Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s33: The Elephant Procession: Visit of Ajātaśatru (Ajātasattu) to the Buddha (?)

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s33

Language: English

The Elephant Procession: Visit of Ajātaśatru (Ajātasattu) to the Buddha (?)

*The subject is painted on the back of the inner corridor between the shrine and the second cell-door from the left. As the painting has deteriorated much, it is reproduced in monochrome and an outline of the drawing given separately (LVII b).*

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THIS fresco had decayed to a worse condition than the previous one (LVII a). Recently, however, all such pieces of it as survived have been fixed to the rock-wall in a scientific manner with casein and other chemicals. There are eight or more figures of elephants arranged in the form of a procession including a number of footmen, who are armed with swords, or playing on musical instruments, such as flutes and trumpets. Notwithstanding the many gaps in the fresco, the figure of a flute-player can be made out with certainty on the right side a little above the bottom, both in the monochrome reproduction and in the outline. In the original fresco the heads of the other figures near the flute-player are also visible, although they are not very clear in the reproductions (LVI d and LVII b). They show activity, as of men marching briskly in front of a royal elephant whose head and trunk can be traced behind them. The head of one attendant, to the left of the flute-player, is shaved, except for a lock left just above the forehead. This, combined with his parrot-like nose, evokes laughter. Another of these attendants, who is of rather short stature, holds a blue curved sword in his right hand. Another attendant just behind the latter is armed with a shield of rectangular shape. The check pattern of the shield is conventional, apparently signifying scales of rhinoceros skin. This attendant is also armed with a sword. The blue colour, which has retained its original freshness in this fresco, in the case of sword-blades is again conventional, representing the blue shade of the steel. The handles of some of the swords resemble their prototypes of European manufacture. The heads of two elephants also can be traced among the figures near the bottom. On these two elephants, as well as on those drawn in the middle of the fresco, the figures of women are prominent; they apparently represent the wives of Ajātaśatru. These ladies have been shown riding on elephants in the sculptures of Bharhut and Amaravati as well.¹ All the elephants are richly caparisoned, but the State elephant, drawn in the middle, has a gorgeous carpet on his back, and from its rich ornamental border hang tassels of silk, or of gold and silver thread. As the upper part of the back of this elephant is missing, the royal rider, Ajātaśatru, cannot be traced in the fresco, but the figure of Jivaka (?), with long flowing hair and dressed in a cloak, may be seen behind the State elephant at the right end of the fresco. The design of the cloth of Jivaka’s cloak is worthy of notice, consisting of double-lined stripes, the spaces between which are filled with stars. The figures of the elephant-driver (*mahāwat*) and his mate (*charkaṭā*), showing their right positions on the body of the animals when proceeding in state, can be studied in this picture. The *charkaṭā* is seen behind the trunk of the State elephant, perched on the haunches of another animal whose up-turned tail is very significant in the drawing. The figure of a *mahāwat* is noticed on another animal, to the left of the State elephant but drawn on a lower level. The *mahāwat* is sitting on the neck of the animal, his legs almost encircling the head. Above the figure of the State elephant we see some attendants who are holding long staffs, and one of them is blowing a trumpet.

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¹ In the legend preserved in the *Dīgha Nikāya* there is a reference to elephants to be ridden by the wives of Ajātaśatru. For the information of the general reader a summary of the story as related in the *Dīgha Nikāya* is given here:

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The rich trappings of the elephants show the pomp of the royal life of the period when the fresco was painted (fifth century A.D.), an idea of which is also obtained from contemporary literature such as the dramas of Kālidāsa. A special technical feature to be noticed in this fresco is the use of blue lines below the eyes to indicate shade.

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During his ramblings to preach the Doctrine the Buddha once arrived at Rājagṛiha and stayed in the Mango Grove of Jivaka, the royal physician to King Ajātaśatru. About this time, when the king was sitting on the terrace of his palace and enjoying the beauty of a moonlit night, he expressed a desire to listen to the sermon of some holy personage who could set his mind at peace, for it had been in a state of agony since his murder of his father. The ministers of the king suggested the names of several monks, for instance those of Pūraṇa Kassapa, Makkhali Gosāla, Ajita Kesakambali, and Pakudha Kachchāyana. Ajātaśatru was, however, not satisfied by any of them, and asked Jivaka, who had been silent, to give him the benefit of his knowledge in this matter. Jivaka thereupon described the greatness of the Buddha, and begged the king to visit the Teacher. Ajātaśatru readily agreed, and proceeded in state to the Mango Grove. He himself rode on the State elephant and his wives on the she-elephants of the royal stable. Ajātaśatru on his arrival was deeply impressed by the calm of the assembly, and saluted the Buddha and the Order. Afterwards he asked a number of questions, and on getting his doubts cleared, he confessed his sin in murdering his father and sought refuge with the Master. The Buddha absolved him of the sin, and the king returned to his palace much relieved in mind. Translation by T. W. and C. A. F. Rhys Davids, vol. i, pp. 65–95.