Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s7: Story of the Golden Goose: Mahāhamsa Jātaka

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s7

Language: English

Story of the Golden Goose: Mahāhamsa Jātaka

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.

v2.c8.s7.3

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.

v2.c8.s7.4

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:

v2.c8.s7.5

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

v2.c8.s7.6

² Cf. *Ajanta*, i, Plate XXXI.

v2.c8.s7.7

“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.”

v2.c8.s7.8

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.

v2.c8.s7.9

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.

v2.c8.s7.10

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

v2.c8.s7.11

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.

v2.c8.s7.12

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

v2.c8.s7.13

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.

v2.c8.s7.14

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

v2.c8.s7.15

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.

v2.c8.s7.16

The third episode is painted to the right of the second, and although the fresco is as dark here as in the previous episode, yet some figures can be made out. The scene lies in a royal court room. Commencing from the left, we notice a stalwart door-keeper leaning on a long stick. He is dressed in a long white coat with tight sleeves, the cuffs of the coat being either embroidered in the style of uniforms, or made of a different material, for they do not match with the cloth of the garment.

v2.c8.s7.17

Not far from the door-keeper, towards the right, is the rājā, who can be easily identified by his elaborate crown. In front of him, at the opposite end of the room, is the Bodhisattva (?) in the *dharmacakra* (teaching) attitude. The head of the Bodhisattva is broken, but his majesty can be perceived by the grandeur of his throne, the back of which shows chased gold work. The foot-rest is also highly ornamented, and the presence of a blue lotus flower on a tray¹ perhaps suggests that he is the divine Bodhisattva, Padmapāṇi.²

v2.c8.s7.18

¹ According to Getty, if the *padma* is in the vase it represents the union of the Spiritual and the Material, see *The Gods of Northern Buddhism*, p. 192.

v2.c8.s7.19

² For the Bodhisattva Padmapāṇi, see *Ajanta*, i. 27 (footnote 2).

v2.c8.s7.20

Between the Bodhisattva and the rājā there are two other figures, sitting on raised seats, with feet placed on the ground. They are probably the ministers of the rājā, and the one nearest the Bodhisattva seems to be the official who was seen in the lotus-lake scene with the fowler (Plate XV *a*). The rājā, as well as his two ministers, have made loops with their fingers, apparently to indicate that they are following the sermon of the Bodhisattva on the ‘riddle of life’.

v2.c8.s7.21

The artist originally painted the palms of the hands and soles of the feet of these figures in a lighter colour than the rest, as they would appear naturally. But as the colours have been scorched, and the lime-white which was the principal ingredient in the light tint of the palms and soles has been bleached, the result is that the latter look absolutely white, while the general complexion of the skins is jet-black, the whole presenting a quaint black and white effect.

v2.c8.s7.22

Behind the throne of the Bodhisattva is a *chaurī*-bearer, and towards the right, near the foot of the throne, are two ladies of noble bearing, one of whom is apparently Queen Khemā. She is looking up towards the Bodhisattva, and the artist, to indicate her feelings of amazement at the sermon of the Bodhisattva, has placed her forefinger on her chin—a significant gesture, which is very characteristic of the women of India even to-day. In her left hand she holds a sword which, perhaps, refers to some incident of the story not mentioned in the *Jātaka* versions. The miracle of the Golden Goose assuming the human form while teaching the Law to the Rājā of Benares and Queen Khemā also does not occur in the *Jātaka* version.

v2.c8.s7.23

The artist has shown great skill and imagination in the delineation of the figures of the two ladies, who are perfectly charming, both in grace of form and in sweetness of expression. The artist’s love of decorative detail may also be noticed in the exquisite treatment of the handle and hair of the fly-whisk, and in the flowing lines of the design of the curtain which covers the wall behind the figures of the ministers.

v2.c8.s7.24

In the fourth episode, the scene, like the first, lies in the lotus-lake, which is again most beautifully painted. The left portion of the fresco has almost perished, but in what remains the artist’s close study of bird and plant life must be highly admired. The different kinds of lotus flowers³ and different stages of their bloom have been exquisitely drawn, and the delineation of the geese, five of which may be noticed, is equally ingenious and charming.

v2.c8.s7.25

³ In the *Jātaka* stories five kinds are mentioned.

v2.c8.s7.26

In the upper part of the fresco are hills represented by conventional bands. On a ledge bordering the lake, Queen Khemā is seen watching the graceful movements of the golden geese in the lotus-pool. By her side, towards the right, her sword is fixed in the ground.

v2.c8.s7.27

PLATES XV–XVI, XVIIa & XVIIIa

v2.c8.s7.28

Near the handle of the sword her shield may also be seen suspended from a leather strap fixed to the rock. The design of the buckle of the strap¹ and the handle of the shield are worth noticing. Because of the destruction of some parts of the fresco the figure of Queen Khemā is much damaged, but the portion which remains shows a charming study of the female beauty of India, in the grace of the pose, the fine contour of the bust, the suppleness of the limbs, and the subtle charm of a scanty dress combined with a profusion of gems and choice jewellery.

v2.c8.s7.29

¹ The design of the buckle is identical with that noticed in the subject reproduced in *Ajanta*, i, Plate XXXI.

v2.c8.s7.30

Near Queen Khemā, towards the left, was the figure of the palace official who is seen with the fowler in subject XV *a*. In this fresco his figure has almost completely perished, though portions of the head, right arm, waist, and feet may be traced. The hair is decorated with flowers and shows an elaborate style of coiffure for men.

Linked texts (1)

Jātaka — Pāli