Ajanta: The Colour & Monochrome Reproductions of the Ajanta Frescoes, based on photography. Explanatory Text

15(.7;'093. Ya3 OQVERNlrnNT OF INDIA DEPAR'I'.IlENT OF AROHAEQLOOY CENTRAL ARCHAEOLOGICAL UBBARY Oun, _____________...

Author: G. YAZDANI

101 downloads 779 Views 6MB Size Report

This content was uploaded by our users and we assume good faith they have the permission to share this book. If you own the copyright to this book and it is wrongfully on our website, we offer a simple DMCA procedure to remove your content from our site. Start by pressing the button below!

Report copyright / DMCA form

DOWNLOAD PDF

15(.7;'093.

Ya3

OQVERNlrnNT OF INDIA

DEPAR'I'.IlENT OF AROHAEQLOOY

CENTRAL ARCHAEOLOGICAL UBBARY Oun, ____________________

i O.lJ..LNO

,'"

25"·'309a~

}'46'

•

•

•

•

•

,

AJANTA PART ONE

•

•

•

•

AJANTA THE COLO UR AND MONOCHROME REPRODUCTIONS OF THE AJANTA FRESCOES BASED ON PHOTOGRAPHY Wilh an & -planalory T~Xl by

G. YAZDAN 1, M.A.

B'U crno..,. .. aoA_

Y, ".<-M. n . . .......... "" .. ,. _

and 01'1 l mrodutlion by

LA UR ENCE BINYON ... T . . . . . . . .. ~0IlV ..

11365

75/· 730934y
OXFORD UN IV ERSITY PRESS LONDON HUMI'HU'f MlLfORD

PRINTED L" GREAT BIllTAIN BY JOHN JOHNSON AT nu; UNIVEllfTY PitESS OXFORD

,

•

,

•

PREFAC E TUDENTS of An have already been familiwN with the painting. of Ajama, first

S

througb the excdlcm oopiea made by Major R. Gill in culler days (18-44-6J), and again through those executed by Mr. J ohn Griffiths and lAdy Hcrringh.1ttl more recenuy, :md published in splendid volu nles-by the (ornler in Tlu Pa;nth'K' in lilt Bllddltist C(lt.~ Tl"'pltl Dj Aj01lfil, and by the limer in Thr Ajtllltll FrtJ(oN. Th~ copies have proved of jnest jm~ble VlIluc in giving the world a general idC1l. of the painting$., and , being aceolnp:tnicd by moot carefully wriucn essays on the hwory and ani&uc impon of the: freSCOeS, thC5C arlminble volumes will long be studied with ad~ntagc: by every onc inletUled in Indian An. N~ .... ilhst:l.nding their merits, these: copies have: not fully sati5lied the c:onn oi~u r. For one thing the: leanings and clur:acu:ristics of the: copyiSt MVC aept into them, OIod for another the technique of the original (rescoe& has been found too vigorous to be r<:produced faithfully in :I 1<:" pronounced medium, On the !:tHer poillt the opinion of Lad y Hemn gham, who 'pent lieve ral Y<::lT$ in copying th<: fr<:5COC$ on the 5pot, is decit.ive, She writes: 'In reality the technique of the original work is 50 lure and perfect thal none of UI were good enough executants 10 reptit it,' and further: '1\'10$1 of it has a kind of emphatic, pusionate force,:I milrked te chnical ikill, very difficult to suggest in copies done in a $lighter medium:' The Government of His Enlted Hi ghn~ th<: Ninm, in whose dominions Aj:lnt:l. iSslluilted, have evinced no smal150Iici tude to procurejllitiljul copies of the fr~, and in 1915, slionly afler the cn:alion of the Archilcologic:tl Deparlmttll U H yderabad, Ih<:)' were plcascd 10 appoint an anist, Mr, Syed Ahmad, who had receiv,«i hi, mining under Lady Herrillgham, to copy !.he fresCOl:$ widJ gre.tttr fidelity 10 the originab_ 1\11_ S)'ed Ahmad', eff"oru in thi s respect have been crowned with a fair :lmounl of ~uCccss, for his copies as reganb tone :Ire distinctly .uptrior to tllO$C made by previous :l.rlim. An <:nlhu~uts. however, h:l\'e continued to crave for abiolutd), faithful copies, which they ,ugg"t are: pos5ible only by a mechanic:tl procw, such a$ w lour pholography, a method which hlUi madc grc:lt progrCS5 in recent time&.. The: propos:;p.l for the reproduction of the fresco« b), colour photography, althoug h mosl welcome 10 His Exalted Hi ghness's Govcrnm<:nl, at fiflit appt:lred impracticable, for through the neglect of centuries moi$tu re and dirt had formed a crust o,'er the painting~, which it was difficult to remo"<: owing to the varnish which 50me arcltaeologuls and artists had hud on the paintin~ with the idea of brightening th eir dctail :lnd Ii:Ifcgu:lrding Ihem from climatic effects. These injudicious me:l.5ures, although underl:lken with good intentions, have, in the c:ou~ of a qu~rter of a century, 1101 only m:lde the fine brushwork of the frescoes mOre lndlitinct, but have in wme: cases, whe re the "amish wu of a b;uI qualilY (copal) and where the din h3d not been remo\'cd beforehand from the fresco, oonverted the ('.!lure painting into

•

PREFACE

a dingy 'mear. Thanb, howCWT, to the geneJ'Olity of Hi. ulIlicd Highnca tbe Nizam. and to the genuine inletn( and countOUS help of the late Lord Curzon, Sir Renndl Rood. the Ambasudor of Hit Briunnic: Mapy in Rome, KCUrtd tWO uptn rtlla"'illt#Jrt. Profe&50r LoreRZO Cecconi aDd Count Onini, to clQn the ffUCOe$ from the dotted n1lla of v:lmi,h and dill which had in IOmc cascs affected evcn Ihe O)lou" bc:nQth. The Itlli~n eJfptnl worked at Ajanta for two 5e:liOns (1910- 1 and 1921-2). and their efforu in dCllning the fttsCOtS proved eminently successful, except in a few places in Cava XVI ~nd XV II , whete. the varnish had penetrated into the colourli and any attempt 10 remove it resulted in total obliteration of the c;o!ourli themlelv($. Mtcr the deaning of Ihe fTCK"OtS so far as \VU pnetirabk, Ihe nUl step _ 10 bring out 10 Ajanta an ezpen in ro1our photography. In the beginning Mr. O. H. Browne, of the Hydc:rabad Electricity Dep~nmc:nt, kindly made some ezpcrimentl' but lata the servicet of Mr. E. L. V:uey. a Britid! upert, ¥tae rtlXlmfnendcd by Sir John Mardiall and Sir Aure.l Stein, who, it ma), be added parenthetically. have tdvi6Cd the Archacotogical Depanment of Hydtrabad mQl;t ....illingl)' at C'I.UY uage of this 5cileme. The rtClOmmend:u.ion wu readil)' accepted by Hi5 Enhed Highnca', Governmc:nt, and Mr. Vmy w» cnVged for five month$, during which time he photographed neafly all the freKOCl which have 5urvivro the: ravages of lime and have recently been thoroughly ronlen'ed. The negativel pre:plU'ed by Mr. Vasey form the basil of Ihe plnlca inrorporatc:d in the prC5Cnt publit':llion. The colour.pbtes have been made and printed by the wel\·known firm of MC$lil$. He:nry Stone &. Son, Ltd., of Banbury and London, ..... hile the monochrome plales have been reproduced by the Oxford Univen.ity Prea under the able dittttion of f\.'lt. J ohn Johnson. The: lelection of O)lour lubjccu hu been limited by the requirc:mcntl of their being distinet in the originals, bill the monochrome pllla; include alnW)6t every painting which survh·ca on the roek·walls of Ajanta: and in a few aiCSo wh~ even the design had been found tOO far obliterated for reproduetion by pbotngraphy. _Mr. Syed Ahlllad, our aniu., hu traced it, 10 the best of hi5 vwon and wll, tnd his copia; are included in the Platd. For pllf'JX*' of detllil 50Ine , ubjecn reproduced in oolour hlllve ~ctI rtpealed on a luger leak in monochrome. for some authoritic. con"du that Ibe bbck and white reproductions give 11 hcller idea of the original dra ..... ing of the: fre&COts. The work will comprise four parU: lhe fitlit pm, now j"ued, dc:all with Ihe rre&coe$ in Cave r only. It must also be lidded thllt rcproducrion of the rrCtOOel by oolour photography, highly COSIly and difficult u the undcnaking _ , would never hne been accomplished but for the. judicioU5 and able handling of the $cheme by Sir Akbar Hydari (Nawab Hydar Naw:llo: Jung Bahadur), first in hi, CllpacilY as Secretary 10 Hi. Ezahed Highnal'. G(n"l:rnment in the Archaeological Deplllnmtnt and Ialer 11 rmance Member. Sir Akbar Hydui', love for Ajanta ]IU become airn05l prov~bial. and his name ..ill long be .~lIed wilh the work CIlTied OUl there during the IUI decade and a half. h it only right to mention in Ihi' ~

PREfACE

connuion aoo Ihe name of Nawab Akbar Var Jung Bahadur, Ihe d.iuinguUhed IUcca&Or to Sir Akbar Hydari u Secretary' 10 the Government in the Arehacological Deputmenr. who has displayed a keen interest in thi. kheme and has lupponed it "'"llrmly throughout. I .. the publicnion of the Pl:UC5 would have been incomplete ....itlloUt an uplanlltory account of the fracocs, I have ventured 10 describe them: but nOl in the 'pirit of an upcrt in Buddhist lore or as an adept in the tec:hnia.lities of An. My acquaintance with Ihem, as Dir«tor of Archaeology, H yderabad, howcvc.r, jl deep and intimatc:, lince I have had 10 WIItch and study theln unremittingly. The reader, it is IlOped. will find the Introductory ESAY. wr1uen by Mr. Laurenc:e Binyon, than whom tbere i. perhaps no greater au thority on the :arc of the E:J.51 at the pracnt time, of cxtraordinary value and interat in appreciating the merit. of thest; marvtl10us fre&coa. The correction of proof.. on account of the di5t2ntt between Ajan ta and Banbury. ha5 occupied a. long time. but the auistanee of Mr. Syed Ahmad .nd the: upc:n knowledge of Mr. J. A. Milne, C.U.E.• have proved moo u$dul, to that difficulties which Ilppc:;1rc:d to be insurmountable ill the beginning h2VC been IUcccs&fully overcome. Lastly, my deepeu gratitude j, due 10 my esteemed friend" Mr. C. E. A. W. Qldh2m. C.S.I., and Dr. 1.. D. Bamell, for n:ading through the proo& of the Expi:l.nalory Tu! and for making many va.luable , uggestion ... G. YAZDAN I HTORAlAo,

o.:c....

UI~. '930

• •

CONTENTS

•

""&~

Introduction

EXPLANATORY TEXT

,

Genenl Rcmuu Story of the: Pigeon: Sibi }ilw

+

,

A PsI_« Sccn~: 11 Lady reclining on 11 Couch A Bhihltll at a Palace Door , A Palace Scene: continWloon of the Previous Story

7 9

itltlltifitJ Story of die Serpent: Sankhllplh. J :il:tka A Pal:tce Scene;

ItQt

"

'J

A Palace Scene; O;l.Jlcing Girb: Mah3:jallaka J:itakll. (f) Riji going out to ,mend the SCnnGn of the Hc:nnit: Mahij:Ulak:a Jitllka (f) A Palace Scene: Rij! going OUt on HO&$JC..-back: Mahajanili

'5

"

,.

j'''''' Cl)

Shipwreck: Mllhljanaka Jataka (1) Lunntion:lt1d Renunciation: Mllhlijanaka J iuak:l Four Heads on l Salver: SIOry of Amm-OevJ (I)

,.

BodhUatlV'l ~mlpiQi Temptation of the Buddha

'7 J'

A

BocIhis;llt\'ll

" ,+

•

•

,

JJ J+ l5

The Buddha in Vario", Auitudes: Miracle of Sr.ivuti (1) Offering of Lotus-flowen 10 the BodhiAltYol (Vajrap:1Qi') Story of a Serpent King: CiImpeya J alab Fruco in the Right Aisle: Ml iJ(lrtijid A PaI:u:e Scene; Ifflt itltlllifitll

.,

A Court Scene: Per5ian Emba"y U> A Ihcchanalian Scene (KbuliJ"lIu and ShiriflP) and Decoratiyc M(}Iifs

+'

. J'

A Bull-fighl

"5'

J.ndc.lt

53

b

"

1

j

I NT ROD UC TION

W

HEN first J was honoured by the invitation to write lileK introductory words, my impulse: was to dc:dinc:. For I have never S('cn .'\ pnm. Crc~[ aI has been my desire for many yea" to visit those famous cave-templ". with their rt~S and their SCUlplUrc$, (ortune has dcnkd me the opportunity. How, then, could I be justified in attempting to write !In imroduction to iuch an importa nt work as Ihis f But, though r urged all the reuon& Ih~t a lIluunl diffidence prompted, to!r. Ya2d l4ni pc:uistcd

in his requon. The invitation W'IS txpr~d [11 ,uth 8n1cious terms Ih!!! refusal became im~ble. It wu true that I had nevtt ken the original5 of the paintingt here reproduced for the fint time in colaun. by photograph)'; but il was abo mu: that I had given many y~ of nudr to Asiatic painting in gtner~l; and as tha.e frcSWCIi arc: not only of iuprcmc: interest in them1iClv", but are of capital importance in their relation to the whole body of Buddw$1 painting in !!.lIthe countries of Ali:1, I ha\'e tried on thl, accou nt to jUltify my acceptance of the (:Wc..

