The Early History of the Deccan (Parts I–XI) v2.c16.s2.25

v2.c16.s2.25

The figure of the prince bears marks of both worldly state and religious distinction, and his expression of calm tranquillity is that of one unaffected by joy or sorrow; but the faces of Yaśodharā and of the Persian maid and the Abyssinian guard clearly reflect their depression, Yaśodharā being grieved by the idea of approaching separation from her beloved husband, and the maid and the guard at the thought of losing their royal master through his renouncement of the world. The artist has, however, planned to mitigate the general impression of sadness by showing the denizens of forest and hills in a happy mood, resulting from their delight that the prince has taken the right step in relinquishing secular honours and riches and has not been deceived by their attractions. Monkeys are frolicking about on the ledges of conventional hills; a pair of peafowls, which are to be seen a little higher, have raised their heads towards the sky and their open beaks suggest that they are crying out in joy; even a tiger has come out of his den to join the group of exultant beasts and birds. Kinnaras, whose bodies are half human being and half bird, and who are mythologically the musicians of heaven, are playing on harps and other musical instruments to express their rejoicing. A happy human pair have chosen a secluded corner for sipping wine and for amorous dalliance. The religious theme of the subject has combined all these different elements so judiciously that each has a significance in the entire scheme and none appears to be superfluous. The artist has also shown a highly refined taste in the choice of colours: the red of the conventional hills contrasts well with the green of the various trees, plants, and bushes growing on them, and the splashes of blue and the gleam of pearls brighten the darker tints of the human faces and forms. The painting in both its artistic and religious significance has perhaps the same importance in the history of art as the paintings of Michelangelo on the ceiling of the Sistine Chapel in Rome, or the Last Supper of Leonardo da Vinci at Milan, although the latter frescoes were executed some 900 years after their prototype at Ajanta.