Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.59

v4.c16.59

The interior of this temple is also lavishly adorned with carving,¹ and the pillars, the triforium, the walls of the two side aisles, and the drum of the *dagoba* itself present a rich display of decorative designs and mythical figures, among which the sculptures of the Buddha predominate (Plate LXXIX). The pillars resemble those of Cave I, but their carvings are much more elaborate in detail. Art-critics may not admire this excess of adornment, particularly in a place of worship where religious grandeur should not be suggested only by the exuberance of the motifs. Further, the solemn dignity of a house of God requires lofty conception and restraint in artistic expression, and though the architectural sublimity of this temple has suffered considerably from the lavishness of its ornamental features, the colossal sculpture of the Buddha reclining on a couch, carved in the left aisle near the small door, amply maintains the religious feeling of the Buddhist art of this period (*c.* A.D. 400-525). The expression of calm and repose over his face combines with the realism shown in the representation of some parts of the body, notably the right elbow, which is partly covered by a robe of thin material, the folds of which are carefully shown, and by the long tapering fingers and the toes with polished nails (Plate LXXX). The realistic effect is further enhanced by the mournful faces of the *bhikshus*, whose grief at their great loss in the death of the Master, though intense, shows no violent outburst of emotion. The bolster on which the head of the Buddha rests and the feet of the couch on which he is lying also show realistic treatment. Another interesting piece of furniture in the chamber is a tripod holding the water-flagon. Tripods of this design are also represented in the contemporary paintings at Ajanta and in the later sculptures at Ellora, and it appears that they were common at this time (fifth to seventh centuries A.D.) in the Deccan.