I The longer one studies the an of the world, the mort one pm"" the more one returns toor W:lI least is my experience--the art which, whether QStengbly religious or not, express« or is impregnated wilh the lik of the 'pirit. A Ill.ndSOlpe, a group of figure$., a painting of flower or trc:eoranirnul. may servefOrilleh expresaion, may mOI'e us more deeply than piClUTC'5 or stalUC8 whieh profess to commullicne gnat ideas. None the less. 11& we look back over the \o!'-orld', an, are we not longc:u held and IUO$t lurely $:Iti~fied by IllO$C forms which the imlgina. lion of a race hal a_mbled to embody tbe dnuM of humau dC$l.inr. the agouies >I.lld triullIph& of Ihe hum~1l lOul, ;lnd to which Ihe genius of great ani$15 har given embodiment] In such images, luch far~esccnded mapes of myth and 6ymbol. CfClti\'e dC$ign diKQI'm 11 .timulus and 600pe fur tnmiCCnding the private rC'"JClions of a li ngle mind. Of luch i$ the 2n of Ajanl::l. And I rejoice, '" will all love~ of an, Ihut tills public::uion Iw been made po5Sible by tilt enlightentd munifict'nce of H it Exalted Highncu lhe Nizam. For though tht previol" 6t1S of coria had admir:able qu:a.litits of their own, they wtrt neCCSliaril y translations. After !!udying the plates of thit volunll~', I see Ajanu with new eyC$Let 115 first congdu lhe general elrea of the paintings. (I am obliged to wrile of the imprcssion made by Ihe reproductions; no doubt Ihi, impr~ion would be enriched and intensified by sight of the originals.) The interior of the tJiMrl3 to which Ihe rresem "o\ume it devoted, as we sce it in Plale rv, shows u& the di6rosilion of the paintings on the w:lUS and the ceiling, and ren'aIt; aoo the injury of Time and lueh defacement :u has Ixen CIIuscd by h3nd~ of men. All the lower portion$ of the frCiC0C8 bave pcrir.bed. One of the latesl writers on Indian painting, i\1. lvan Stchoukinc, though hi. book' if nOI directly concerned wi lh ancien l an, h:ur iOmc illuminating pages on Ajanta Incidentally, he mentions 50me worth of mine. wri n en many years ago, in order 10 record biJ disagreement. , lA p.u.hIT~ 1,.",_ J r1I"f'" ,,, G,.,." M .p/'. r.rit, 1929.

,i

rNTi lODu C,',O N

Coming ftom the uudy of Chin ac :In, 1 had once Aid that ,he conlpolioon J of the Aj,nl a p~inltn; seemed 10 me: 'crowded and in~eKI\l' and their an 'primitive', as compared with Chinc."5(: an. in ~pitc: of the: 'forcible' and imp
Conk'nJpll.ting the {~ . (he tays). one hu ~( lint the impra tion Ih" the nll~ filluns rqwuentcd in th em aIT anaIIgm-or piled lip nthn- , so RlUt i. lheir n'llmber in Pl'OJ"'rtlOII tt) die .pace- witho ut rrep. ..fQry though t or any pR'CXmuived pl.n., in 11 mafUl U.o rutun llht it 'ppet" ' a1~t accickntal. A cIosu arudy _ rnan the Iea"",d desig" which ermtrl)l~ their grouping. In rheir ansiel r tQpresent a picture tun of n~tunl dTea, tbe Irti5t1 of Aj:lIlla rake arc to a?Old ,11 rnrtbnd a of n:wnp otinS. /Icn: the gOveTNIIg idea if, looobviouf,. 5Uth 1$ thole which nhibl lthc primit ive d~ of ~ I'rollgly m3rktd .prlme try or else immobilize the de!ign by depriving il of mo"'~lelll .nd Iih. An rheir ((Impositions '"', on the contrary, buo::d on compkll: arn.ng antnl§ .,.hen the vukfy oIthc anirn do and oftheg rwpin gt appelr l inuhau slible. IXIt Ihinb und." teoffo nn. i. Car (rom prodll dng chaoti( dnilln , opposed to all idea of unity; wed .nth ut, il heir- to crate" wdl-pbnnc:d COfU[1OIitioM, the uniryo f .... hieh i'lIOlimpa~ by thefac t lh.3r;, it made upofhc tcrogeneOlU elemenu. I am glad to qUl)(e thdC: worth of a critic who i~ oen:ainly nl)( given 10 vaJue emhUJiasm bIll, on Ihe con trary, h:u nOI only acute percep tio n bu t dosdy feuQn M judge ment. And lam very willing to admit that I lNy hll\'e emph: uized lOO much the: 'abun dance of fonm ' "ithou t per«i \'ing ,ufficiently their under lying cohere nce. At any nle I frrcly ackno wledg e that the more lhe (moo n lIre mrttem plAted the morc does onc appre cillte the iu btle rc:lationihipto that conne ct the group s of figure ., 10 that thoug h the 'unity ' of the compo<'irioni il not wbat impr ean the eye.1 fir\Ir.lthc r, in mmy ~5e...t Icut, the reve:n ;e-one comu in the cnd 10 recogn ize Ul1lt profo und contc'fltiOIll can di5pcnIC with the formu las of c:lIro lued furfac c.amr ngem ent and have their own occul t mean l of knitti ng togeth er forms in app~rem diff'uiion. The unity ,wlin cd il nol W) much like tbe dCQITath'e unity wc arc accust omed 10 expcc t in work.. of pictor ial 1Itt, 111 like: the: deep COIIgruity wc find in na!lue , the contin uity of relation betwe en the hills iIIId the trta .nd the flowc n, the: , hadow l and the lig ht: it ~tiilies in Ihe I:&me large and "lent "''''y. For this a n i. chal'llCleriSl ically Indian in illlo\' e o( n:lIural rrofui ian: it daire s the ""Mle fullne s of life. And uiU (ullnw i, nat merel y the vigoro us :wtrti on of huma n vitalit y, it iJ not comp lete witho ut the life of animals and plant" Man is iCen in the midn of nature , not using her as 5Qmetlti ng van qui5hed and lu~rvient 10 hi l need •• nd pleullCCl, but emerg ing amon g t~ kindr ed (orm, of life u tht m()Q eloquCflt form .he hu create d. The more the mind &leep~ itiClf in lhis arl, the IIlorc it u aware of the profou nd c:onccption of the unity of all life which perwd~ il. At the prCiCnt day, obeyi ng a reaction from the kind of art which u; engrotSCdin proble ms of xii

I

INTRODUCTION r~prd(nl:nion,

we by a1lth~ empliuil on dC$ign. Oeiign i. th~ root of the manu, -aaun:dly: yel there .. I danger in me tOO ron.aOUl purtiuit daign. When the whole alf~ntion i. conttntr.lt~ on IhU. thc:n: " apt tn be Iosl of depth. The Ittim of Ajanta had before: the-m always the primary aim of rendering the significance of the stones Ihey were: 10 paint upon the ....alls. h was r:uher their in tuitive uncomeiou5 powe~ which guidcd Ih", ditpoiilion of Ihe figu(C$ and Iynthaiud thdr grouping. T hu. Ihe da;ign il not Iltogetheron Ihe lurf.lo:, hUI an underlying ... itality within. I would not be thought 10 make an)' hard d~tinClion between oon60ous and , ubcon5CioIl5 effort. Evcry Uli" know. how wbtly :lnd inutrioCllhly thl:$C twO co-oPCf'lItc. The painlCf1 of Aj:lIlta were con.aoU$ ani,u, ob ...;ou.1y; they were IIOt working at flIndOIll or ccwcring a IUrl'aC;C hit by bil without plan or prcwnceptioo; but they gne ealy play, :u tIlC), .....ent. 10 the natural aninution of forms: they feh no compelling need to enfom: O)hetiion by gcstUrt:l Dnd IlIiludesdiaated by pictorial ellea rather than inipired bytbe: subtle rdationwpt of living beings in company. They welcomed thegnceoC casu:tl movement. And 'II'C note how in IhCiC painting. eath of the 6gurt:l r. inl~nl on whal it il doing or poIKued hy what it it feding, There is no I\Iming low:trd the Jpcrouor for liympathy or ,menlion, A former age, used 10 Ihe emphuili of dCO)ntlive unity IInd really pleated by II rhcloriClll convcrg~ncc: of gcu:uring amll and simi\ll.r device. of O)mposition, had littie mt'anl of appreciating the 1006ct a.lld more hidden p3u~rn of th ese frcsooes. It i. not merely a quo.tion of altered I:Ule. To UI, fOf whom the unj ... e/OC i. i{lddinildy enlarged al'ld deepened 10 a O)rnpiczity beyond ooncc:ption, the 3rt which prescnll a Idfconlaincd ~ud patently l'C350ned whole, wi th an irnpo6Cd logiC: of c;onuruction, Kernl to rdea. an inlldcquale IIpprehc:n~on of tile livillg world. It repr~nl5 a IXInqUc:5I, bUI from the very faet of being II conqUc:5IIi«:m5 to ibul OUI Ind ignore 10 much that lies beyond il and dudes ;1.

or

11 It illl ... ision oC the living world thlt the ani", of Ajanl:3 J"C$Cnt; Ihe t«:ming earth, the lipringing pJanlli, tIlC bird&., the deer, Ihe dcrhanll: erimson-pillued p.avilioru and poniCOCt: g·uewll.y. ~nd roar. of citie;: :md among alllhcte the life of men and women and dilldre:n, ,upple-limbed, g ....lciolls in ga;ture, freely moving, playful or pensivc in mood; all euthly life in ill laughter and its grief: but 11w:l~ emerging from i.t a lif", of l\)e spirit prevails, the .pirit Ih~1 coll1emplatts and is filled wilh coml,aSliion, Sometime!, u in the rrCiCQ reprodu~ on Pbte VU, this ipi ritll31 prC$Cn(;t appears in the doorw.. y of the hOU5C embodied in the Bltil'/'II, who comCIi Ilke a m("l;8Cnger, and is wdcomed by itsinmat«. But il i5 in the marvellous rrnco reproduced 011 Plate XXIV that thi' vition of life auainl 115 coniumm:r.tion, Ilcre il the 'pint of Renunciation: but the life o( the ipiri t appean nOt :u in KOrnflll di5gu51 wilh lh~ i ..... ~ life of (artl" (lpflO5Cd:lnoJ denying;jt eOlergt;'5 from that life embodied in Ihe ),oulhful fonll of a prillCC of nobk birth and bn:cdlng, not wasted ~ilh ucelioun but .supple ....ith latent \;gour, though gentle in gcu:un:: and he 1000 nOI on any tingl~ lighl but Ihe whole world is in hi5 eye$, .. nd 'II;th it an immUliC, an ineffable complSliion, Grandly he emergu, detached yel nOI isolated from all Iho5c v:ariouoly oocupied (01'111$ ..round him; or. jf iIolatcd, ilOl:ucd only in spiril. xiij

•

INTRODUCTION

Here one may s«: in perfection the dctigning InwnCl of Ajanll', an. The fann of the Bodhiullva "and, OUt from Ihe living ha.ekground yet remainsln the w.;ann pervasive Illmb'pbere of the whole 5ttf\c. There aeen\S to be: no ddibention in the dilJlOlition of the elements of the design; iI il U if,]1 were there: by n:mue; the ,uong r«l 5qUIll'C U of plllan IInd CI'OMpieces, whidl are said 10 be a coov.:ntion for the ridges ofhilk, eonlram wilh the jU5l..jnclioed fonn of the BodhUattYa, Qnended by hit; COfUOn on one lide and :I vigihnl guud on the othu, and with the bIlckground. of mingling curves and jUlting angles. where the eye,106ing iudf al first, discovet'$ by degrees one fonn IInd one detail after anMoo, htrt it u the g lam of flc:&h where a woman leans among foli2.ge on her lover's dlouldu, and 11 pe:tcock is aring beside hi, mate, IInd, more obacurc. a monkey play. intently. There, 'hape. of ,uperrllllural beingl begin to appear. JOme HMtlog through Ihe air, othc:n playing music on in5lrumenuj the relaxed pouwe of a woman redining in her Ioycr',anns takesthc e,.eamong IllOJ'cihadowy fonm. Human and divine 3rC mlngkd; le is u if 111 we~ rooted in !.he ri ch KIil oflife; ;lnd rontemplating the fl'Clt'O one hu iOmething like the feeling produtcd by guing into an intricate depth of flowering foliage,leafbchind Itai' and bough behind bough, ",ben, lingering tillthf: fiill of the dU5k, om: may aee the eoloun of the b100mi retire iOlo themselv~, yet gill bum unequ.a1ly with a kind of oecct glow, The former copiC$ of the frC5CDe'i hardly prePllreone.t all for the extraOrdinary beauty both of dl'2wing and of colouring. Tc:rmre means 10 muth: lInd here Ihere i. a 5CTl~livencu- consider, for in"ance. the dnwing of tile RodhisauVlI', lifled h.wd holding the "'"!Itu4ilywhich the 11101;1 Wlfu\ copyist rould never hope quite to render, I o.ln told that the ptelCnt reproduction. do give in the lIIain the Huth of Ihe colouring; and onc 1l1ay well believe ;1. The. depth and vibnllion of colour :Il"e cxlr.lordin:ary: and I hid ne",er roncci\'ed from any of the fanner copia !lIth moving P11l5'Jgn of colOur Ut for imtance in this fresc:o, the: blue of the peafowl, deeply gleaming from tombre gm'-n. thilt foi ls and enhancet the whole wanl\ harmony with iu 'mouldering reds., the red of I'U5I and the ~ or wme. Yet, no doubt, one I~ much from the: reduClion of Klle. Look at anOthe:r fresco, and oomp:ue Plate :'XXI, whicll gives the whole compo&ifion, with the detail given on Plate XXXIII. Thil marydlOU5 hcad i. that of onc of the twO women in the lOWer left-hand corner of the design: but in ule luger pbte the identity is almCit OlKalred. 111i. example indiotcs ho .... much wc must allow for the reduction, In thi. hc10d we can ~pprecia le the masterly brushwork of Ihe painter, il5largenea. ViVllciIY. and freedom. There: i. a kind of drawing which i. the oppD'ite of th:u kind which t"'ca the cootoun of fonnl bill lells us no more of them Ihgn the lincs trldOii ng the coloured arC'U of. map. The: moving brlllh, defining cheek, nUl, or dIouldcr, pcnuadcs UI also of the roundnCSl or 6nn flesh; and 1llOR", it C'QDllllltniC'atCl not only iOlidity bm th~ bloom, llt~ quivering tiQlue or the ' kin, ch~nging with the enlOtion, liIat kindle in the blood. Such un,,;ng we find in the an or Ajantll at itl best: for even in t.hi5 one ;c;ve' the:. painting. are not all by one hand or quite in the 5:lmc: style. CenQinly the feding for roUndnes5 and relief is strong in IiOme of these armu.. Thert are

'"

, I NTROOUCTlO~

c...to , what i$ 60 unu,ual in Oricnc"ll painting, Ir.I~ of moddling; and wc note th.:!.! high Iightt uc soruetiruel rendued on the faces. Such appea r on the brow, UOiIl, and chin of the BodhUatu'2 ( Pial" xxrv and XXV) and on Ihe f;l(% of Ihe- ....'Oman reproduced on Plate XXXIU. ThaI: lighu h:wc the IIppuuncc of having been .ponged out when tlte painting ~ wc,! Ifler the rn:UlIlcr p~cti5td by ourv.":Itc:r-colour PWIICnl; bUI Ihifm ay be an ermn«lU5 Imprea.on.

nitre are no cau 51t.doWJ in the frescoes: and I belieyc: it iJ; tr\!C that in all the pictorial ut of Asi;l. cUI shado"" are never inlroduCC'd CZ~pt UDder the inRuCllcc and after the example of European painting. But dKre if in 1Om~ if not all, of Ihe frtKOa \1n attempt to produce the illusion of depth and rct'ClSioo. :tided by an inmnsiucnl but nol un~ucceaful ptn;pectivc in the architeauu. Sce, for innanct. the group, in the inlttion of the tWO pnilioni ( Plate XX) line! the dewl from onc of IhC$C IoCCnCl reprod ucccl on PI:lIe XXU ; I dew! in which onc can study wllll! iJ Ihe abiding fascinAtion of Aj:lnla, the t'xtr:lordin:try beaUty of grouped. IlI'int. preoccupied forms, heR: immens.ely enhanced hy Ihe W'Ong, uprighl linel of the pillan.

