Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s19: The Shaḍ-Danta (Chhaddanta) Jātaka, or the Story of the Six-Tusked Elephant
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s19
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The Shaḍ-Danta (Chhaddanta) Jātaka, or the Story of the Six-Tusked Elephant
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The story is painted on the back wall of the right aisle in Cave X, behind pillars 2 to 12. The painting, like that on the back wall of the left aisle, is much damaged, being scribbled over by ignorant visitors, who committed this vandalism before the establishment of the Archaeological Department of Hyderabad.¹ The subject is reproduced in five plates. One of them gives an outline of the entire painting, and four represent photographs in monochrome taken direct from the rock-wall.
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¹ Not only had the accumulation of rain-water inside the cave for hundreds of years damaged the lower part of the rock-wall on which the subject is painted; but the humidity had also loosened the layer of colours. The fresco has been thoroughly conserved and protected by a glass frame fixed into the original rock-wall.
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THE several episodes of the story as painted on the rock-wall agree even in minor detail with the version given in the Jātaka.² For instance the playing of the large herd of elephants in a lotus lake and their bedecking their chief after his bath with flowers, or the
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² The principal incidents as given in the Jātaka may be summed up thus: Once the Bodhisattva was born as a royal elephant of pure white skin with red feet and face. As he grew up in years he assumed colossal dimensions, measuring 88 cubits in height and 120 cubits in length. He had a trunk 58 cubits long, and six tusks, each being 15 cubits in circumference and 30 in length. The royal elephant had taken up his abode in a golden cave situated near a large lake. The latter had beautiful surroundings, lotus-growths being in the immediate vicinity, while a thick forest of stately trees formed the outskirts. The royal elephant had a herd of 8,000 who obeyed his commands, and among them were his two favourite wives, named Chulla-subhaddā and Mahā-subhaddā. Once it was reported to him that the great sāl grove was in flower. The royal elephant accompanied by his following went over to it and sportively struck with his frontal globe a sāl tree in full bloom. ‘At that moment Chulla-subhaddā stood to windward, and dry twigs mixed with dead leaves and red ants fell upon her person. But Mahā-subhaddā stood to leeward, and flowers with pollen and stalks and green leaves fell on her.’ Through feelings of jealousy it occurred to Chulla-subhaddā that the royal elephant had done that purposely, and she conceived a grudge against the Bodhisattva. Accordingly she offered a prayer to this effect: ‘Hereafter, when I pass hence, may I be reborn as a royal maiden and on coming of age may I attain to the dignity of the queen consort to the Rājā of Benares. Then I shall be dear and charming in his eyes and arrange to send under the royal command a hunter with a poisoned arrow to wound and slay this elephant, and thus may I be able to have brought to me a pair of his tusks that emit six-coloured rays.’ The prayer of Chulla-subhaddā was granted, and in her next life she was born as a royal maiden and married to the Rājā of Benares. She did not forget her desire for revenge, and pretending to be sick she told her husband that until the tusks of an elephant which she had seen in her dream were brought to her she would not recover from her illness.
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Dreaming, methought an elephant I saw
Six-tusked and white without a flaw;
His tusks I crave and fain would have:
Nought else avails this life to save.
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The wish of Subhaddā was carried out, and the king sent for hunters who dwelt in his territory and who numbered as many as sixty thousand. One of them, named Sonuttara, had once been an enemy of the Great Being. Subhaddā selected him and pointed out the route leading to the golden cliff beyond which the abode of the royal elephant was situated. Sonuttara, after traversing a long distance and climbing several hills, reached the golden cliff, whence he observed the royal elephant. The hunter waited for an opportunity and dug a pit to conceal himself at the place where the royal elephant used to come after his bath. Sonuttara shot a poisonous arrow from the pit and wounded the Bodhisattva, but when he attempted to cut out his colossal tusks with his saw he did not succeed. The royal elephant, although in great agony, yet showed mercy to the hunter, and seizing the saw with his trunk moved it backwards and forwards and cut off the tusks. Then bidding the hunter take the tusks, the Bodhisattva observed: ‘I do not give you these, friend hunter, because I do not value them, but the tusks of omniscience are a hundred thousand times dearer to favourite resort of the Bodhisattva under a colossal banyan tree (Plate XXX *b*) alluded to in the *Jātaka* by the following lines :
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A royal banyan tree whose roots
Yield vigour to eight thousand shoots.
