He has made a loop (*dharmacakra?*) with his right hand, apparently to suggest that he is following the teaching of the sagacious minister. Near the pillar, at the left extremity of the scene, is a doorkeeper or guard, announcing that the retinue for the minister's departure is ready outside the palace. The doorkeeper as usual is clad in a long coat (*aṅrakhā*) of blue cloth. The gesture of the fingers of his right hand is symbolical of the *dharmacakra* pose, while that of the fingers of the left hand, the forefinger being separated from the rest, perhaps indicates a forlorn hope regarding the return of his master from the kingdom of the Nāgas.

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III

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According to the *Jātaka*, the *Yaksha* general, Pūrṇaka, carried Vidhura on his Sindh horse; the minister immediately before his departure having observed, ‘I have seized the tail of thy steed, proceed, O youth, as thou wilt.’ The presence of the horse to the left of the last scene makes the story in the fresco tally with the *Jātaka* version; but lower down we see a royal procession in which Vidhurapaṇḍita is riding in state on an elephant. On his right is Pūrṇaka on his magical horse, and in front a large retinue of horsemen, infantry, and bandsmen. The latter scene may represent only an artist's diversion from the original story, or possibly a later version of Vidhurapaṇḍita's journey to the *Nāga* world, for the king Dhanañjaya might not have been satisfied to send his esteemed minister alone, and might have sent a strong escort for the protection of his life against the impending outrage of the *Nāgas*.

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The depiction of the scene (Plate XXXVII) is most vivacious, and the painter has displayed remarkable skill in the choice of poses, suggestion of movement, and expression of feelings. The figures of the two elephants fully convey their stately gait, such as is noticed in the march of these animals in royal processions, and the arched necks of the horses show that they are actually prancing. The trappings of these animals and the arms and accoutrements of the soldiers are all painted with extreme care, and they will be found of great value by those who are interested in the study of such things.

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The white umbrella held over the head of Vidhurapaṇḍita is symbolical of his spiritual kingship. He had a *chaurī*-bearer as well, but only the hand of the latter is visible now behind the figure of Vidhurapaṇḍita, the body having been destroyed. The minister is urging the elephant on with the iron goad which is seen in his right hand. The thick ropes tied round the body of the animal and hanging on one side are meant to keep the trappings in position, and also to enable the *charkaṭā* (the elephant groom) to climb up the animal. The trappings of the horses are most elaborate, and except for the stirrups, which are not very clear, have all the accessories which are seen in a modern harness.¹ The light grey horse at the bottom of the picture is bedecked with ornaments as well, among which the *jhānjhan*, *haikal*, and *pākhar* are prominent.²

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¹ For the detail of the harness see *Ajanta*, i. 19 (footnote 3).

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² *Jhānjhan*, a tinkling anklet; *haikal*, an amulet, or ornament worn round the neck; *pākhar*, iron armour for horse or elephant.

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In the retinue five horses may be seen, of which one is bay, two dark grey, and two light grey. The dark greys are represented by a greenish colour, which is sometimes an accepted convention for grey.¹ Two of the horsemen are dressed in long coats with tight sleeves, which are evidently part of their uniform. Of the remaining riders, Pūrṇaka and another, riding on the bay horse, are nude to their waists in the royal fashion. Vidhurapaṇḍita, the divine prince, is also nude to the waist, and the hair of these three is bedecked with flowers or ribbons in an elaborate style.

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¹ In Persian a grey horse is called *sabza*, lit. meaning ‘green’.

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The rider at the bottom of the picture has a sword in an embroidered scabbard hanging by his side. A groom carrying a bag of fodder on his back is seen behind this horseman, and another, who is also carrying a bag on his back, is in front of him.

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Among the footmen, eleven soldiers are to be seen, all armed with short swords and shields. The former have an inward curve like the Gurkha *kukṛi*. The shields are of two types, rectangular and circular. The circular shields have dragons' heads painted on them. The features of the soldiers are very characteristic, and the painter might have been representing the warlike tribes of his period (Plate XXXVIII).