UI

110WCVCt tentative, Ihis endeavour

realil':e or suggC!i1 the modelling of forms and lhe reCUfiton of objecu in Ipatt il remarklble. And the problem is r:aiscd: do.:, thit. ~ndeavour represcnl iOmet hing inn~le in Ihe -I ndian geni ur., or i. il tomething "imllialed by foreign examptc1 Appuetllly it diCl out of Indian painting in laler timCl. COOmar:l5W,uny nota Ihl l '" E110". the remains of the !::I.ler fr(5(X)C5lfe much flatter , hall the eulier paintings. And thi. fI:ttnCN is narked in the Rajput paintings, whelher on W.J15 or in mi lli:.l.IUJ'Q.. On tM Q(her hand. wc 6.nd WIt in the Mughal Khool the European drecu of atmosphen:, relief, and chi:u'OKUro 2R: readily 2Uimilated. And Or. Stc112 Kranlrlll;:h oMcrves th:1.I in mmny 'Indian ICulptul'Cli the forms Kern 10 be struggling to emerge into the round ;and stand free fmm the rcliefs 10 which conditioll5 restricted them. h if wonh noting Ihat a .yllem of lnodclling 'n [wo tones, derived alm06t ocrtllinly from Indian example, is found in ecm.in (by 110 lII~n. all) of the ninth. century Buddhist pllmingl r«'O\'ered by Sir Aurcl Slnn from T un.hulIng (iCe, for in"~ntt. " J. X of Tlte T~'iSlI' &illalulS). But here, u lho in tome early Huddhut pictUfCS in Japan, Ihi5 'Y5lem is 011 tbe way 10 brroming ~ dcoo".t;"c con\'entioll, no longer really undcntood. It ~'U ~n clemenl that Chinese and J apanese p:tinting could nOI a.imibte and ended by rejeaing. There arc. of count, wnteT$ " '00 beliC"e Ibat the an of Aj~nla il tomehow derived (rom Hellenistic art; Ind Ihil mig ht be an expbllation of the lendencia wc have been nQ(ing. It i, nOt impoo;ible tllllt Hclleni"ic painting' were known 10 the Indian artiiU, but we do nOI know wh~t they were Ilke. If the wall.paintingl of tilt third «ntu ry, apparently by an arti" (mm Asia lI. linor, found:1I ,\ Iinn in Centnl Asia by Sir Au",l Stein, were typical of provincial Khooh in Ihe EII5Iem provincn of the bte Roman empire, there: wu liltle: there to impin: or stimulate. The l\linn fr(5(X)C5 depict Buddhist 5CCnes. The contOUrl 'lite h~vy. the f:.lcts have full. prominent eyes like the ponniu found in lombs in Egypt. I find no affinilY here with the anill1lltcd dnwing or the phyiical types of Ajanta. But the presence of foreign 10

, ....-'

INTR ODU CTIO N

IYpa, due 10 the pilgrim~gc 10 India of Huddhlsu from Centr al A-u,o uuide the nonh -..elllem borde r, in twO ~nling$ in mU. ~1tt1r., (P1:tIO X).'XVlll and XJ\."X IX) IndiCl.ltf • ,-,;naln Ilmount of interoounc: with fordg n landl: hence thtre QUly h;avc. hem acqll;linf~nce with finer n~plCl of f-Ie:l1eninie art, apab le at lC'tit of wmub ting. H ow this great school of Indian painting gr~ up wc do not know. Proba bly, like. ;all vigorouli Khools. il ~uld be. willing -and ClIger 10 borrow froln .n outsid e: i"elf what il rou1d readily lIb10rb and mimi late. BUI in thcit day. we te2iC ounelva; overm uch ova lbe qur$tion of origin'- The an of Ajanta is lboroughly Indian, whatt vcr Hinlul U$ it nuy have goc from without. Thil is ",h~t is really inlc.rt$ting, ill 'pccia l COllui~tion (I) Ihe art of th e wQr!d. And J'"haps. after 1111, the solution of the: problc.m wc. h:l\'e bten dil(Ul ting nll'ly be limpl y tbis, tMt l"diU! art. being tht art of an Aryan ~. h:u mo« n1Llun J affinity ",id, ut of Europe thall with thal of China and J apan. I cenai nl)' fc<:1 that Ihis is true of Ihe p-.>inlingll of Aj:ulla.

me

rv Mort IhU! onc wriu:r hH rcnur kcd on the Iikencu of the Ajanl:l ptinli ng. to early hllllan fn:KOel. r do nOl think that Ih" il nlUre than s gener al affinil)" wllleh would ihow al Ihe JilIme lime k'~nl poinll of contra$.!. The empirical pcnpcClive comm on 10 much Orien tal and the medieval art of Europe:, before the 'k'iclllifie' penpe njve of tM Rena iianee . ba.cd on indep enden t ,mdy ,lupp bntcd it; a 5Omc\\"hal timil u, lhollgh nOl idcntical. Icchlll ed procedure::; the reprck nlatio n ()( IWO or more A1coc.hT episode. of a ,"ory in the foliniC (lOnlpocoiuon; Ihe sp
a"

ut

~,

I NTRO D UCTION

&pt'cially in the nude. of Signorelli wC: fed this thrill of romanti c nnmgenesa in the naked {OnN of youth. Now turn to Ajanta. Hue i.e the nude body in every :utilUde and movement. BUI the foffiUi ha,'c not been studied lIpart and indoofl', each for itl own &ale, to be fitted ddibuately into I preconctivcd dwgn. These are forms seen in the fieldi, on the hlghWllY. by the river b2nk; familiar from infancy, litored in the unconscioul memory. To Ihe Indian Irti't the unclothed human body is no rare "ghl, it j, I pan of hie everycby lurroundings. And. no dwht, lhi, il a rC:lson why Ihe drawing of the body :u Aj:llllll has liuch delightful case and animation. The bClUliful ways of IlK- human body in it$lpontancoul gnturet and posn--and. untramlnel1ed by clOlhing, they 111' as bc::Jutiful u those of anirnall-are $Ciud with .1 sure eye and hand. There it no fOl"~h01lt:lling 100 bold for thex trtiw 10 attempt. and it i, done ",ilh a htnlightfon.'lIrd lou tery. at; if no hard problem were involved. The fOnT15 arc lithe and active, but ""ilh no muscub r development. There it :I noticeable gentleness in their mO\'ementl. When onc re:C1lli the fracoel to memory. it is the cJ:lraQrdinary grace and living quality of pa.nicular figure5 and groups which onc rememben with moM ple~urc:; Ihe SC11ed woman K(11 from bdaind, for inA1nCf' (PI. XI); Ihe group' OD Pl.tt(l xrn, XVll. XXXVll, to name but. few. We have M(ed above the Jymp~thetic drawing of animals and bird, in the frelCOCJ; a kind of drawing whieh seem. to OVo'e iu particular q\lwty not to acute ob&ervation fro", outside bur to a da:p scniC of kinship with non-human life. No doubt the belief. of Buddhism operated wongly here:. Acc;onling to the J41lllus, the Buddha lud in previauI CltIMenCQ beto a dttr. an elerhant,:I gOOk-who could tell what .pirit might not be cncloKd iD any animal or bird onc met f AI the same ti me the internl, u in Europe. centrel in humanity. There i5 none of that ,
•

INTRODUCTION

on the nrioul proflUion of nature. contrastS with the poverty of Creek. art In Ihu r"peel .nd Il12kn onc ihlnk. of Ihe inexhaustible Horal design of Chinll, 10 which Europe. from the ~nleenth century on"'';lrd., i, in 50 deep a debt. Yet dt( daign itwlf iJ quite different from Chinc:&e d~gn: the rendering of leaf. Rower, Inn fruil is more toJid. Ihe diJpoUlion nlUte !t3Iic. (n Chin;/. the 5lI111C dementi wQuld become 1$ m:llcrial, a bfC:l.lh of wind would t;C(:m 10 move them. creatiog tenda eurvCll and letting in mort' air and 'pace. Ag:un, the affiniti" of Ajanta5Cem more with Europe than with the Far Elst. And yet In the lIrt of Asia wh~t a ¥upremt' and central ~Mn Ajllnta hold~1 The gnnd Buddhi.t art of the T'lIng dynuty in China ....'" wimulated and inR uenced dircaJy from the Indian an of Ajanta and.doubdes,OLbcr monumenu.,now deStroyed. and not maely Ihrough the formulas of G:1ndh~ra. 111e "rum flov."S onwards thrOugh Coru to Jap;ln. h i, a great and fructifying "ream. ror it gh·CIl 10 the n.ca oi Ihe Far Eau tomo:thing which othtrwiie thcy would have lacked, bUl which they must unconM:iously h:lve desired Or Ihey wukJ not have accepted and :wimilated it to o:nlhusiutic:ally. Tho: very bnd&ape-palnti ng and 110wo:r_ painting of China and Japan ue tinged and perfumed ",i.rh Buddhi$1 thoughl and tbe Buddhut 'communion of lifc'. '\"hoevc:r "udics the an of Cbina :llId J:lp:l.n,!al WhalC'\'U point hI; bc-gins, i!2J"ti on a long road which willlnd him ultilllaldy to Ajama.

V h is a strange thing that nearly all the grC:l1 rdigioUl mrt of Ihe ",'Odd is tile work of taCC$ to whom Ihi5 rel igion "'>15 fon::ign, nO( native, in i" origin. To the p;linlerJ CIf EutOl'oC. Christ and tu. :lpoWcs are 6gurCll whom Ihey mUiI piCture with an effort of imagination. bcingl whose (;Inhly life and natural wrroundingl wefe perfectly unknown 10 them; and, therefore, while e:lothing the5e ACted 6gUfC5 in garmmu of convention, the painlCt10 have loCI them in a background familiar to I.hermdvu, amcmg pclWJll!: Of towoMolk of Iheir own lime:: Ihe Arno Valley or the foothilll of the t\lpI, Ihe FnmconilUl hill, or green putura of Fhndcn. It is not differo:"t "';Ih the Buddhiu paintc:n of Chin:a and Japan, The ral npcc:l of Sakyamuni, Ihe I.odi.an bndlOlpc, Indian habtu of life, are to them allO unknown. And in painting tile Buddhlll legertd they, like tho: llilli~n. and the r1eming.. hllve fallen back on wh:l! they know Ihemscl\'CIl, and ha,'c fWnted (u we 5Ce in the b:mner$ found 111 Tun.huIIDg) the episodcs of Ihe legend in Chinc:&e gUi6C, with ChinCllC t)'pct and Chinese dre,," Un like Chri$ti:an 3n, howe\'er, Buddhist an of the Mahliy:tna Il'11dltion gil'Q but a small 'pace to the legend. It CQnc:mtr:IlCS r:uoo on images of COfllemplation, images which the latU developmcnuoC Jl.lahiiy;\na Buddhum crUted and mulriplic:d bUI which Af'C' fordgn to the r.implicily of the primiti"e fai th. The gr(.'2tC61 worb of Buddh;.r painting in Chiml, the frcscoca of \\'\1 TlIo-tzll and hi' compeers and followcn., hne periwd. Bue the mUlerpio:cn of Buddhi$l painting and ICUlplurc in J apan arc unJurpa56cd in the relig.ioua vt of the world. 'The DC6CCIlt of Amida with Angels to \\'dcorne the Soul, of the lUnacd', a&eribcd to Eshin SO.:!!u, :;u Koya;ao--(o name one among many lublime cro:ation..-bu lhe po ....'C:f to carry the spectator in to in own allTlOlphere of inward and abounding ndianc:e and 5Cft:ne movenlt:nt :u of music, though he be 10lally ignoranl of the religiou5 conception. il embodica. These

INTRODIJ CTION

conception" wilh all their imagery lInd iymboliim, an: of lndi.:an origin. It is often Ulum~ thatlhe Buddhi51 art of the Fa.n.ha Eu t deri\"CII from Indil only through Glndhln, ... here Helknistic formula wu made to ~e for the exprcaion of l ndun ideas. But though the hybrid 1111 of Gandhlra has Icf, i" permanent lraees, like. • dCpOOt, (In the Buddhill art of China and ) ::IIJ"lIl , C5peci:illy in o:crtain Irrangenlcnll of drapery: yet il i5 indi5putllble. u J hilVe :llrc:ldy Aid, , h3t in the gre'~ tut timn of Buddhist 11ft in Chinl, when Chinese pilgrim. jOumey~ 10 all the uercd .ite$ and monuments in India and brought back imllgeli :md drawings,lI (rem conlllct with Indian an "'"35 made and a direct inlluenc:c C$l.3bliihcd. In the pe.inting. brought back fl'llm Tun-hUlling by Sir Aurel Stcin, rhoic 60 precious document. for the hiSlory of BuddhiR Irt in A5i:a, there ar<: figura which do not rcall Gandhin :It all. but which arc directly remini sc:cnr (If Ajantl; :rnd timil'r p.tralld$ ("all be adduced from sculpture. In Ihe Buddhist a~ of the Far Etit, !hen , we have an 2ft blUC'd on illdian painting and &culp t~, hut filtcred lhrough the imagination of another r3CC, :tnd trJn 'mutcd, etherealized in Ihc pr0cts5. It ill., perhllf»> e:lUcr fur II race to formulate its conc:cptioos of the OIher world of the .pirit by borrowing frolll outtt.idc, from the 5J'iritulll experienc:c of 1I different race; for thne almdy ue remo\·cd , for it, from lICluality and alro:.uly belong [0 'anotllc-r world' than their o.... n. But I ndi~ is the: home of rcligion~. moo wc- Clnnm conni\·c of hC"l" ~5 ~ing in thil Iphere from other peopl~ 11le images of fhe Bodhiuttvll$ in the nlarvdloU5 euly Buddhist painlings of J Apan arc i50latcd forms., Ken ai if e\"Okcd by the intensity of contemplation from the night of profound brooding in the mind; they appear, glowing .... ilh their own inward light, gnooUl and majestic lInd alone. But the grClllt Bodhi$.1l1V11 al 1\ 1:1nlll i. not, like Ih~ latc-r CfC2tion. of the Fanner EIi$t, remote 3nd detaebed from the world: he is in the ....orld, he il :l mun with conloOfI :tnd companions, with Ihe animation of the ....O
LAURENCE BI NYON

