The Early History of the Deccan (Parts I–XI) v2.c16.16

v2.c16.16

Fortunately some specimens of the painting of this period have also survived, and they too confirm the above view regarding the beginning of the art of the Deccan in a remote period, hundreds of years before the Christian era. These specimens are preserved in a *chaitya*-cave, No. 10, at Ajanṭā, which has two inscriptions that help to fix its date. One of them is carved on the façade of the cave, and the other painted on the wall of its left aisle. According to both Indian and European epigraphists, among whom the German savant, Prof. Lüders, is prominent, the painted inscription belongs to the middle of the second century B.C., while the inscription of the façade is still earlier, certain characters showing Aśokan forms. The painting connected with the former inscription represents a Buddhist story, the visit of a *rājā* to the *Bodhi*-tree under which the Buddha obtained enlightenment. The painting is a long one but the greater part of it has been destroyed by time. The portion near the *Bodhi*-tree is fairly intact, and represents the *rājā* with his family and attendants on the left side, and a large party of musicians and dancers, comprising fifteen artistes, on the right. The painter has attempted to present human life in all its aspects, religious as well as worldly, and the portrayal of the figures expresses not only spiritual feeling but also a joyful outlook on the beautiful features of the world. This painting further exhibits a happy combination of emotion on the one hand, and on the other of technical niceties such as are to be found only in well-developed art.