The Early History of the Deccan (Parts I–XI) v2.c16.s2.9

v2.c16.s2.9

The artist has painted all the incidents mentioned in the Shaḍ-Danta Jātaka, but he has changed their order. He begins with the wild life of elephants in an impenetrable forest with marshy soil infested by crocodiles and pythons (Plate XLIII b), and terminates with palace scenes, crowded with human figures and a royal procession to a place of worship comprising a stūpa and a vihāra (Plate XLIV). In the middle he has delineated the bath of the royal elephant in the lotus-lake, and his favourite resort under a colossal banyan tree (Plate XLV). This arrangement has a certain significance from the point of view of the artist, who for an impressive demonstration of his skill has kept the scenes relating to animal life and to the beauty of natural scenery almost separate from those depicting human feelings, wherein the gloom of sorrow and suffering is illumined by the light of faith and devotion.