'"

•

EXPLANATORY TEXT GENERAL REMARKS

P/aUt I - IV

T

HE be-Juty and chann of Aj an ta are abtolutcly marve-lIou,: Ihe Buddhist monk could hav~ llelca:ed no IJ1Qrt appropriate piaCl:' for hil medil;l.tions.' Prccipitoui rodu, .omC'· timn ba.te, lomctimn clad with tht mo5t lu.xunant foliage, gurd a ~Ic of surpassing lovelinea. on the bo.om of whith the weam of [he W_gho,.. pursues a ioinuous Cl)UI'5C, through bush and bnmblc interlaced in .n impcnctl":l.blc mUl (PI,ue I). TIlt cliff, .... here the CIIvn commence, i, '250 fl. high. and within .,ighl of the c:avn ill a CUCldc of seven lClIpa (S41 KM,!/'J forming the lOUrCl:' of the Wwghora, The air rctOund. with the IWCCI notes of birtis, g r ca l flocb of whkh, among them putol' and blue pigeons being prominent, arc. iCen lIying about. ,\pes also 2ft abundant, and, tithough mischiC\'OUI at lima, Iheir nimble niOvemcnti and wild anti(:l please the eye. The hoot of the molor-ar and the; rush of VUiIOf$ have drinn IW~y the wild denizens or the ..-alley: but evcn now, when the: crops:are ripe:, herd, of dc:cr:are Iottn grazing in the field., aDd the hyena and his cornTlldes, wolf, bbclt. bear, lIInd IC:Op3rd. tome:-times also the lordly liger. felOn to their old haunts in tc:lIIrch of water and prey. 1n the ndghbourhood 5/ll.aJl hamkll $ull $urvivc:, where the nltihllll in olden d.y' went "i!.b his IInu-how1 to beg food. There: alp;! in "riking OOnlTllJl would have been Ken rip.; and rintf in rich c:Iothc:$, and jntc:lIcrJ'-w- witlt-sn the panphcmalia of mv l!YI richly capaOJQnc:d ekph!lllll and hones, Ind long trolin. or IIlnUtly d~ followeri, t»ming 10 pay homage {O the anchoritc:t or Ajanta. The common phltfoml of rd igioUl devotion would enable: the humble to lil down with the lordly, tlle crnrlSman ... ilh the JCholar, :IlId the pea$llll wi th the Slale5man. and il is lhir chequered pattern of human life which in i15 spiritual aapeet is liD adminbly portr.lycd on the "''alll or Ajallta. The eh:lflm of nuural scenery and ~nirnaI life m:adc ':In equaUy dc:cp imprcuion on the mind of tbe: anin, and inlpircd him to thC*: uqui6ite drolwingt of gttK, pncocb, '1ntelopn, bulll, and c:lephants in ~ried K'Cncs or man'eUoua bc:.uIY, among wood. :and groVCl, b.kel and pools. The human vein, running tll.mugh the binh-ltori« (Y4rill'u) Ind the legcnd5 of Ihe life of the Buddha, \ibra te. also in the frClCOCl of t\janl~, and it i, tlli5 f«ling-, Ihal the gods of Ajllnta were living human lives, which appeal • .o rnueh 10 the imagination of e\'ery class of people. The wa.1b, ceilingt. and pilla", of nurly all the twenty.nine caVCI were once :adomet1 with paintings; but the rerrllUIU :trc: now found in Ihinc:cn ta\'C5 only, the fr:tgmcntl which are of lpc:ci3l interest occurring in CavCl I, IX, X, XV I, and The m.llerial use.J for lhe$!: w(lndcrful paintings is remarkably limple-Iamp--bbck, red oehre, yellow ochre, 3nd

n,

1 ....... c:a .... ol A;mt..lI1ulfLl&tOd "" the hOI",!l-watom "\AI'Ar of the Nium's Dominion., fiti1"li.~ 1II.I1tt.....m of A.. canpbkl, ..hidl it the Mad-oquartM .... the ancI "- a brp 111\ the Ni......,', St.u Rail ...,..

.

tear_

oil......

xvn.

~1_ "'" ...lIabIe..,

thilowion. For Ajanta • ...,...,

roiI_,....>on if Jllgoon, OIl the ma1n 11....

01,,,,, C.LP,

Rail ...,. It . in Rn ... ~....,. and I... WTlJ'«VCfI miIItI-ah oflhc c:a.-a. 1'... "d",. """,.. _ M.,.

,

AJAN TA : EXPL Al'iAT OR Y TEX T

\:J.pis-luuli fonne d tM principal coloun.. The Ill" ~;dtntly camc fromo uuide the DcCCln, but in ~rly days it teem. to have been very popul ar, nccltlilcel of lapis.-Iuuli bead. having been frcque nlly found in the cairn. of the Dcccan. A layer of chy mixed wilh ritt-hutk. and gum wu first put on the rock, ilnd thtrcupon il teat of time, :and the fUnilCC' "IOU tmoO thtd with il trowel. The suhjc « wu then outlin ed in pinkish brown or b1ad:.. and IIfterwanU colou rs were fiDed in by wnhc s and detail accen tuated by woaD and dots. It i$ difficult 10 ,peak with :any precision :115 to the beginningli of Indian painti ng, but in the telXlnd centu ry A.O., u represented by lIOme of the freac:oct of Cave X ill t\janta~1 painling wu 11 fairly del'Clopcd art; h reached its ctlmu in Ihe fifth and lixtb centu ries. after which declin e 5Ct in, so fhllt by the eighth centu ry, as repre xnfed by lOme of the f(CiCO n at Ettor:l. it seems to have lost all ib gnce and vitllIiIY.' With the atinC lion of the Buddh i", rdigio n in the kVcn th centu ry the noble traditions of an Kem to pvc been destto Jcd. but althou gh painting in ia pri"'in e bclIuty ilnd vigou r never revive d, the u5ter an of tCulp turc. a few centu rio later, 11\':1$ Stirred into new life.. Aftu the wdde n down hlJ from the golde n .age of the Cupt u it is nol until the tcnth centu ry thll Hindu M:Ulpt Ufe riscll o :tny aniSti c &ignilic:tnce: and then it _UlllC S a differ ent chara cter, being ~ther an uprca ion 01 inner nrifc dun of pesoe, of violent emotion ilnd uubcr anoe of fedin g thin of rncntlll ealnl and 5piritual repose. Cave: I, which fonm the l ubjcCl of this p.an, is t'OnMdcrcd arcbit «1ura lly 10 be Ihe finelt 'Dilr4ra (mona stery) amon g the rock-h ewn templcs of lndi1l. Thi1 prai5C will OOt be <:emiidercd u engg mtal on 5C:Cing aod rejoicing in the exqui lile beaut y of the sculp tuu with which the cave ill adorn ed. The eXterior vie\\' of tile 1.ili4ra lw be:cn IOmCYI·hat marre d hy the dcslruct:ion of the porch which was the promi nent featur e of it (Pbte Ill). TIM: fa~c has 5C\'er:al banda of carvin g, among which the scenes frorn the life CIf the BuddhJl., the eleph antfights, and hunti ng expcditioru; have been dclinC2tcd \\;Ih t'Onmmm:tt e: ,kill. Thc plan of the cave compnKlI veran dah, S/'ClII hall, and dlfine . The ve:til" d.b it 6 .. ft. long, 9 ft. 3 in. wide,:ll1d • J ft. 6 in. high, and it lw a cell It tach e.nd. A lugc door in the cenlrc , wilh bet.utifutty cuyed j3milf and ent:llbblure,lC::ldl inlo the great hall. which ia 6.. ft. 5q~rcj iu trillng il luppo ncd by a colonnade of tWC:Dt y pilbn , leaving ailles of about 9 fl. 6 in. wide III round . At the I-clt of the hall ;,ao :ulI«h ambe r • 0 ft. by 9 fl., leadin g inlo the shrine , which i. 20 square appro xillutc 1y. There :lfl: fourteen celb in the interi or of the cave, four e:.ach in the right, left. and back aWc:5, and I~'O only in the fronl aide, olle at n t h cnd of it. The column. of the veran dah and the lull are moIt richly carve d, Ibe deyic a beillg in tiOlIlf: ClSel fantl5tit, but alW:I.y 5 clever ly cxeeu ted. The shafts have venic:a\ and .pinll lutin g. encird ed by btol tl of exqui site trattr y, and .he bales and capita l5 ue omlln cnted with

et.

,u,.,

, In hio Ctw T ... I ..... (Pw.. XXIX), FCfIIII- ut... But. tMre io .. M "f 1"'1 u.cripIion .. dIo: .,., bM IqItDdIlClOd _Iip ns ~ the..ny pointinp of ardI of c:...e X, the. any pJllr:U.;t in i~ art Cl
,

"" ......

•

•

PLATES I _rv

mythictl-animalJ, religious IIOries, and Ronl design. in great variety. The girth of the pillaR of the ball and fhe: intcnpacing between them may :appear to tOme a little out of proponion in reladon to the height of lhe criling. Again, the ornamentation of the Clpitala may s«m rather overdone; bUI the fondnca of the Indb.n for ornament i, proverbial, :lnd proftaion of dwor:l.lion i. nOl conlined to IhiJ cavr. A good cXlImplc of the anulic fancy of the 1lCU1pton of Ajanta il !he delineation of four deer on the c:apital of

11

cq,lu mn in Ihi.

ClIVC

(Pb.te X L 6). They have been 10 carved tha t

for the body of any of the four. The p
le",·"

majesty orfeding. T he group' of minor figures around the Buddha and the foli:.tged sculpture of Ihe doorway form III admil'3ble "Itiug, and show much imagiulIuon alld ingelluity 011 the pan of the ani,!. There is no inscription in this cave to fix itt age with precision; but from the decailti of arcltiteecure llld sa.dplun:: il may be aaigncd 10 the end of the fifth cenlury A.D.' The style of the painting i5 analogou5 10 thllt of the 5CUlpture, and the majority of the frc:lC.OC:l 5tCln to have been ueeuled ilionl,. lIfter the completion of me carving. Some paintillg5, however, like J>lua V and XXX VIll , item 10 be of a later period. (lixth edltury). betraying 115 they do sign. or dccadence u reganll.ccur.lq of dn.wing. All the walk Ilf)d cciling of the cave ....ere once adorned with painting, but o....ing 10 moisture. the depredation, of inteCt$ and bird., and in ran:: C\Se$ to the vand:.tliun of the .((-collcctor, the fracoes ne:.tr the: floor and the ceiling have be<:n lotal1y datroytd; thO$e which survive are in the middle of the walls o r on the ceiling, in "-,,r.lIed patchC$, n may be iCen in PI~ l e I V, which mOWi the intcrior of the cwc. In dC$Cl'ibing 'lIe (rt$COes 1 commence from the wallLO the left of the door, following the Buddhilt practice of penmbulating from left to right."

, 11Ic:

~;.,.,

01 ....... elm willl _

"""""'"

Iw.d a.r-tcd in 11111 ca..,ahoottlll!O". ca .... '" Chatocbcb, &11.1 11... gcowrat plan 01
001;-0.. ""C..... I, ..... inftrk_lD ... oI.wtrptriod, bear. ...... i_ripOoo. in &rl ~ ...~ ID IhcrIiRh <Xf>'wl)' ... 1>.

-

a T ..... pooo'.iantol."" f.-on tbe-.nlt ... t(~ ha.'~ bom _ked OIU an the K.,. Plan ~nc ,he

3

STORY OF THE PIGEON , SIB I JATAKA Plau v

,...,J _ ..,.]J" ""-.pi.

,.,Iu

TIIi,"I!j,., ;, 11. lit. Jr- eUk,lMw.. ,Iv ......... .., - ' tAt ...... lift I{ it. TM /N __ it "';;"..,? -'M IN ...., .,.. _."" tI,.. it it TT iA interesting 10 nOle that the delineation of Ihi' UOf)' al Ajantll ulliei with the earlier vemon of it in the Mlllt41tAtlriltll, wheretn lndn and Agnl iMUmt Ihe fornu of hawk 4nd pigc:Ofl for the Iri1o1 of Prince Sibi. 1 In Buddhist liler.lll1fC: .even.1 !;toria ut: related of the dmitablc: dUp
r,,,.d .. _"'-.

1

, I".k ,11"..............

...w -hint;; lih dYI.:

v_ P...-n, ""'..,. it /W- ""AnA t:I'or, the P~ P

Jndrt..... ApI, ... me die 1idd'1J 01 Prmo. !l.'lIi '" !M la"" 01 rich ......' Ill, _ \be ~ .... orlu. .... piP'- Th..1atter (Apil. pu~.,;J by IM elnd,.)....-h""" I_ion Pri_ Sibi'l pn>t«tion. TIle "'wlt "" ndt lawful I""T. but tM Prince f'<1lUa.. 'Ho dw pth lIP'" o:rcsI"~ mine, pr«mioR, .. ntO i .. ~.b;h "" obuIn pmlCC'lion when hi: io in need of;. hilnO<'l( 0 " "wk, In tIH: p«>pIc of Sibi', mloo. pi..,. bck.n: .""" .. NU aookaI with inscftd 01 ... piceooL' TM ....... oIrdt.m .hoc it it 1><>0 "'" u.w of hio ....,.~ 10 •• wdI 1111: Pri_ dM:n _,. dw ... will_ ~~.p.he ""'""" but he will &loto .",,111", ~Iot in hit pow« ",hich 'he ha ... k fIIA,lImwod. The bawk rcp!iot dw; iIc. o;aII udr o«qM "'foWl';" olthe P,;_'1 ...... 10311...,.1 in -'Ih' PT-" body. S,Di pdI, ........... u.;. ..Iuiwnoa. &t. _ _ prud..ad,and lhepipln iopl..."t ;".....,oc:de. "J1>e pn...:., CUll oIf. p;.... of Itio fIcNI thal &f'I"'*I" "nolO&". hoI, ;, it " ...lficia.t: b., on> .... ",Ill op,., hoI, IliU ,M No- ""'~ hii ..1t.hp a..It. fituJ1r. all

ro.-.

no.

k'"

11"",....... ...