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The painter, however, has changed the order of the episodes on the rock-wall: he begins with the wild life of elephants in an impenetrable forest with marshy soil infested by alligators and pythons (Plate XXX *a*), and terminates with palace-scenes crowded with human figures and a royal procession to a place of worship comprising a *stūpa* and a *vihāra* (Plate XXX *c*). In the middle (Plate XXX *b*) he has delineated the bath of the royal elephant in the lotus-lake and his favourite resort under a banyan tree, where he was first sighted by the hunter, Sonuttara. This arrangement has a certain significance from the point of view of the artist, who for an impressive demonstration of his skill has kept the scenes relating to animal life and to beauty of natural scenery almost separate from those depicting human feelings wherein the gloom of pathos is repelled by the light of religious ideals.
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Commencing from the left, behind pillars 11-12 we notice a python encircling the trunk of a tree. He has caught one of the hind legs of an elephant, which is in great agony and through fear has excreted. In order to extricate himself from the python the elephant is struggling hard, and the painter, to show his desperate efforts, has drawn the animal with his head and trunk placed on the ground and his forelegs bent forward in a firm manner. Several elephants are seen coming to rescue their companion from the monster; their trunks are raised, indicating that they are shrieking in response to the cry of the attacked elephant for help. Above this scene an elephant is crushing an alligator which is lying on its back with its jaws wide open as if groaning through pain. The elephant has placed one of his fore-legs on the alligator and is exerting further pressure with his trunk.
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Proceeding towards the right, we notice the royal elephant, which has been painted of a much larger size than the other animals. He further bears all the distinguishing features given in the *Jātaka*, such as the six tusks and the white skin, the latter bedecked with the pollen of flowers, shown in clear pinkish spots in the fresco. The figure of the elephant has been drawn with great skill, and the raised tail indicates that the animal has scented danger lying ahead. The royal elephant is attended by several of his herd, and among them those who are in front of him have raised their trunks as a warning to the chief against the impending peril.¹
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¹ Elephants raise their trunks and shriek as soon as they perceive an intruder in their forest haunts.
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Farther to the right is the scene where the royal elephant is lying prostrate and the hunter, Sonuttara, is cutting out his tusks with a saw. The fresco is damaged at this place, but the saw placed on the tusks of the right side of the head is fairly clear. The hunter is dressed in a long coat with short sleeves, the material of the coat being striped. In the back-
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me than these are, and may this meritorious act be to me the cause of attaining omniscience.’ When the tusks were brought by the hunter to Subhaddā, she was filled with grief at the sight of them, remembering that they were the tusks of one who had been her dear lord in her previous existence. She was so much overwhelmed with sorrow that she died of a broken heart on that very day. Cowell, *Jātaka*, No. 514, vol. v, pp. 20-31.
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ground of the painting are some trees from which birds are watching the cruel act of the hunter. The fresco is damaged at this place also, but the tail-feathers and the body of a peacock can easily be made out. Under the trees a companion of Sonuttara may also be seen, who is tying the tusks, which have already been cut, to a bamboo with a rope. The sandals worn by this hunter are of the same pattern as those used by country-folk in the Deccan at the present time. His turban and hair are of course of the early Indian style, such as is noticed in the earlier Buddhist caves of Western India, or at the stūpas of Sanchi and Bharhut. Farther to the right we see the same hunter carrying the tusks of the royal elephant hung in slings at each end of a bamboo pole (Plate XXX a).
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Farther to the right is painted the incident where a favourite attendant of the Bodhisattva had plucked a large lotus from the lake and presented it to the latter. The Bodhisattva taking the flower in his trunk, sprinkled the pollen on his forehead and gave the flower to Mahā-subhaddā, which act further enraged his other wife, Chulla-subhaddā.¹ The Bodhisattva is shown in the fresco holding a large flower and ready to present it to another elephant, who apparently represents Mahā-subhaddā. The trunk of the latter elephant is raised and almost touches that of her mate, to show that she is prepared to receive the gift.² The drawing of the royal elephant and his companions displays considerable freedom of movement, which quality is better illustrated in the next scene to the right representing the bathing of the elephants in the lotus-pool (Plates XXX b and XXXII a).