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The band is represented by two musicians only, one of whom is playing a flute, and the other beating a drum which hangs from his neck. The drum has leather straps round it for tightening the skins at each end.

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The next scene (Plate XXXIX) lies in the *Nāga* world, and we see Vidhurapaṇḍita teaching the sacred doctrine to the *Nāga* king, Varuṇa. Behind Vidhurapaṇḍita is Pūrṇaka, and outside the pillared hall, in which they all are seated, is Pūrṇaka’s Sindh horse, which has been painted twice, first as if descending from the air, and, secondly, resting on the earth.² The presence of the horse in these positions leads us to the conclusion that the royal escort given by King Dhanañjaya accompanied them only up to a certain limit, and that afterwards Pūrṇaka carried the minister on his horse.

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² The horse can be seen better in the portion of this subject reproduced in the right-hand part of Plate XXXV.

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Vidhurapaṇḍita is shown seated on a low stool, the seat of which is interlaced with tape like the modern *pīṛhis* of the Panjāb. The face of the paṇḍit is rather plump, but the features are refined, and the lustrous eyes with their contemplative gaze give a spiritual effect to his face. On the forehead the circular decorative mark (*ṭikā*) is prominent. The limbs of the figure are well modelled and the drawing of the fingers is, as usual, exquisite, showing much delicacy and grace of form.

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The figure of Pūrṇaka in this subject shows a broad muscular constitution, such as is befitting to a *Yaksha* general. The pose of the head is three-quarter profile, and the eyes, turned towards something above him, give an expression of expectation to his face. He is seated on a cushion, the check design on which will interest a student of old Indian textiles.

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In front of Vidhurapaṇḍita is the *Nāga* king in an attitude of profound respect, both hands being joined and raised, and the upper part of the body bent a little forward. The halo of five serpent-hoods is symbolical of his race,¹ and besides forming a pleasant design, adds to the effect of mystery.

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¹ For Nāgas see *Ajanta*, i. 11–12 (footnote 2).

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Beside the Nāga king are two ladies, probably his wife Vimalā, and daughter, Irandatī, but they have no hood to signify their Nāga origin. The painter has drawn both these figures with great feeling and skill. Their faces are sweet, and as they look up at the face of the divine minister, their eyes seem to glisten with the light of hope. They have folded their arms and joined their hands in an attitude of extreme humility. In this pose the charm of the soft tapering fingers with beautiful nails, the lovely contours of the bust, and the exquisite curve of a thin waist have been shown to advantage. The painter’s sense of colour must also be admired. The brown complexions of the two ladies almost glow with the flush of youth and beauty against a dark-green background.

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The ear ornaments of these ladies are also worthy of notice. They have an elaborate pendant, like the modern *jhulaniā* or *jhumkā*, which is held on the ear by pearl or gold strings fastened with a jewelled clasp to the hair. The sets of bangles appear to be of ivory or of conch-shell, but some of them, as shown by their design, are of gold set with jewels.

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Above the heads of these ladies is a niche in the wall with three compartments. In the middle compartment is a water vessel, which is interesting as showing that the articles of domestic use were rather plain in those days.

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Behind the pillared hall, in which the last scene was enacted, we notice a balcony in which a queen is occupied in conversation with a lady of youthful appearance. This may be the private apartment of Vimalā, and she may here be discussing with Irandatī the prospect of her marriage with Pūrṇaka. We notice Pūrṇaka at the back of this chamber, probably awaiting the fulfilment of the promise made to him. He is riding on his Sindh horse.² The features of the two ladies are somewhat blurred now, but when newly painted were presumably very graceful. Irandatī has placed her forefinger in a characteristic way upon her chin, perhaps to indicate her feelings of modesty. Indian ladies even now are prone to place their forefingers on their chin in this fashion when blushing. Below, on the steps, is a girl who is perhaps stealthily listening to the conversation between the queen and the princess.