"""'tal

,hi....

'0 ""'1"

•

into , " oca$c

IIt-dl 'The

!lw.> mu... !loa. dioi.... .,., """ _nee 10 !.ibi lhu f.". .he -:riMe 11.Il00 .-k "" -W he p.rilioI in 011 WOIIdo IhrouaJ-• .,.."";,,. to.,. ..... r..ll ....-... .... M"'~.t... V_ ~"'" (Inp.h to . . . . . . . by P. C. Jtor,l. pp. 596-<9 (CaIa<.... <WO . . . .

.n.;

_]IIu. CC-lend&,! "'•.1.

r.,

t'P- "solf,I.AwJItw

C
IIIItIIIa-

'%,

CA.on,I Pi,.ho. No. a, SOviDjla-C. MtG.J.-~."o t

-4.1 (p.

'1'"

of rho! uv.laUon). I In !he New VariorWII I'llidOfl J.be M",itMU ., 1'''';''' pp. J09-,Q ( 11111 imp •.....,.,), the \wIII!d cdi!ar ... ~UO«oJ II~ M..uIUr.... rcnion ol.hc ot
I

PLA1'E V

dlnacteristie of Indian ladia. T he face of the other bdy doa not mow 50 mud! feeling, but her anxiety is ~pp"(ent by the prnition of her hand on her brew. T o the right of thw: ladies a rlji is lining on 2 low throne, the back of which has a ,uppori ..... ith squue posts decorated ..... ith gtlld-work md jewdlery, in which blue Slonn arc prominent. T o mow that he is the hero of the 5tory, the :uilit has painted him of grealer 'l1:e than the other figures. The jl:wellery on his body has been shown with great care and taste. On the he:zd is an elaborate cro ..... n of ch~ gold work with jewd~ sc:t thtrcin; round !lIe ncck there is fim a ahorr necklace of lalie: pearls with 2 blue stOnc (53pphire) in the: middle; lInd then a lalie ne:ckla«; con5l~ting of ic:Ven.1 string' of pearls; the apparent mO\'emenl of the laner ;, highly anistic. He is also wMng daoonte armlets and wri,ueb let with jewe:b.. .t'Jlu: face of the: figure ha!; unforlUnatdy been dam:l.ged, but the pupil of the left eye:, lurned U lhougb looking [0 the side, is cxtremely interesting. The: left hand, twisted unn3tunlly. showS" 8urprisc:. as if the rij~ h:l.l be
s

•

AJANTA: T.XPLANATOll. Y TEXT

of this Mnd up to the wrUt is splendid. but th( dbow :and ann tlo not ~O\V a COrfC'eC knowledge of analOmy. With the other ham! the: rij.1 is holding the Iolring$ of one of the: wiles. Near the crOS$-~r of the iC:tla litands a red male figure. wClIring a long white OOIIt (..irgrPl~"), tightened by a girdl.;, three £old~ of whi.cb n(:lr the: ",,'llist-line may be: notica:l. In his left hand he holds a long Itick, and hili right h~nd i. ni$e.d in a pcculi:armanner, pe.rb:tps suggesting th:lt the vow must (or mU1i1 not) be fulfilled. Unfortunately the he:l.d is d:lmagcd,loO that we do not catch the correct exprdl5iOtl of the f.acc and C:I.l1nOI dcade wbetkr he is the ;h~wk' of the Itory, in a hunun fonn, demanding the fulfilment of tJle vow, or :t dr:voted scrv:mt of the rajl imploring him to ccfrnin from such an attibn.' The :lniY" delicate brusl!.li.J.'lcs, indicating the c:rea~ in the g:mnenl of thi$ figW'c. ate very intercw:ing. At the right hand of the' riji1 is a group of hl'e women. TIrn:e of mcm, in the upper row. arc &hawing grie'f at the deci.£ion of the fijii. Onc, v.ith ~ fair complaion. is bolting her breuti ~nother, of gr«nish complexion. hu r.likd her h~nd in ucilementi tbe hllndt of the thin.!, who hu a reddidl cornplexion, laYe been damaged. The remaining two. ~ted below, are of fair complexion. One: of them ha* a child in her lap, and her face: dlO"'" anxiety. TIlt' other is leaning on her right hand IInd looking h;tdt at her child, wbo is itaring at the mother, TIle child has been clulUSily drawn. nor do the female figUT$uh.ihit Iny .artiJtle&kill. Ahove the lc:~YeIi of the Pif6/tTc:e arc: u.own bills, from the: tOp of which tWO JOJiI are. watching willl int~ the drama which i, being enllClW below. The tre.llmenl of their plaited h:lir i5 good, ~d the features oflhdr f.acaaJ'eaho not devoid of dtiIl. Anheright-b:lOd cnd of the painting, aoovc the.calc:l, three figures (deities?) may be &een, IIo'lltciling the- pr0ceedings from conventional cloud" The figure in tlte front, who hid ILgrccniUl colnplcxion, i!i wearing a crown on his head. a pe·atl necklace round hi5 neck. and a red Jacket with dlon sle:C\~ on hi5 body. Behind him il a fe:m3le figure, only the head of which j, visible. The knot of her hair meriti close scrutiny. Behind her ;. :mothu male: figure: of dark-grt)' con'pl.:xion, wearing a crown. The faCC5 of this triO indicate no anxiety, but rJthcr exhibit amw.cmenl, and be:lr a $IfOng contrnt to the panic-6tricken group of women at che right hand of the rija. The drawing of that: three figurcs u good. Above thie scene we notice two lC:lted figures. onc with the filOt and ~cond lingel'$ or hif right hlUld raised and the other with folded hand., probably reprC'5Cnling a Pllcceka~ Buddha, in the tucbiog attitude, with his YOluy. Behind the:m arc tyoO allcnchnta, onc TlIale: and Ibe olher female.. both damaged. The rtd brw;h·lines , howing the join,s of t.he P~ccck:t_Buddhu'. IOC:8

ue

ar~/;,

TIle third episode of the: "ory has been ddineated below the fi1'$l two. Commencing It the ldt liidc. we notice first a male figure wearing a crown and holding ~ long itaff. Ae has long hair, which j, hanging loose on hi' .ooulden. The IowCl' Ilm of the body is d:llllaged. To the: right of thili figure there is a group of eight J08'1. The treatment of dIe hair of c.acb of the:m il different. Tht IWO at the extreme right hllve plaiti tied in knOll oyer the head; , AcconIins to ,~ 8irrllk~f"'. wnion (xi!. ~) o.hc .ijl ....doe.. orw: of 11. Io
r"""

6

Jen'aru, IhTOU&h ~ .lId r,,;prct All hio_n, rd'''';,. m.ndoi",1hal. Tbe 6f;urr.painted -1, tbueb'r. bo<~w!
PLATES v, VI ... &- VII ..

the h:Lir of the third is parted in the middle; the fourth has curli; the fifth h:u his hair combed back from we forchelld; the Mnh hu h.. hair welting 10 the IQlp; while me IeYcnth IltId eighth hll\'C their hiir did!cvdled. Three of them Mve red compluions, IWO ue .wnewkat fair, onc il grccnilh, another $ilvt.r-grcy, and anolher dark-grey. The head. of tbClC ht.rmit5 a.n: nicdy d".wn; but the limb&; 1I.n: not proportion1tt. For in"ancc, the hand of Ihe J081 u the utreme righ t corner i, nluch 100 long. The hnuh-1inet diowing the. panernl of their loin-doths may intelUl lhe uUsl. Between the group of the JOgll and ~ figure wtllring the tnJwn 1I.nd holding the staff the tracn of 11. pe:1c:odc dancing wilh joy may be lICen. The red plumes of the wings and lpolted fealher1 of the uil llre clear, but the body has been destroyed. 'me danee of the bird 1I.pp:a.rently $uggcst, the joy of the animal world u the ,ut«:Wuiteat of the rij;l. On the right bf the group of ftJill arc a U"C.e (banana'> with long 1taVe$ and Iio~~ and the traces of II building,I probably 11 Ancnwary. 11 appears that the p,fitan: bringing offering. of 1I0w«$ to the nnctuary u a token of cJlllnksgiving It the re50lution and merciful behaviour of the rijL~ The dr:l1Iring of ,hiJ subject on the whole our ap~r crude, but here and there tome bits may be: found 5howing exedltnt modelling, fine brushwork, and el«luigte colour-taste. For examr le, the liule dwarf at th.:- foot of the riji'S throne i511 perfect gem. Again, the general eifw of fhe picture ;, nat w.mting in dram.n ie qU1l.litics; the earnat ~nd rcaolulc altitude of the rajt, the impatlcut willing' of the ladles of the pa[1I.ee, and the Cllm but interested mood of the god. dlow great ingenuity on tbe put of the ani".

A PALACE SCENE , A LADY R EC LlNlNG ON A COUCH PlnUt VI " and Vll n r .... ~·td ;. ,...,d .."- ,At .... ' u, .. IN _"IN fr-t ",J" " ,AI Uft
-Hi-r-

""-zd, ,."~"ih.,,,uit ,....,w'dA.., .... ",. ..dwJ M-t HE Kene rcpracntS It l:ady (princess!) having :I, bath while redining On a couch. Her languid mood bet".y. that 'he il broken-heamd through grief. She may be identifiro with tlle wife of the Buddhll a' hi$ great 'Renunciation',or ..... ith Princea Sinlr, who feh deeply grieved 11 f,lllhljllnllka'l becoming an uoetic and ultioutcly herself renounced the world.' The l:ady iI resting on the couch ....oith a pillow under her h~ and another under her left

T

, Abo¥e I h~ b.n&na (/) .."" II>e lower pan ofihc bad1 _. femaLo Iif,o,e -1 loo tun. Near her rictn ...... !he Io;and of ~ ligun: ....., aIoo loo ,DQer iwId be: huIdo • ..-, ......lIIins ihc IMJ Cbr- poc) of.he praem J If ihc w, .. idontilitotion .. _«
ob.,.

.he'!_n (StnIT) ,urn t.ck, hu.... _ •••j. V- "'"", the roool, 10 he tut u,,"Jk ofit r.hd ..;., ... ltc:r, "Sce, SlnII, thiootali: canDhe bc.u hrf IIrtao1 wn"

"'M.

bcx"

IIo.nds and fell ......1ctt.. 11 .. miniowt_.onoJ tprin~ ho:t bad, wilb wuer....t rulobod b(r /wId.and fm,t.nt! At . . "'" ,...... <,o!~. c.-.II, 7Md.., oi. Jl.

7

/r,JAN T A: EX PT./r,NATOR Y TE XT

foot. H et head i5 incline4 !0W2rt'b the righ t aide, but the legs, IIlthough folded up. are not indincd in th~t direction, 10 then: is a contortion in the body netT the ~M-line. T o; -Europe~ n this po6C mlly look inelegant, but the Ajan t2 ;lIut~ rejoiced in 'howing t uch pos«; evidently they aImed at producing by them an impression of 8uppknt'i5. The treatmen t of the figure in olher ItIipcctS is excellcllI; the IC81 hne b«n purposely dr.awn thin to ,hcaw IlIte she hu been pining (or love. Again, the exp reu.ion o( dIe nee u wt, lInd the. pale brown lin t of the body indiCllIQ her anaemic condition. A bir attendam is pouring water from a pot on her bead 2nd another on hu legs. Between Ihe~ two figUfC:5 thue is a third attendant, Wh06C head ii de$l.royed , bu t the bu" . dad in a tight bodice of white material, if in tact. T his atteod:.mt hold6 a nick in ha right Mnd. A male "rvOnt, with a pitcher on hi. shoulde r, is 112nding at the door of the chllmber. At the right 5ide of the bed 2 mllid with a Ay.whiik is si tting and another is looking in an unxiow manner at the lady. The figure of the lauer mliid is dQtn)ycd and OIUY the head it illllla, bUI it, delineation shows mUlerl y lkill. The re was a third maid on t hi. liide of the bed, wit06C" grey hand removing the pcarl--$Iring from the n«k of the Illdy may be: tnced. The pD5e of the maid who is; pouring W:ltt' r OD the leg$ of the Luly is U IrCDlcly gracdul, although the trealment of the waist and the bUll may be IXInsidc-red u tom_hat c:nggeratcd. but enggeralion of tht'sc pam is a common fault o( lndian utisu, KUlp tot, paintc:T, and poet alike. The wiped materi al of the cushions on the. co uch of the lady, :and the floral dnign of the clOth of the bodice of the attendan t with the fly . wrnlik. will inlerdl the studt'nl of old Indian texlil",

A BHIKSHU AT A PALACE DOOR

Plam VI6, VU 6, nnd Vlli. TAt udiHI ;, ,.Illd ... ,'" _11 of fAt fr- f1i#I. iotIw•• 'M ...........- " _ , . IM 14' /If /I.. ...;., ,.,~. fl i, ~,,,___ d #
_

,,"', ..

