Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s25: A Palace Scene: A Lady Kneeling at the Feet of a Rājā in an Angry Mood: Not Identified

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s25

Language: English

A Palace Scene: A Lady Kneeling at the Feet of a Rājā in an Angry Mood: Not Identified

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*The scene is painted on the right wall of the front corridor above the cell-door. It is reproduced in colour.*

IN Cave II the artists of Ajanta have painted women in a variety of most graceful poses, which not only throw light on Indian modes and habits of the time, but show a close study of human character as well as a highly refined taste and a powerful technique. In this fresco, although the subject has not been identified, the painting tells its own story. We see a rājā sitting on a low throne in a pillared hall wherein are several ladies. The rājā is apparently in an angry mood, for he holds a naked sword in his right hand; but as the head of the figure is destroyed, the expression of his face cannot be studied. In front of the rājā is a lady kneeling at his feet, the drawing of whose figure is indeed a masterpiece of Indian art. The grace of a slim form with supple and pliant limbs has been shown to full advantage by her kneeling pose, while the delicate frills of the diaphanous costume and pearl jewellery add to the decorative effect. The effect of roundness has been beautifully produced by shading, and the fine brushwork can be noticed in the treatment of her hair, which falls in waves below the feet of the rājā. The head is unfortunately damaged, but the other limbs have been painted with so much feeling that the figure seems to be an embodiment of repentance.

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A little above the kneeling lady, to the right of the rājā, is another female figure with a pinkish complexion. The head of this figure also is destroyed, but the pose is most realistic, the bend of the upper part of the body suggesting fright at the rājā’s brandishing a naked sword. Both her hands are raised in the act of beseeching mercy. At the back of this woman there is another, near the pillar, apparently running from the hall in fright. The head and bust of this figure are destroyed.

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Between the woman with the pinkish complexion and the rājā is another figure draped in a white cloak with full sleeves. The head of this figure also is missing, but the gesture of the hand suggests amazement at the situation. To the left of the rājā there are two more figures, both female. The pose of the woman at the extreme left end is interesting, as she is sitting on her haunches in such a way that the whole weight of the body is on her toes. The fresco is badly damaged at this place, and the upper part of the figure has almost disappeared. The features of the other figure also are obliterated, but her pose shows that she is struck with sorrow. The bending down of the head and the resting of the cheek on the back of the hand are gestures very characteristic of Indian women when they are in a pensive mood.

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Below this scene is another in which the rājā is painted sitting on a royal throne with dragons’ heads carved on its back. The head of the rājā is damaged in this scene as well, but the part which is intact shows that he is wearing a rich crown and that his features are very refined. Behind the rājā is a female attendant who is fanning him. The design of the fan is interesting, for fans of this type containing mat-work intertwined with coloured silk or cotton cord are still made in India. The features of the maid are beautiful, but the expression is somewhat melancholy, evidently because of the angry mood of the rājā.

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To the left of the rājā is the figure of a Bhikshu or of some religious person, draped in a pale-green robe. The drawing of the head of this figure is masterly, the wrinkles of the face and the soft elderly features making him very life-like. The gesture of his hand suggests that he is pointing out a certain course of action to the rājā to get rid of the dilemma with which he is faced.

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Behind the religious person there is a maid who is leaning on the pillar in a graceful manner. Her features are beautiful, but the expression of her face and her pose suggest anxiety. Below this figure is a woman of dark complexion whose head and features are too much damaged to indicate her feelings.

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To the right of the rājā, near the throne, is an elderly lady draped in a white costume with full sleeves. Her head is partly damaged, but the features which remain indicate sorrow. Behind the lady is the torso of a princess with a golden-brown complexion. A ring and chain are noticeable in her left hand, and lower down we see part of a chased metal vessel hung from the chain.

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The whole story has been painted with remarkable skill, the feelings of pathos being apparent from the gesture and expression of each figure.

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The lower part of this fresco being badly damaged, it is difficult to state whether the figures painted there represent a continuation of the above story or distinct subjects. In a panel, we notice a boy with a cock,¹ and lower down an elephant with a rider. The figure of the elephant has been drawn with great vigour and beauty, and shows the painter's delight in showing the majesty of the animal. In front of the elephant, traces of an attendant's figure can be made out, and nearby are two horses, one bay and the other grey, which have been painted red and green according to the usual convention.

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¹ Foucher has identified this subject with the ‘Lesson of the Cock’ (Jātaka No. 386?). See Jour. Hyd. Arch. Soc. for 1919-20, pp. 73-4.

Linked texts (1)

Jātaka — Pāli