Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.s12: A Court-Scene: Not Identified

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.s12

Language: English

A Court-Scene: Not Identified

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*The scene is painted on the left wall of the front corridor, above the cell-door, in Cave XVII.*

THE original painting is very dark and has not been improved perceptibly by recent cleaning operations, yet the important figures which constitute the story can be made out. The *Jātaka*, however, is not identified, but it is apparently connected with the story painted below (Plate XV), because the fat bird which is shown sitting on the cornice in the last scene appears here again, and it is twitching with its beak the head-ornament of one of the two ladies who as pilgrims (?) are approaching the court of a rājā (Plate XVI*a*). One of these ladies holds a basket containing victuals, suspended from her hand with a string, and the other lady holds a banner, the stick of which may be seen on her shoulder. The banner may represent an important detail of the belongings of a pilgrim. They have approached the court of the rājā for redress, from which act the fat bird wanted to stop them. Two *chaurī*-bearers of a fair complexion may be noticed behind the royal seat, their pose being extremely graceful (Plate XVI*a*). Close to the *chaurī*-bearer on the right side there is another lady who holds a chased vessel or casket in her left hand, while her right hand is stretched towards the royal seat, and perhaps resting on it. She may be the rānī; she is wearing an ornament, comprising three strings of pearls, round her head. The modelling of the right hand of this figure is very effective.

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In front of the royal seat are two dwarfs and close to them two more figures, one of a chief with a dark complexion and the other of a chief with a ruddy complexion. The heads of these two figures have been painted in profile, and show skilful drawing. The dark chief, who is on the right side, is wearing rich jewellery, and the painter, to bring his figure into prominence, has placed high lights on his nose, lips, and chin.

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To the left of the rājā, near the bottom of the painting, there are some more chiefs sitting on cushions or low thrones. They are apparently discussing the religious aspect or the moral of the story, for each of them has made a loop (*chakra*) with his fingers. The chief nearest the rājā also has his consort with him. The next figure, towards the left, is probably a yaksha (? spirit of the forest), since his face is tinted with green. He is sitting on a low throne and holds a gold chain (?) in his left hand, which chain is evidently about to be restored to its owner. The yaksha may have taken part in disguise in testing the virtue of the rājā, as is suggested in the story painted below (Plate XV). The next chief, to the left, has his right hand stretched out as if to suggest that he holds something on his palm; or else the attitude represents a mudrā. Farther to the left, a richly caparisoned elephant and a white palfrey with a tassel of yak’s tail over his head may be seen. They evidently belong to the chiefs who have assembled in the court. The elephant has twisted his trunk and placed it on one of his tusks in an attempt to make a loop (*chakra*), so as to conform to the common attitude of the assembly.

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To the right of the above scene there is another representing a court, but as the painting has become very dark it is difficult to state whether it is another episode of the last story or is connected with the Hamsa Jātaka, painted immediately below it (Plate XVII a-b). The colours of the painting cannot be distinguished now, all being merged into a dark daub, but such details of the drawing as can still be made out are given below, so that some student of Buddhist literature may perhaps be able to help in identifying it. A collotype reproduction of the subject is also published here with the same object (Plate XVI b).

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Beginning from the left side, there is first a woman whose head has been painted in profile. She is dressed in a cholī and a sārī, the cloth of the latter having a check design. The ribbons attached to her head-ornaments may be seen on her back. Her features are of the aboriginal type. The figure to her right is also a woman, but she must be of some rank, since she is shown sitting on a chair. The features of her face have become quite indistinct, but her elaborate jewellery can be made out. Further to the right are two male figures, dressed in white full-sleeved coats. One of them in the front has made a loop with his fingers. His companion, similarly dressed, has a greenish complexion. The head of another male figure may be noticed between the last two. There is a copper-skinned chief to the left of the rājā, sitting cross-legged on a throne. This copper-skinned chief holds a casket in his hand. There are traces of some figures to the right of the throne, but as the fresco has peeled off at that place their features and dresses cannot be determined. A conical vessel (? spittoon) may be noticed below the throne, and there is a metal water-jar with chased work to the right.

Cites (1)

Jātaka — Pāli