T

H E pa.inung appuently represent.- Il scene in the life of the Buddha. or in one of hi, prc· viou$ births, ....'hen -u a mendicalll he goes to the door of a pa!al;e. pcrhapl"rnJ own, the human love for his wife attracting him there while hc i$ rC:50lule in renouncing the wo rld. The enet identification of Ihe iubject maybe unccnain; but it h21 been dc1ind lcd wi th .uch perfect skill and artiuic feding ahat the help of a tel.t il not nC«66:lry to appreciate ia; merits. At the threshold we KC a BAil/Au, divinely calm and serene, with ex-quisite fealures and nlO&t graceful poiC-; the head with curled black hait is &Iighdy tilted, and the beautifull y ,no,dded righ l h:lnd raised as if to cxpl'ain by gesturc:s of che fingcn the &ollllion of some myuery. The figure if dres5(d in :I pure white: robe; in his left hand he holm a Aail', and string. of beads adorn his neck and wrUl5-the complete 2CCOU' TCmen t of a BAil/nu.J J

TIu: doorwa7 in .. hich I'" RIUI,.. M1WXIi", it ""Ut in the: IfIobalc ",pc.,.d it ,,_..... with a ~imcnl of

Dr>.YidJo,n 111""-

8

nATES vu, VIII, VIII &. IX Proceeding fanh .. r from th .. door, we notice a pill:m:d O)rridor in which a IfI:I.le 5ervanl it; :lII.Jlouncing the arrival of the hcnuit. Tb.. tenIC uprcaion of his face. and the lips of the lingen of his righl hand all joined together, indicate that he ia imprew:d by the demeanour of the B"iklllu. This 5erv:lnl is woring a long Cl):It with full ,Icevet. The doch of the coat bC'.m an ebhor.uc design, the p;tlleml being treated in bands. Farther up in the corridor i, a mai tUc:rnlll t bringing to the helDJ..it otreringli or food on a tny. The "yle in which she hu dressed her hair, . knollixed aVoTYon the side of me head, is interesting. ~ing beyond the corridor. lIIOC enter a pavilion. in which. princQI is occupied in oon· venation with a maid of honour. The neatment of the hair of the princea and the maid i5 extremel y effective IlIId ihows a highly developed coiffure. The maid js wearing a wbile full...lceved jaekct, while Ihe bU5t of the princes5 'ppean 10 be bale, 15 she is wr::aring thin raiment. At Ajama prinC1:1$(:5 and bdia of poUtiOll :ltc:: often delinnted wearing a1rooa U'afnJnl"enl .ppuc:1 (g'uu),' while maid6el'V:inn IlIId women of middle d~ ha\'e their bUllS properly covered by t'06!umes 3nd materials of nrwul daigns. Behind the pOnceSll tbere are twO more allendanu, onc of a pinkWt complexion and the other of greyiJh--the. coi(J'ure of the Jailer bdng irllernting. All the women of this Jlicture have circular marh on their forehads, resembling Ihe flU or 6i1,ii put Ihere by Hindu ,",'Omen atlhe prucnl day.The expreaion on the face of the princesa much pathos, ~nd to bring it ;nlo further rclief che .rein hall ~cccnlU~ted ,uch of her fealurC$aI; indicue her youth: Ihe fully developed b~t,lhe dangling locks, theahon and tightkirt1e,llIId!.he bewitching jewellery.' The ooloursc;heme of the pie!:ure alto &ha",,, refined taUe, the 11h-gre)'" complexion of rhe 811ihlul bdng contl'Uted with the gofden·brown of the prince.5ll, and the dark red of the floor pllted in juxtapotilion 10 the turquoise blue of the b:ickground. The whole oompolilion much imagination and arti5tic feeling, .nd rep1Ul:nts the high-water mark of the Ajanta Kbool.

,how.

.ho_

A PALACE SCENE, CONTINUATION OF THE PREVIOUS STORY Plate IX TA, ..#jot' is,..wd .. ,1II wJJ if'lot fr-I.nu,."..,. .At...u J-",lot lift if/M.-u. ,.,rr.IIU. H E whjee!: ~ nO( b«n identilied with certainty,' but it il a oontinwtion of thal of Ihe. previous painting (Plate VID 41'), al if appare.nl rrom its ~tu'lion dose 10 the Jauer and from th e rt'$tmblance in the 11yla of toilette and O)!itume. to thOM: of the figures of ,be

T

--

w. """' " (,. m. .....trrif.!

, Dacx:a Kt"tOl yudo 01

ill

line m...ur.. N line th.. ODUld be ~ cb_", •

.~ (Iod), ....... in .he uppo. po.n 01 m. _, and.Mil1 in WUooIln __ pom qf InoIQ. • ""'" locnnilS(S~l of India _ tMi. botIi.....itlt ..... primarilytoconcallhc oItbti.M.i... a..n ...

bcow.,

• Th~ rnI ocb"' .... uJIron 1'I"Ilp.... dWl<. I Two dilFffl.n. kindJ 0( .....rinp _ ID be "",iced In to prntm ~"" (,_ dinwic efcao (nom wltid! their .hi> pUnli.'I' 0110" 01 th..... ~ whetl-pattnn worn on dothin& ""'" ""'I!~"""'toc lit=. • "Tho _ ..... III lItioqodtoJe 01 ~ Mah.lj.nah m. Lobe, ...do • it worn !or r"fJ' of tile. daYI and tM other .. om&Il goId.win: ciod« .id! ~n. ..,,"" J.la.b: ' Hori"' ....... thio lira rcooho.tion (10 ~.n

""'''''It

,

tan.,

,m.:.

•

AJANTA: t XPL ANA T ORY TENT

previous Slory. T o de6(:ribe the painting: U wc commence from the left $ide, fil'1t w C$« the figure of Agnndce or general (?), wc:uing rich jewe1kry,1 and in a slll t~ of gTC:Ilt excitement, his eyebrowl niK:d, tyc;$ bulging ou t, teem e1:poKd. and right hand Stretched out witl! the palm open, indicating th~1 he w:lnli IQ Ay MlmCthing 10 rdic:ve his fecli ngs in viC'A of the gravity of the sitWltion. The bearing of the general has cut gloom and Q)nstern:uion on the bc::lutiful inm:ilCf; of Wc pilice: TWO maidll of honour, who are &itling in I"~ corridor where he hu appe:tr«i, look lit onc ·';lII1other in dCC'p Rdncu. l1\ar faces hllve been p:u1ly deufO),cd. but the fe:uurn; which have rcm:&incd intact are cxltemdy iWttl. The had jw;t beWw the gcnera]'/j hand ill particularly groceful, :llthough th~ eya are Klrncwhat con:nmional j the "nu,," of Ajama evidently aimcd producing a lI\edi tlltive, dreamy, ~pirilUlll clfect in thcir crcllions, and therefore they h:we painted tb~ eya almost half dosed. l11e c:oitfure
"I

....:etic:), Mah4janm tn..,~ mealy.and: ~;'" .lmc door uf ~ pabc.<, OM. IOr tommancltt·;....mic( ~Id a.iJ '0 him, '"0 G~ (rom w. d., (<>tth Ji>t IM life: of. lIu
h.

'0

, Ife h... ~(JItim.(Itt hi. heod,..,d. mlluor

peal" &1Id o.t.pphlm and. pd dWn rvunoJ hio II«k.

He

It.a.q weann, FkI bongIn{I"Y.lt) MII ))Qll and appIlin: armIcto (~HnN,). TIlt pM dn:p of f.hcGlftk .......tn(lhtt.l1l:itn.Pr.m,AIU... ..,d nmdtm I'oim...,) .......,ed on Ihe k" loutl of Iht ri~~ Godl,..rt, h.diounce from Aj.• ",. being ne;o..l.y. hundml miln. It .. ,tin noted ror ill Itroada.

PLATES IX &

x.

for~fingcr under het ehin. The figure: of chis woman il che plum~t among the group, but uill it d~ nOt approach the proponioDi or the cte:uionl of Rubens. At the wc/.: of thiti maid ther~ is 3nother, whOit' h~d hn betn partially deltro)·td. Below IJle l~u tWO figum q hud

nUlY be noriced. but wc frc:sco being danuged the bod)' of the figure h:u been effilccd. N«r lhi, bc::ul the chequered pauem of a gannent is intc:m;ting. All the: ladics in the painting lu.ve the tdigiol.1J Of dc:ooruive circular lIlark (JiU). Again •• deep I!l3UVC or bllck wreak between their lipt indic:ueI me IlK' of Milll,' ....ith which Ladia in Indi, paint their guml1lnd lips a an enhancement of beauty. The:mill who has painted Ihi, 'ubjea i. the: S:.Jllle .... ho has dc1int:lttd the previou. onc:. 'A Bhibhu :11 a Pabce Door' (ll1ale Vl6l The nory SCC'IllI 10 have been continued on the wall fa"her 10 the right, although thc: fresco, being much damaged, h:l.i nOI been reproduced iD (b.- Phu:s. Pour figures. however, may be: w:ll!e our; onc of thcm i. a WOm:l.n, sitting on the ground. and het hand il held by another who il wnding. lllC'fC::IIfe tnCCi of the figure of a chief (1). behind whom there is • female t'+"uri'-bcarcr. This ~ne ha been 5Cpanted from the previOU$ one by a mlumn alld w:1I1. in the: umc way a5the corridor in which the genc:ntl is wanding ha beell 5Cpar.ncd rrom the pnllcns', pnilion. In th<: partition-wallJ on dthCT .ide ~re opening. with grill-.... ork or triangular panem, and bn" watcr-veacls placed in the middle of l!tem mlly bc 5CCn. nle deiign of the grills bctok<:ns .... oodwork.

A PALACE SCENE, NOT IDENTIFIED PJaJe XII

.-Id. -'

TM, 11_ if ,..;."',, IN lift ",Ill' '" ,At fr_.mu. TNtm.. if _.\ 111'1" '"'- - ' ....--.,,,_ ,At fr_u ....., kM ':1 At" SyttI A/r,uJ ... ;, ,..,.,"'-" Atrt. TN """In.. ~ Hm., Tt';>'" ,. ,it- tit"""";" of I/o, .-Jlm 11_" /N ,.d IUI/.

,.,.,..., n, /_"

..,,!W "tAt ""JII. ,..,"""",,.,

".ttI

N the c:.xtr<:tll<: left of the painting is a d.rk-sr.:cn gllte\\'a)'. in which a blurred palebtov,'lI figure may be tU)lked. Beyond thil gate \\'e Ke a ponico. in which a male figure with ugly fea!Urts i. prominent.. Below him il a female dwarf, with a 10llg ttunk ~d Jban legl, carrying a mly of IW«U or Bnwen. OO6C to IhtlC two deformed figurQ i5 a young maid of ulnordin:l.ry elegance and beauty holding a dlll/ri. Iler body i, poised in 11 mou gnceful manner, the curve of the ...."1I.iu-tin( :l.nd the pOIitiOni of the hand. being ulrtmcly lIniuic. It is intercsting 10 note Ihat the painter ha$ aimed al fnh~cing the artiltic effect by introducing oollullc!ictory elements ill his compoliition-grouping 11 m05t handsome figun: ~de by lide with ugly and "uraed crelllures. Beyond Ihe portico j, the royal chambct, .... here a N4gr king and queen ue seated on a , A ~ mak 01 rdJo- "'1~ pit....." Wu.: I.,n oomctunoI they ..... _ ........., w..p.. T'My .....', Yiuiol, """ om." iI.....dio"... ..........J 10) . . . . bw ""Ofthr of bcu.t; propirialtd, .".) th.ei~

O

•

Ih.dlint:

.am.,

NfZ~ __ (pin .. in an • -110, pooIt. Tbq~I,,,,,,,,,,,,ln Ihc lMnofa~,

....a1Ua.

ro.

~ indinatioa io tile _Ir..,., 01 ....... ~!, ill ~...;m Ihti. fOWn 0\'''' tk dnnml of w,*,.

"

AJAl'ITA: r.XPl.AI\'A1·OIlY TEXT

throne, and a mw.ical perfonn1ncc with dancc is goin!on in fronl of than. To indic:atctl..1 lIe is a N4Stl king, the an", has painted a halo Df Jtven C'Obn hood. over head, whik the queen', head I1 o"enhadowcd by one hood only. The (euuttl of the king are refined, and among his rich jewellery the dnign of the gold chain, worn between a pearl and Apphin: necklace and long i1ring' of I:r.tge pearlr., is very effective. TIle featum ~f the- queen 'lIT not so beautiful. but het f'O'C is alremely gl'2OOul, the curvCi and long (WCCP' of b....-lina intermingling i.n Fm rhythm. The attitude of the lUng and queen bc:tnys dalliana. but thil, according to the nOtiomof thOle day., ttCmllO have bem pcmu.ible iD dwnbat where only private attcndsnll could be prnenr.. The deUne~tion of ....-uman in KenH when dK ~ppean in publie is on tIle contnlry extremely moddl; ror inulIllO; in the ,ubjea, 'Padmap3J}i' (PI.te XXIV). the dark prinoe. tu. tumal her (a(lr: to onc ';'de, j\m .. an lJtCIiuI woman o( the prestnt d~y ....ill do .... hen appe:ttiog in puhlie. Behind the queen is ~ female dsncer of pink complexion whoce: feat\lm, in the dfon of keeping rhyulm, dlOw main; the eya arc bulging 2nd cyebr<m'1 raUcd. The JIOIition of her h:lnd, m:ly apj>C:lt som..,.....hat Ulr.lordlnary, but J.ndUn dll.ncing-girltoften UlUnte IUCb auiludcs. Ck.e 10 this danccr is a female figure of greyish rompluion. c:anJing a pair of 5l1lallwcb in hC'f right hand and a tn-y of boc:n in her left. TIle principal dancr:r i5 in the middle, near the f«1 of the quem. She hu r&ised one hand and one fOOl aDd poised henelf in a ffi()Ojl charming manner. The df"1.wtng con\/c~ lightnea of movement combined with anutic feeling. She;' dtcaed in a jacket or blue lilk (f); the blue oolour i. extn:mdy fresh. Her- bangle.; and milflln: have Illso been plintcd ..... ith great cue. Above Ihil dancer jj: 11 musician with a re.ddi5h COfnplezion. hotding a pair of cymbab iD her hands. Behind her at some diua.na' it the figun: of a male. 5CtVlInt who i5 watching tbe dance from behind a pilbr. The tense exprel5ion of hi. face: indi(:llltl thou he: jj: cI06Cly follo~1ng the: steps of the dan«rL To the right of the. muaici:lD holding the c:ymbdr., between the pillan, Ihree mo~ figures truly be seen, the n'IOlI prominent of them being that .hown ~uing. She is ....earing a long robe of bluc;rripai ailk, figutes of OZCD atld ducks apparing in the tature of the: blue wipes. The Iionl daign of the·dOth of the: bodice of the woman who i. $landing althe. right hand of tbe ilIncr figure is equally 1ntcrCiting. It U: a thin bmcade.like Benartl material. The third figure of this group is a WOIrulll "ilh a pale OtllJIpla~. who while 1II":l.lching the dancer tw lwiued her finger in a c:urioU$ VI.":l.Y' The epilOde seems to have bcc:n continued Mber ID the. righl, but, the fraco being datrulged,only a fcwfigure.;can benu.de out. In the middle.was 10 throne.oulyoDe foot of which can now be Inced. Ne~r the throne jj: a woman of red complezion who hu elaborate Oroll· menu round her wriSl. The manner in whir:h is looking up al the figure on the. Ulf'OfIC (oow dwroyed) if cztn:mc:ly IWeet. To thc.lc.ft of the throne the remnllnUl of sevcr.ll other 6gure5 may be tneed. rlf$f. there it a head. the features of which .bow grear e.xcitc:ment-

Iu..

me

In 8r;&/]m.anicall~.....t B~oldhlol""'" dI.,. •• ow tieHne..cd. andIorittsand k
"

VOId" tlNii.... $.,.."...1... (1~a6), <)f Mori.... Winw· ";h" "" ~W, ,;" .JtIrJtIlMr Srlt/-v"."JI, Mitttil. c-JJd.fi;" H'i.... ...... ""il (IJ8I~

tbr...,.,..

