Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s16: The Royal Party Worshipping a Stūpa: Not Identified
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s16
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The Royal Party Worshipping a Stūpa: Not Identified
v3.c12.s16.1
Plates XXIV b and XXVIII a
v3.c12.s16.2
*The subject is painted on the left wall of Cave X, behind pillars 9 to 11.*
v3.c12.s16.3
THE story of the visit of the rāja seems to have been continued, although the scene has been shifted from the Bodhi-tree to a stūpa, but it is not unlikely that both may be in the sacred area where Gautama received enlightenment. The stūpa is crowned with a flag and an umbrella, and further to indicate its sacredness the artist has painted an apsaras (flying celestial nymph) on either side of it. The apsarases are dressed like human beings, whom they resemble in body also. In Buddhism human nature forms the keynote of the character of gods and goddesses in all their actions, and it is because of this feature of the religion that Buddhist doctrine and art appeal so much even to a layman.
v3.c12.s16.4
Commencing from the left, we notice ten votaries worshipping the stūpa in a respectful attitude, having joined their hands together and holding them in front. The styles of their headgear, ornaments, and garments are the same as those of the group of votaries in Cave IX (Plates XV and XVI).² Four figures of the votaries are seen on the right of the stūpa as well, and there may have been more, for a large gap, caused by the peeling away of the fresco, is noticed beyond these four figures. There is a mango tree in the background on the left side, which shows the eagerness of the artist to paint the trees sacred to the Buddhist as frequently as possible. The green foliage of these trees also served the artistic purpose of showing the human figures in lighter colours with great clearness.
v3.c12.s16.5
² Supra, pp. 15-17.