Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s8: The Yakshas and Yakshiṇīs

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s8

Language: English

The Yakshas and Yakshiṇīs

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*These two subjects are painted on the pilaster between the front and left galleries. The frescoes are much damaged, so they have been reproduced in monochrome only.*

THE subject on the left side of the pilaster (Plate XVII *a*) represents a *Yakshiṇī* (? or a rānī) and her attendant, the latter of whom is carrying a tray of flowers as an offering to the Buddha. The delineation of the attendant is graceful and shows much artistic feeling. The head is unfortunately broken, but the pose with the slight curve of the back, the left arm hanging loosely at her side, and the slight forward movement of the left leg, is perfectly charming. The skill of the artist may be seen at its best in his drawing of the left arm in the round with all the feminine grace of suppleness and beauty of form. The fingers of both hands show not only the sensitive nature of the lady, but a high regard for elegance. The nails almost look as though they were manicured. The dress and ornaments of this lady are equally well portrayed. To contrast with her coal-black hair, she has strings of brilliant pearls round her forehead and at the parting of her hair. Her large wheel-pattern ear-rings serve to accentuate her emotional nature. She wears a pearl necklet round her beautiful throat and a string of pearls on her bosom. Her arms and wrists are similarly bedecked with ornaments. All her jewels are simple and beautiful in their design, and show none of the vulgarity of over-elaboration.

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The dress has three pieces only. There is a tight bodice, over which is a tunic of pleasing design, slit for almost the entire length at the sides to give freedom of movement, and so exposing the charm of the waist.² The third piece of the dress is either a skirt (*lahaṅgā*) or *sārī*. It is tight enough to indicate elegantly the roundness of the figure.

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² For a tunic of similar style, but with long sleeves, see *Ajanta*, i, Plate XIII.

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The figure of the *Yakshiṇī* (? or rānī) has been badly damaged. The head, except for the flower-decorated hair, is completely gone. The bust and lower part of the body have also been injured, but the charm of the pose and the skill of the drawing can still be conceived from what remains. The artist has shown her in a tight kirtle, and to attract attention to the grace of her form has encased the lower part of the body in a network of pearls.

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The other subject (Plate XVIII *a*) is painted on the front of the pilaster, and represents a *Yakṣa* (? or a rājā) and his consort. The poses of both these figures show ease combined with grace. The *Yakṣa* is squatting with legs crossed, and his elbows resting on them. His right arm is bent, and he has made a loop with his forefinger and thumb, while the palm of his hand is exposed, and the gesture of his other fingers indicates absorption in deep thought. The left hand of the *Yakṣa* is hanging towards the ground in an indifferent manner, perhaps to confirm the impression given of a meditative mood. The head of the figure is broken, so that the expression of the face cannot be studied. The drawing of the waist, showing the curves of the muscles in a slightly inclined pose, is realistic. Among the ornaments the design of the buckle-pattern chain round the neck of the *Yakṣa* is worthy of notice.

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The *Yakṣiṇī* is sitting with her legs almost doubled up. In her hands she holds a musical instrument, over which she has gracefully bent her head while she plays. The head of this figure also is damaged, but when intact must have been one of the most charming of the pictures of women at Ajanta. The part which remains shows an almost round face with full lips and delicate chin. The subtle beauty of the curls of the hair has been indicated by fine brush-lines along the temple and on the crown and back of the head. Among her ornaments the designs of the small ear-rings and of the *kaṅgans* (bracelets) are interesting as they are still in fashion among the agricultural classes of India. The musical instrument is probably one with strings, for the position of her left hand shows that she is playing on them. The thumb of her right hand has come out through a hole in the lower part of the instrument, and she has made a loop (*dharmacakra*) with it and her middle finger, apparently to show that she is playing a tune in harmony with the religious mood of her consort.