•

PLA.TES X,. & X I

teeth exposed. eye. bulging, and eyebrows raised. Oo.e to thi8 is anmher hnd belonging to a figure with a grey complcl:ion. Above Iht5C heads i. the figurc of a dancing-girl, who hu pbc:cd her hand on her hip in the app~'ed fuhion of the Indian dancing-girll.. Her complel:ion if ~e.brown: and although 5l"oe is ....onring cI~borue jewellery round ho- waiu and neck, her rument is of the thinnot muai~1 (g~u:cc!), the tuturc of whit;h hu been indicated by fine red btwh-lines. Cbe 10 the d~ncer is the figure of all 3IIUldlUlt, who is watching the performance from behind a pillar. The general ityle of this pllinting be:l.rs a great re5C'I1lbl:mCC' to that of the two previoUl JeCnes (P1atn VI ; and I X), and it ...."Guki appear that 1111 th=- frffi:OCS ..... ere painral by the "me arti~1. The feligio .... circubr mariti (PI4) which arc: rm: special feature of the female figuru of Pbles VI ; and IX appear in this $Ubjc:ct also, although they vc oot to be found in any Other fresco at Ajanta.

STORY OF THE SERP ENT , SANKBAPALA JATAKA Plate Xl T_ .. ~,., U MM""'" ... ,Iv .1 ~
T

HE unry agfcawith the 1410101 :md h:ll been depicted in three pans. In the tint part, painted in the left tnp corner, wc lee the King of Magadh .... in an ascetic', robe, impaning inW'Uction, in the Law to SlInkhaplla. the N48Q king. The figure of the ascetic king h.u been desuoyed, but that of Stonkhapila if fairly inbct,' and he is tha..... n sining on a 10..... cushion, whilt: another i£ ptacN Ixhind hili back. He R wearing an elaborate cro .....n 3nd rich je..... ellery. 3rnong which pearl5 and sapphira are prominent. The uprcaion of hi, face il one of great devotion IInd hmnililYI ..... hich ~re further demon~tnled by hi, folded h3nd~ Behind the N48Q is 11 prinCCSl of gre:1I ekglIRct--although her figure is tOO much oblitentcd for the full appreciation or her charm, She is listening with interest to the sermon of the uettic. The "yle or waring !he peart-ltring. (A4r) on the sida; and back i5 rnaracteciuie and resemblQ"

_!tom. R.aiof:r.hL

, The 111.... ..... '" fallowo,

'Onc:....,.,... n-

tb.; nothinc ... doat: .,. ,..... tba. __,.. On -idn& doe the _ of. "i"l of M~ said ID tIInNot-, ..,.......,. _ .Irto."'C _ Wbon!he iIoJhilaltTfo """" of caupt 00 trtudo ",:a roun& liunl, ..., willlril! and at t .... ... hii Wher,a<\opIi", 'k ... Ii,""" I..... mi~ "'" IWk ...u.-ki",,~ Thmalin they ~ Sato:k~ and and lino! '" an ~ TM",. dI~r 01 \lie Nit.., pio:tdnt hit lIo.nill will, to .....'1' ...." i........ " eold Inll SIIIkl\splb by """"', Yititcd the..:o:ric: ""'" time '" timt dngtd hi", ~ AI ,kM time ... Iandownrr, ....1Ira, _ and n:o:ind in lAw. TIle ~....., with fin: h~""'~ ~ '" lhat di....m.... rioirinch. fadw:., .. w~"';Ih.!up He _ _ dwl! by lhe hu.,tu·• ....:tucwnm, oIWUhe _ 10 ",ItCh omd: by die ~ of u.., loo';'. plI& and De 0iItn'0d 10 dtaa coirII, ~ will! ......
IIodlUaurn who ",I'" in

i..crvroo..

,.,...,w,.....

J>lla. budn ..... ""'ofti..... hegrtWPd oflhel.... u'J'olh. life in !he: Nip......w.. and by w.yolpmitmat he !or on ,he rupolaa anl-hill_yin&, ~Let thew tlw...m "'rlkia and .... Ion Ihaa, I ..r,....u it alt~ So _ So6kbo:p1'o Io.r~,. p.ny of hwlccn .bo /ood...:son.!

-r, __

"rpnl' u..,.

,;...moy;,.

delay. ~ fOrTh with •

,.eN retinue '" ... deoo", All...

'" hit abode and DO
sin...'

eow.u.

up. clt., . , 8.~1. ~ 'flI,m •• lIaIoofthe a....:.- ofJen:QlklpdllSOO'u hill hc:a&L

'3

AJANT", £XPLANA,OItY TtxT

Ihe "yle of wearing 8o~er-t;lrinp (6tuJJJn.1 in lndi~ up 10 the pmertt time. Behind the princea is ~ m~id of red rompluion. but her ligure hili bc,:n to a co05idet'llblc degrtt destroyed. 50 that a portion of the buu alone ~"(Po>. be. traced. Below the princxu; i$ a dwarf, ~ho is bringing a may of 80wrn to the tiCt1ic a, an offering. Hi. long lrunk, ,hon bandy kg" Im) wild upra&lOfl introduce ~ .mo-cam.ic effect into the picture. The artiSli of Aj.mla oflen bring in such ch:ttttten 10 toften the Olherv.'ik religious aunerity of the wbjeet, TIIC lnoA notable figure in thia group, however. ji the woman whn i. Piling in fronl of the 'liCetic. Her pose utUbilS greal &kill md obacrva.tion, She I, fquuting. having ~ het lcg" and leaning on the left hmd, ....·hieb is pbccd on the ground, while 'II'ilh the right, which is curved, iile is luppor1ing her head in a graceful manner. Although the £rCKO is tQI1lewhat indi"inct and pmly dCMroycd, the. masH-rly drawing of the arti$t In indiating the curv~ of the body can "ill be wruircd. She is wearing a d«Vdcu,Iow-flWt
'.

A PALACE SCENE , DANCING GIR LS , MAR~JA N AKAJATAKA (I) PInta XIl tlnJ xrn

--
Tilt ,,,~,,j iI ,...1111 .. ,!v l.orl ..:.JI" flu ,.[, . "11,.,...." tA, m-' "d. TN (_11ft;.,., MI M ~,~ ;,. - " " - ; .., llu zr-1
T

o the righ t of the S.r;tkhap;U;t J4tab thl' whole of the w:all of the left aide ii paim«l

wi th soc:na which arc: aualogous to some epiiOdQ of the M.Mp-nab J ~I.k:I. To l'I;t. the present subject may be identified with the epiiOde in which Sh'lllI, trying 10 di!l8uadc: Mahajanaka from hit rttol\'( to renounce: the world , invitd d~ncing-girb.' WC)CI' a rljl si!!ing with a princcu of dawing beauty in .. magnifiomt paVIlion where all the IUlfuries of life b:l.\'c bttn lIrnngcd to aUl'2ct him. The jewellery on the rijl'. oYo'fl body i, of the richeA

and choiccn patlern, the beautiful crown , me exquUite ear*rinv. the lovely pnrl~np.· the armten, the wrist·bandfo, the bangl«. all Kl wilh germ of the plical ray and worn in nlOlit artHtie (nhion. TIle pose. nprusiQn, jeweUery, :md l'lIimcnt of the queen are ab&oIu tely be..... itehing. She ii attired in the thinllC$C :apparel. to tb:,u the graceful CODrol,l r of her degant form nn be scen. The jewclltry iJ ~lnlQ6( ingeniold1y acr.tycd. bringing into relief the iupple- limb&. 11K exprellion of Ihe bee it redolent of love, ..... hielt feeling is further lICttnl\laled by 1I coqucttilh p<>SC; her right elbow ii rcsting on the- thigh of the r~jl. wbile her kft lund lOuchct in a graceful manner hiJ; foot. T he lower put of her body il ~U'ctched below Ihe throne, and the .niM hu taken delight in thit posot: to ,how the- long Iweepi of hi. brulh~line-.

Dapite Ihi. emrnuing en\'imnmcnt, the fiji" hee- indic;:;ltes a aim, medirath'c mood; fKo is \In,;ha ken in hi, Te50lve .nd convinced of the InniJlorinca of the world-the gQ!ura of hi, right hand cxp rcWng the wt idu. At the bldt of the fiji. outside the JHlvilion, it a female rA...Uri-bea«'r, the expreaion of .....ho5c fllce indic:aICf anxiety. Below the (M.r1~bearer a bdy of rink i~ sitting on a cushion and "~Iching with deep interest the attitude of the riji. She may be the mother of Mahijan:th or Srvall. The drawiog of this ligure ShoW5 gre1lt ,kill. The check paucrn (of bbd: and while kJuares) of the cloth of the cushion i&inu:resting ; it is a silken MulT lpt'daUy 1I1111'1uf:tcturcd for cl,lih ion~ 10 the royal p2\,ilion. belid~ Ihe ~ji "/Id the queen, 'lire four ligures, two female attend:anu "lInding behind the throne and ' ....0 dwarf& tc:Ited in front of it. Of che fell1:ale attendants., one is of a grey cull1pluion; die hold, a dRSln :and ii u:tnding behind the queen. The other maid i6 of It rinltidl cump1exion. and 'he is holding a conch-shapcd tray of flOwers. T he , Tbt no'l' it namucd in the 14,,,,. .. fuI"",,,~ "l'l>e him o4noon.w ~ hi", _, w.hinlinc that it '1Il<<0l SI.7JJ ...., .... ...00 "~!ld.mI ClDnCUII Pxuka-B...scn..O>ftMI"" t-OI('I u... .in&oIIe nwk Ihrm, .. " it. 1on; ttme, four rutl -tbo, tint.: '"' loot & -tun,"", ....! smad ...............; """ dw: &dhiootm. bt-hdd tIw li"ll (Mah:lj..... b~ Wc oIWl .... him co-do.'i camr; ........ 1""" the f-Ioer.' c-dI, op. dt., vi. 30- 1• .... 1'l" .u ..Jom .."...J put forth )")'If VJI«'f ..K! • Tile pearl cl..". of ,he ~, ....." k"'otm the bbnlli!.hm..m. &l1d Irr .0 ....1&I1&Ic b,,,, j " 11", snaml oi \a,&\" "'in&t 01 poub {..Ill) &lod ,he oonall nffillel (u,JM), ~." A.cm.lnl1or them aU ..ra)"
_&('aIIms

.,.,.rwI•

,,.

•

AJANTA' t; XPl..ANATORY TEXT

errreaion of her race and lM treatment of her fingen.bow comidO'llbl.e dlOUghl and carton the pan of the anisl. The figurl!t of the d ..... . rf. are delightful. panicululy the onc alting bcltJW the queen. Hi. sweet fe:lturef and long curly hair arc abtolutcly charming. Thc JIO'C of the body and the treatmo:nt of the fingt'fl 1110 uhibit much anime feeling . Hi, cornplwon i5 pinlWh, but tho: palm of hu. hand hu been ptintcd darker (greyish). At Ajantl palma snd toIcs are fre In the nurow corridor, in front of the Jlllviiion, four female figun:s M\'C been dclint2u:d. T WQ of them, "anding by the pillan, ueeng'lgcd in a thN-liu. Onc of them u. holding the olher by her &boulder: Ihe aniit i, cnmped for "pace, but he mUlcrt the utu.at.ion by adopting thi. poK. A1'IOther, of a pinlWh complexion, is Rllnding near the feel of the queen and listening "ilh attention 10 the conversation between hno and the rlj;l. The poK of the founh, who i~of a greyish complexion. it. tolllewhar unu~IJ~I: 'he is crouching in fronl of the queen, hut [n order to watch the dance dJe Iw; turned her head round. The outline o£ her ~ek boI, been dn'Wfl wilh consummate skill. To the right of the royal JY.lvilion we notice anothe-r, in fronl of \\ bich r.be dance: i5 proceeding. The principal d:tncer is most artinically Ittired. She ii "''CarInB a 1000g jWtcI ....ith full ll«'Velj but for freedom movement irt .ides Mvt been ID CUI Ihat Ihe. IOWCT en"u of Ihe jacket hang ab60lutcly Ioo&c. The Ilccvcsl.fld bust are on the contrary ~litti.ng and look very elrk. The col~ur-a)fltnsl. of the jaektt is alio happy-che s1ecvtl ~rc of dark-n:d brocade. wh.ile the middle parI is apparently of while &ilk. Bet skin (zM,vl or prJltu:4z) d quile long, and the striped dnign of the dow is very pleasing.The ornamenu of thi. dancer have abo been painted with care, and Imong dKir large variety the iln, (Ihllmb-ring iCt with lI. miniature mirror). the ur.all}hiJl (ear-rinlt' wilh dabonte design) and 14rlJllrl (ornamenl of the head, compNing gold or pearl ming') should not be overlooked. The coiITure alii) uhibib much inugination, 2nd the intenwining of the Howen with the plaitli i. moa pleaing. Tbe poIC of the dancer i. typical; onc f.tmiUar with Indian 'IC?, of t
*

or

, I noIian

...,... 10 ..i!h toau. r.nd other

u._
'*""

and ....

aobano: tbtir ..."'. • [);ohos of.hit IOrm ~ m.qumtly \I> bot r(Nnd in .ht pipnmlllO

painun&' or Aj..,~ J Tbe 1..tian,""

.6

(ot,4ootftoi)oftht:~cIt.,_,,"

tb.Ioancd, ~ akin tadoi,. down

10 tit.- ...."'" Al Aj.., ... IM p.,ri;' poaaII, ~ ..., I\JII no pkIaII Of ru/lk!i; pethAfll lhe iOc& of rvm.. 00" pto.. had rlOl «.doped at th>.l rim.. The dorh _ Jeft(r..u, • ..,;p.d rn&tai.I a...av 10 rlletillt 01 Bp"..., 01 tt...~daJ'

-PLATES Xft

&;