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² In this plate only the muzzle of the horse is seen, but the complete body of the horse with the rider is reproduced in Plate XL.

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In the back wall of this apartment may be seen a door-frame with a red shutter, which may give an idea of the plain style of the houses of those days.

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Below this balcony there is another in which a prince is seen talking to a princess. The prince holds a lotus-flower in his hand, which may lead to the conjecture that he is the Bodhisattva, in the form of the sagacious minister, Vidhurapaṇḍita. The lady, according to this conjecture, will be identified with Vimalā.

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The steps, balustrades, and abutments of the balconies in this fresco give an excellent idea of the architecture of the time.

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To the right of the scene shown in Plate XXXIX is pictured an assemblage of *Nāga* chiefs, Varuṇa’s kinsmen, friends, and acquaintances,¹ whom he is consulting about the proposal of Pūrṇaka (Plate XL). The upper part of the fresco being badly damaged, the heads of two figures, including that of Varuṇa, are destroyed. The fine brushwork and colours of the latter figure are also much faded, and it is difficult to discuss the artistic merits of the portrait. The gesture of the right hand of Varuṇa, however, suggests that he is faced with a dilemma, and is telling Pūrṇaka to wait, ‘for a business done without consultation leads afterwards to regret’. On the right-hand side of Varuṇa is Irandatī, and on the left, her mother Vimalā, the figures of both being drawn with great feeling. Irandatī is gracefully leaning on her father, to persuade him in a maiden-like manner to accede to the proposal of her lover. On account of the damaged condition of the painting, the eyes of Irandatī have been spoiled, but the charm of her other features and grace of her pose can still be admired.

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¹ *Jātaka*, ed., Cowell, vi. 132.

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In contrast to the short slim figure of Irandatī, Vimalā has a matronly appearance, though the painter has not failed to endow her also with beauty of form. The expression of her face is very sweet, and to show her intimacy and dependence, she has placed her elbow on the arm of her husband. Both Irandatī and Vimalā have a *Nāga* hood above their heads as an emblem of their race.

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Near the right hand of Irandatī is a figure, rather blurred, with its head completely destroyed. Below this is another figure which is well preserved, and represents a young man. The pose and the expression of the face show determination and vivacity of temperament; and if the circular yellow patch behind the head does not represent a *Nāga* hood, the figure may be identified with that of Pūrṇaka.

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A little lower down is the crouching figure of a young prince, who has turned himself on one side. He is looking up at the king and pointing out some solution of the dilemma, as indicated by the half-open loop of his fingers. To make the face of the youth prominent, the painter has placed a high light on it, but on account of the decay of the fresco, the artistic effect is entirely spoiled. The pose, although somewhat unfamiliar to the eye of a European, is quite realistic.

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In front of the king are two *Nāga* chiefs, one of whom has a double hood over his head. The number of hoods apparently signifies the social or political rank, for King Varuṇa has been shown with five hoods. It may be interesting to note that the ladies in this fresco as well as in other places have invariably been painted with one hood only. The *Nāga* chief with the double hood in this group is seated on a cushion, while the one to his left who has a single hood is squatting on the ground, the difference being apparently due to consideration of rank. The poses of both these figures² show great ease and naturalness, while the drawing is most vigorous. The features of the figure whose head is shown in profile apparently represent an aboriginal of ‘Dravidian’ type. Both these figures have made loops with their fingers to indicate their doubt of the success of Pūrṇaka’s mission in bringing Vidhurapaṇḍita’s heart.

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² The *anrju* and *prṣṭhāgata* of the *Vishnudharmottara*, Kramrisch, p. 13.

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The quaintness of the features of these two figures has been admirably blended with an artistic colour scheme in which the dark olive of the complexions offers a beautiful contrast to the jet black of the hair or deep red of the background. The clear blues of the ribbons on their necks and of the loin-cloths add further charm to the composition.

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To the right of these two chiefs, below the queen, are two more princes, the drawing of whose figures again shows great technical skill. Both of them are squatting, the bodies being painted in three-quarter profile.