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¹ Cowell, vol. v, p. 22.
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² Below this scene there was another which is destroyed and date of the inscription see Appendix, pp. 90 ff. now, only the crowns of the heads of some human figures being visible. The cornice of a building can also be traced, on which an inscription is painted. For the text
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In the Shad-Danta Jātaka the lake is described as being surrounded by fields of lotuses of various hues, extending for several leagues.³ The painter has tried to indicate the abundance of lotus-growth by filling up the background of the lake-scene with lotus-flowers of various shapes and in different stages of bloom. The elephant, on account of its colossal size, peculiar form, and uncanny intelligence and habits, has been a favourite theme of the early Deccan painter and sculptor, and in this scene also the artist has used much imagination in depicting their trunks raised and twisted in a variety of forms. The Bodhisattva is easily recognized among the herd by his six tusks and large size. He is further bedecked with lotus-flowers, and his white skin sprinkled over with pollen.
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³ Cowell, vol. v, pp. 20-1.
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The lake-scene is separated from the next by a sāl tree (?) which is in blossom. The sāl tree is apparently the one referred to in the Jātaka, which the Bodhisattva had shaken and from which accidentally flowers and green shoots fell over Mahā-subhaddā, and ants and dry leaves over Chulla-subhaddā. In the fresco flowers are shown falling from the tree. The Bodhisattva himself is painted standing under a large banyan tree, which according to the story was his favourite shelter during summer.⁴ He is accompanied by his herd, in which a calf-elephant may also be noticed, standing near the sāl tree at the beginning of the scene. In this subject the artist has exhibited extraordinary skill in painting the leaves and shoots of the banyan. The leaves are dark green in the original fresco, but some are reddish, showing autumnal tints. The shoots are pink-brown, and their wavy form and branching into thinner shoots in the middle or near the end are very characteristic. The attendants of the Bodhisattva stand round him between the shoots of the tree, grouped with great effect. Towards the right of the banyan tree are conventional bands, apparently representing the golden cliff of the Jātaka, from the top of which a hunter armed with a bow is looking towards the Bodhisattva. Below, in the midst of conventional bands, is a niche containing the figure of a young Buddha (Bodhisattva ?) with another figure representing a woman, lying full-stretched before him. These two figures obviously represent the death-scene of Chulla-subhaddā, wife of the Shaḍ-Danta elephant, both being shown in human form. The idea of the artist in painting these two figures below the hunter is that when the Bodhisattva noticed the hunter, Sonuttara, on the cliff, he at once detected his motive in coming there and thought of the death of Chulla-subhaddā and the malice which she had wrongly borne towards him.¹ The panel is interesting as imparting a certain vividness to the scene, but its chief importance lies in the conventional treatment of the hair of the Bodhisattva, which is dressed in small curls with a knot at the top (Plate XXXb). Figures of the Buddha or of Bodhisattvas with hair of this style are not to be found in the Deccan until the third century A.D., on the decline of the Andhra dynasty and its replacement by the Vākāṭakas.
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⁴ Ibid., p. 21.
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¹ According to the legend Shaḍ-Danta lake was girt about by seven ranges of mountains of varying heights and bearing special names—Little Black Mountain, Great Black Mountain, Water Mountain, Moon Mountain, Sun Mountain, Jewel Mountain, and Golden Mountain. The last was seven leagues in height. Cowell, vol. v, p. 21.
