Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s28.3

v3.c12.s28.3

THE scene represents the fainting or the dying of a princess, apparently at the sight of a crown which is held in the hands of a servant with a melancholy face, standing close to a pillar near the left end of the painting. As on the right side of this subject the story of the Conversion of Nanda is painted, it is not unlikely that the princess is either the wife of Nanda, or ‘Belle-of-the-Country’, with whom he was deeply in love when he left home to join the Order.¹ However, the scene painted on the rock-wall tells the story in a very clear manner. Near the left end of the fresco there are two servants, one of whom is dressed in a long white coat with tight sleeves. He is wearing a white skull-cap, from the lower end of which the hair of his head is visible. The cap is of Persian style; and the dress of several figures in this fresco and the next one, in which the story of Nanda’s conversion is continued, shows that the influence of the Pahlavas (Parthians), whose kingdoms (satrapies) were established in the provinces to the north and north-west of the Deccan even before the Christian era, not only penetrated the fine arts of Indian sculpture and architecture but also set models for improvement and change in the style of dress. The other servant alluded to above holds a crown in his hands, and his object is to report that his master (Nanda) has renounced his princely life to become a monk. The head of the figure has been drawn with great care; the eyes are almost filled with tears, and the artist, further to emphasize the expression of pathos, has placed high lights on the nose, lips, and chin.