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In this subject the arrangement of the figures in a circle has given the painter an opportunity to delineate a variety of poses which are all most appropriate and artistic, and show the richness of his imagination and his complete mastery of technique.

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Below the last scene, on the left side of the fresco, a princess is painted twice, first in a swing, and afterwards leaning against a post of the swing and talking to a young man with a horse (Plate XLI *a*). The princess may be easily identified with Irandatī, who, according to the *Jātaka*, in search for a suitable husband, ‘gathered all the flowers in the Himālaya which had colour, scent, or taste, and having adorned the entire mountain like a precious jewel, she spread a couch of flowers upon it, and, having executed a pleasant dance, she sang a sweet song’. The painter of Ajanta has substituted a swing for the couch, which is indeed an improvement, and adds to the artistic effect of the theme. The background is well adorned with flowers, and the ropes of the swing itself are decorated with flags, which flying in the air, give an excellent idea of movement. Movement is also suggested by the curves of the ropes and the pose of the lady, her legs being stretched fully, and her feet joined. One familiar with Indian literature will appreciate how much poetry and romance are associated with the swing, and even to-day the Indian girls put on dresses of all the bright colours of the rainbow, and sing love songs of the *barkhā rut* (rainy season) in a swing—

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*Saiyān barkhā meṅ lene ko ā’e*, which means ‘My lover has come to take me away during the rainy season’.¹

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¹ After an oppressive summer, the rainy season is hailed with great joy in India.

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The expression of Irandatī’s face in talking to an unknown young man shows great restraint, but her inner joy is visible from the glow on her countenance, given by high lights. The face of the young man who, according to the *Jātaka*, is Pūrṇaka, is also beaming with a similar light, but the gesture of his fingers suggests that he is somewhat diffident in making the proposal. The heads of both figures show great imagination and skill, and the painter has admirably succeeded in depicting the subtle charm of the Buddhist canon by harmonizing the spiritual with the human feelings in this subject.

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The story is continued on the right side of the fresco (Plate XLI *b*), where we see a palace scene in which the *Nāga* king, Varuṇa, is talking to his daughter and wife about the proposal of Pūrṇaka. The king has a son by his side, while in front of him there are two other ladies besides the queen and the princess royal. The pose of the *Nāga* king himself is not very artistic, and the drawing of his arms is rather poor, but the halo of *Nāga* hoods and the rich coiffure have given a picturesque effect to the figure. The pose of the young prince is on the contrary very interesting. He is leaning affectionately on his father, and to show his boyish concern at the situation of events, has placed his hand in a characteristic way under his chin.

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Among the ladies, the princess Irandatī is addressing the *Nāga* king, and the delineation of her face and the gesture of her fingers, half looped, show that she is not very doubtful regarding the mission of Pūrṇaka in bringing the heart of Vidhurapaṇḍita. The lady immediately behind Irandatī seems to be a maid of honour. Her rapt attention indicates that she supports the view of the princess. On the right-hand side of the princess is the queen, who is pointing only one finger, evidently to suggest that the only condition to be imposed for the marriage of Irandatī should be the Vidhurapaṇḍita’s heart. To quote the *Jātaka*: ‘Our Irandatī is not to be won by wealth or treasure; if thou obtainest by thine own worth and bring here the sage’s heart, the princess shall be won by that wealth. We ask no further treasure.’ The head of this figure being partly damaged, the expression of her face cannot be studied. To the right of the queen is a maid, whose thick lips and broad nose show her to be of aboriginal stock. She is looking up at the king in a rather fierce way, apparently to suggest that the condition of winning the princess should be the hardest possible to be fulfilled.

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The fingers of the queen and the princess have been drawn with remarkable skill in this subject. Their beautiful tapering form, with the tips painted red, suggest much delicacy and elegance.

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s21: Vidhurapaṇḍita Jātaka

Vidhurapaṇḍita Jātaka

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