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The end of the last scene is marked by a tree on which two peafowls are perched. The hills, represented by conventional bands, continue towards the right, and on a ledge two women are seen, round whose heads there are embroidered kerchiefs, or metal ornaments, similar in design to those worn by two ladies in the scene ‘Nāga Rājā before the Bodhi-tree’ (Plates XXVa and XXVI). They are probably watching the return of the hunter with the tusks of the royal elephant, for the next scene represents the palace of the king of Benares (Plate XXXc). In this scene the hunter Sonuttara and his companion are shown to have brought the tusks, but Subhaddā faints at the sight of them, being smitten by the thought of her cruelty to one who was her lord in a previous existence. The Rājā of Benares, who is seated next to the queen, is supporting her by placing one of his hands behind her back and by holding with the other her right shoulder. One maid is fanning her, another has brought water to pour on her head or to sprinkle on her face, another nearest to Subhaddā is offering a drink to her, and another at the right end of the scene has placed her hand on her mouth in the characteristic Indian style to express anxiety and sorrow. The maid holding the umbrella over the head of the rājā is looking towards the tusks, the sight of which has struck the entire court with consternation. A woman who is squatting on the floor is massaging the soles of Subhaddā in order to revive her consciousness. The artist has succeeded fully in imparting a dramatic effect to the scene; but his skill is to be admired still more in the excellent grouping of the figures and their natural poses. The drawing is perfect, and its charm is enhanced by the fine brush-work shown in the delineation of the ornaments and coiffure. In regard to the latter features and the dress of both the male and female figures there is a striking resemblance between this fresco and the one painted on the left wall of the cave, that is ‘the Rājā before the Bodhi-tree’, referred to above. It appears that the decorative detail and general style of painting remained almost on a uniform level from about the second century B.C. to the first quarter or middle of the third century A.D.
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The next scene again lies in the palace, and it represents the Rājā of Benares and Queen Subhaddā commanding the hunters to bring the tusks of the Shaḍ-Danta elephant. She is giving them necessary directions regarding the route and other connected matters. The crouching poses of the hunters indicate that they are willing to carry out the royal orders. Close to the hunters is a tall heavy figure holding a long staff. He is apparently the royal guard. In the background is a tree laden with fruit. The fruit and leaves of this tree resemble those of a mango. The figure of the queen is considerably damaged in the fresco, but the right hand which is preserved shows that she has raised her forefinger and middle finger jointly as if to give certain instructions to the hunters regarding their task. The rājā is seated to the left of Subhaddā on a royal chair, the side-railing of which is probably of chased metal-work. An amazon is holding an umbrella over the head of the rājā, while a woman of medium stature behind the royal pair holds a fly-whisk. The presence of these two attendants indicates that the court ceremonial was fairly developed at the time. The adjoining scene towards the right shows the bedroom of the queen, where she is delineated in a pensive mood, seated on a stool of wicker-work near her bedstead. Two maids are standing behind her, and two more are sitting on the floor. The latter two are looking anxiously at the face of the queen. The rājā is standing at the head of the bed, and his pose indicates that he is trying to console the queen. The scene represents Subhaddā’s pretended illness and her telling the rājā that she would not recover until the tusks of the royal elephant which she had seen in the dream were brought to her. The poses of the maids show plasticity of form combined with artistic grace. The feet of the bedstead appear to have been turned on a lathe, and are of a design to be found even to-day (Plate XXX c). The shapes of the two brass ewers, one placed near the bedstead and another near the maid sitting close to the feet of the rājā, are also interesting, because water-vessels of this form are still used in the Madras and Bengal Provinces.
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The last scene shows a procession in which the rājā, with the queen and her maids, is proceeding to a chaitya for worship. This scene is not included in the Jātaka, and may refer to the visit of the rājā to the chaitya after his marriage to Subhaddā. The surmise is based on the close proximity of this scene to the last, in which Subhaddā, having won the affection of the rājā, feigns illness and induces him to send hunters to kill the Shaḍ-Danta elephant.¹ The architectural style of the chaitya shows it to be a copy of Cave X when its front was complete and had not deteriorated (Plate XXIII). There is a stūpa to the left of the chaitya, the former decorated with flags. Although this scene is much damaged, the figures of the maids following the rājā convey movement very effectively.
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¹ Some scholars have suggested that the story as painted at Ajanta differs in its concluding part from the Jātaka version. Subhaddā did not die but only fainted, and as a recompense for her cruel act she ordered the building of a chaitya and a stūpa, the latter over the dead body of the royal elephant. The procession, according to this interpretation, shows the rājā and the rānī going to the stūpa to pay their respects to the last remains of the Bodhisattva.
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The high qualities of artistic conception and technical skill as delineated in the painting of this Jātaka make the painting an important landmark in the history of the art of Ajanta, particularly in view of the fact that the features and dress of the dramatis personae are non-Aryan.