The Early History of the Deccan (Parts I–XI) v2.c16.s2.26

v2.c16.s2.26

The artists of Ajanta have painted woman in a variety of delightful poses, but her moral dignity is always maintained. She appears as a princess, a maidservant, a peasant, a nun, or even a dancing-girl, but in none of these roles has the painter made her mean or pitiful; on the contrary he has always presented her as worthy of being admired and adored. As Indian ladies are in the habit of sitting on the ground, some of the poses may appear somewhat unusual to a European connoisseur who is not familiar with ways of life in India. For example, the pose of the lady delineated on the left wall of the front corridor in cave I may strike a European as rather uncomfortable, the legs being bent in an extraordinary manner (Plate XLVIII *a*).¹ The balance exhibited in the drawing of the head and the other parts of the body is, however, so perfect that it displays not only the suppleness of her limbs but also a happy grace of mind and manner, particularly evident in the dignity of the way in which she regards the male figure (the Bodhisattva) seated by her.