X III

wc

At right hznd of the chid dan«r there arc two more of a coppery oomplcrion. playing on RUIn. The ordlntra compri5el five .riliI:Clj two of the m are playing cymbab. one. pair of dnllftl; (!..w), anmha • .,iriJlll8 (. double drum with a narrow ring in the midd le) and the fifth apparenlly a guiur. for a gourd-like thing iti visible in her lap. The complell"ion of one of the t"..o DluScian( playing cymbal, is JXllIid, and the chief attraction of litis figure il the blllck trimming of the roIlar of ha'" tllol7 (h:df-tlccvcd bodice). The: comple:xion of the other lIrti"e playing cymbals i6 pinkish brown, while: (h:1I of the drum-playe:r is brie:k red. 'ne wai"~rip of !hi, woma n is like the modem 6r'lIliJrt of Europe, :and it u, perh~p!i, the: "rlier form of the Indian tl!f)/j and oiigi]4.' The fc:aturC$ of the woman who iJ. plllying on the: mirJltnl'ln: CO'.lf$C, IInd .bow deep lines, evidemly indiCl tive of old age.. Atlhc back of the ordlCitTa. bdy of dark-brown oomplell"ion is standing. Ilcr poK il extremely graceful. but ha (:ace bctra}'l5:::ldn~ Ne:u the tlute-rbycr arc t",-o dwariL The Face of one has betn damaged; lhe other u looking up ",;th in tercU al the dancing girk. I1cl0w the royal pavilion we notioe • Ihed lupJIOned on four wooden pom ( Plate X(1). The roof of thi, ,hed ia of small rcct:lngular wooden planks which resemble brickwork in the painting. In Ihis . hcd a woman il pounding spices. Her fe:tturn are u quiutt. The curry$tone ~nd the (!QIC of the woman rtmind onc of the: Indim habit5 of t!HIay. By tilt sidt of th e cUIT}' -titone there src four ule:nsiis.: a br:lll6 POt, il drum-likc e:mhen vn6C1 (or buketf), an urn-thapcd vCMeI iimi1:tr 10 that in Ihe roy~1 pavilion a~e, and a circub r dilh (th':lIip) " ; lh a ring at lhe bottom. At the othe:r cnd of the curry-titone there ji anothtr woman, who hold, 11 conch in her It ft hand 'md Wh06C right hand il raitiCd 10 her c:ar, U if 10 catch the wo«b of IQmC one who ~ $peaking 10 h~. 'flIt gesture j5 n~tut:tl , bUI Ihe hand is dunu.ily drawn. At lhe b:adc: of thil woman is :mot.hc:r .... ho bold, a rect:mgular frame_ The scene re:pruents very ""tit Ihe domestic life of c:arly India, The "yle of architecture, as 5hown in thi, painting, ICemf 10 be that of wooden building'; ahhough in scvcr.ai Cl\'Cl at Ellora and Ajanta $lODe pillars and brackC!1 of this type an: to be found, they, .gain, lire ba$cd on wooden models. The decoration of the: building with pearl las&els w:em5 10 be a &'vouri te IPIIJtij, and, apart from the fTCSCOCli, it is frequently to be found in Ihe carving of the pill:m. Peam nlUlit have been quite abundant in thOle day" for the ani"i c fancy don 1'1 01 readily work on imaginllry tltel1lCL , ~ ,Mk i.. lighl bo
,

t.ck i. 110

1Iuop:.! in """I as 10 ""1'1'<'" tM braors, bul 01, IlK bod It it..,...! tt.""ly "rinp /Of adjlMlMl'U.

'7

RAJA GOING OUT TO ATT END THE SERMON OFT HE HER M IT, MAHAJANAKA JATAKA (I) Plaits XIV.,IIJ XV

TAt

....,i. ,.uUtJ_ ,1tt "'1/ ,/011", .,u, ~t/tl-. fit'" ,ma/ .,u,J,.rJ.,u,. 1/ is"f' 'ft'" 1t.J1I'''/If ex",,-, XI' fJ.,-. """';., ........n-.

/",." .,., 4

hw

' u;"rJ _• .u

HE subjec t it a continuation of the previous onc, :tnd may be identi fied wilh t:M visit of Mahilijanaka to Non.hem flimav:u, wbt.«'- the ~C$ N"irn la :lOd Migi1j im appeared. one ~flcr the other , 10 oonttnn the king in hi'gre at rnoln .' The y.1I41o \'eroO D . howe\'er, varirt from the $tory as painttd on the rock-w:lll, for here .....c do not &CC the II$CCtic (Nira da or Mig ~jina) ddivu ing the ICnnon from the air; jlllitcad , he i. i hown in a ~rk with beautiful tree. and /toweR, perhaps the deer- puk of 1k1Ulfel. u may be: liunniKd from the figure5 of two an telopes to be .cell just below the 5C:I1 of the hermit. Altho ugh the subjeCt is extremely rcligi ou!i-thc • Rcnu llciat ion'-y O!l the anUI hu paimed it with cltno mina ry ,kill and imag inatio n-dle magnificent elephAnt-ride or the Iiji. the Ixauti ful dfUfCS, jewelkry, :and fcafUfU of Ihe oongr eption . Ind the charm of Ihe nttun .1 &eene ry. III combining 10 stir deep hUmllll interest in the profound ipirilUality or the theme. TIle uory ill deline:ated in ' ..... 0 part$. Behind the mUgOans. d~bcd in the last lCCtion (pp. ' 5-17)......e sce I pteW:lY om of which a rij~. riding on 11 gn.nd c1eph :mt. i. coming. The figu re and tr:Jppings or the c1ephalll haw; been painted with the utnlO5 t car(; even the 5lI\all belli h:lllging below the .addle an: not rorgot ten. while the limbl of the animal sbow life and Inovement. The figure of the riljl alto is ingenioWily dnwl l: ..... ith all tbe equipment o f royalcy. the tallOpy. the crown and the rich je..... ellery. he look! cxtremely ~C. and I~bed in deep thought. as indica ted by the gC51:un:: of hili hand. ' In froM of the royal

T

, The 7h~J" • ....>on it. foIlowo: 'At ,I!.u *(wh ao !olabi, ;...b ....... ,hoe raoI", to _ ) an ~ -"'" r-,'Jrada, dweI, m ,be (;olden ea... in H",_- . _ho P I thodi' U"pm>lntral f.alhirt.. After ~"I!i .....en et ....d _w...tin& lri.....p.mly. "Oh, ,hot Ill;., Ob,
It_ ......,.

·T'

Think _ d_ baot oIrcadl ~ ..bi.. .nth

.illl""" "

TIw!e..,., ,tilIllW ly '-in fmnt.,- tbuu hat _ won rn1 1"'-

nm..r

Hip tJIou&hto of to:lf, Iowthougllll of tdI.. .-llU t._ lira!. bclilf dIoo...-1 Ik k, ... Up anoI the bw the pardla nt of 1117

nrnoe,

MriI'lUF'.

M

N..... ,1Im -..mord rh"""h .he Iky to hilt _II.hook, Mm be _ p>ne. &looc hcr-, n&rnrd Mi#jin&, who had ju.. ..;..... from an lOOIZtic . ranQo, bch.c:1d. Ill<' Gmu Iki",a nd raoI- ' ' 0 blt£:r an exhortsdor. to him It... he "'i&Jn tmd .hot Iftllllitllde --Y. to b&o ~ ...... him in .... air anti Ill... ",ob, " 11....... and dq>Iw>....nII.hty ",1>0 In 011"" ill Mlh1TJ '

....

\-

'n-Iw t left rIwm..u, 0 Jomb : M eanhcn bowI _.......1M:e well" , Coordl, lip. cil., J"J. • The polJIoo of doe djl, Io!ing p:al=d '" _ cIa,kQ' rilll. thM body __ the _ of M:nna (Ill""" p.• 6).

n.

PLATES XIV &: XV

elephant is :I. luge retinue. :t;mGng whom is prominan the figure of an ;;IlIendant of red complex-ion. who it; holding uprighl an ullmcathcd ,"",'Om wilh an incurred b\9de.' He j. mpparemly the bodyguard of the young prince.' who if riding on a ba}' horse.' and i. over· dlallowed by 3 canopy. The horse is pn.ncing 10 dial a p3S6er·by hu been Wed \\ilh fright. The figure: of tllis lerro,~cken po:fetlTi~n n~y be noticed 10 Ihe righl of the prince. To the princc'. left thert: it "'nocha bodyguan.l, and beyond him the: headl of IWO OlDre attendanll may be iCen, ..... ith Ihdr bsir tT(':lrcd hncifully. The lWr of one hu been lbown in dU$ten of m3ued locb, while th.:u of the ()(hcr hu becn drcl5Cd :ani:! knotted :al the crown in the fuhion of the ,~tP. The attendant wilh the ~tted locks if anned \\ith a dtield, the hidc of which hu. check pauern. We nolice anothcr 5hidd·bcuer in fronl of the prince', hol'ie. the check design of his Ihicld being c.le:aftT. Shicldt of rhinocct()G wn have been long in vogue in lndia, but the patu~m hue ICe"" to Mve been p~med upon the skin and is not indkacive of 1C:I1es. This weldbearer is w~ring a K:1rf or a ,hawl. the top comen: of whidi arc tied .bove hU chest. Above him there are two figur~ the nearer, who iJ looking up. being a (em.lt (?) dr~ in a coat of brocade. The other figure h.u been obliter.ucd. There:ue IOme more ligura. Ihree below the ,hidd.bearer, and two. of dark mmpluion, near Ihe deJlh~nt and lhe ~wOrlblll;ul. Hut u the: freKO is damaged the fc:llUrea of these figures Ill'e dfaco.f. The: 5«'Ond part of the flory, reprC$tnting Ibe r~ji'l visit to HimaV'1t, if painted on the upper h~lr of Ihe frC500. On lhe right Aide, the elephant of the riji and the hone of lite prinec are to be seen. The latler i5 held by twO dllJ'k-J.kinned grooms. A dark-Uinned "",1"I
if'' '.me

d>OI'1 Nllf&'-iword, known .. Idp. .....lIer KnpI round me 0/1I'0I.l and:ac... the ("""'-I,ond lhc identilia.tic>n of "'" ...bj«t ..,'" "'" MoohI. nnhrt.ld<nod ...... mund !he ..... an4 .m:. the- .....w... janab}1t&b;. ~ tha1 the prillCl: Ilm iJ The)c,Wwr b&DoII at tbeil joinll Ilff: ~ wilh "'" _ of M.o.hljanab. _btoicIoml _ """ .. b.ttc - ' h&n&> ~ llw I The IRfpiap 01 cM hono: .... ~ "n.. ~ jaw of the am-t IOddIo .ofthedbj... typo..w. ...... Iti""!"- 'n.. re• 1lotw Dru,......e me. ~ ofl""_bjeec IOn oIoubk iNId ,h<: "-1.",",- ;. cIabonte. '1locrc IOn ...,tb tilt' ..., 01 Mah1j..noh 10 NI""", • little doubdll1. , It

• f(

DI&hJ....

.

' •

I

AJANTA: EXPLANATOR.Y , 'E XT

boy it a young \\'OIll3ll IiRtning 10 the ctrmon with npt '"'ltcntian. She is walring :11 double jacket of bll'1C:ldc, the upper p:ut of which, dark red in c:olollf, hu half..Jul>Q and is open in fron!, while: the lower onc, of green hue, has full ilCt"VCf:llld i, closed in (ront. Ikhind !hi, lady there: is 11 terVant, woo.t faa: is turned to",'U'W the groom.: in upreaion llnd the geRUrc. of the man', hand indiCllc Ihal he is saying something to them. At the right hand of the rijl i':I grey figure. the tn::l.lmCnL of whose fillgen .ho...." UIa! dte aotcric sermon of the hermit" being followed with l neotion; and 1\\'0 figum to the Idl nf the rijil, one of fair t:Olllplcxion IlJ\d the other Il dark brunC'lIe, give the same lmJ'TeWon. /\ bove the riji arc fou r figurC$; onc of them i, dl'C$Kd in • white robe:: IlIIodu:r is a dwarf,

CIlrrying AOWer5 on a Il':I.y of banana or paltn leaf, the tn:auncnl arhif fingers being CItremely .ruwc: the third figure it dTllpcd in a long co;u of brocade, or •.mc., with Ban.! ddiglU WOYeTI in the textu.re; his head i5 tn:ued "'ith great skill. the long hllir, the droopi ng mouttadlc, ;md the melancholy exprcs&ion of hi, fact produ.cing a life-like e.treer. 11le fourth figure of ,hi. group i5 that of a gUlIrd. clad in a !'potted COlt and leaning cm" mlr. Ikhind the hermit ate three 6gurcto: onc of another hami" whieb if 50ftlcwhal ohliler;l.Ied, and the oth er two of a princc and princea• .,.,.tw.c (cuurc. arc very elegant. Although the number of figures in this painting if; very large, the arrangement if mo6t appmprim : and no effect or unnccaary cmwding it felt .t all The O)lour~heme also shov,., good IIStC. for enmplc, the delineation orlilie. with their tender darlt-grttn ' tllu and anow-whi tc Ro ....ocni iI ab.ohllely charming.

A PALACE SCENE, RAJA GOING OUT ON HORSE- BACK,

MAHAJANAKA JATAKA (I) Plates XVl:"'XVIll

ni, .diN' , iJ ,.;.tu.... IN '-I

wall" IN Itft .id., l.ttr4v,It IN~'" IN Il.irtl.u/_IA uJh, Till nrbNfr... ;,

It,....

r.~" .. _~.~ ....). ,MJ IIot (-/....., " IN rJ~ ...i'lIllt,..,(It if,n,ud" "'_. MIIftrt'" IN"_ of ,lt '1)111 ..,. • " ..... '-tor '"" ... tJ41.,

T

/tIIII.I" t/illlil

HIS cpiiOdc i, apparcntly conneCted with Ihe events delineated before. for we notice IMt the riljlisengagcd in:a liUious convtn:ltion with hi. consor!, cxpati:lling perhap5upon die ~eri~ of ~(nllIf(~llli(1tf. after hiving heard the .sermon or the hermit, The r;ubject, although d 'ffe~ng III enV1TOllment from the nn.ion of the 1iIlllla. fit, in wilh it" main theme., fOf MahaJanab. after the uhonation of M igajina, counsell Siw.lT Ihll¥!

, And ag':llll.

'I've le~ behind mr subj«u all. ~ kinll1Wl, home, and nallK land; BUI th nobk-s of Viddu. ~ OIghlYU trained 10 bear comnu.ndFear not, 0 Qu«n of Mithill, they ...iII be near 10 uphold thy h.nd. If ~ wou,ld'lIt ~h 1II11On 10 !'\lIe, ainning in tRought and word 'nd deed, An",,' =i'ng "'IU be tbine-chii i. the dcttinr~' A be&",r'l ponion, pined u alms, to ...., the wise, il Ili our nted.l

,.

, c.....II. op. d..., ri. 34-

PLATU XVI-XVIII The .niSlOf Ajanll. hu depicted the theme beautifully. After the ICrmon of the herrtli! the sane Uti in Ule interior ef I. palace.. Commencing froul rhe leftlide of lhe fresco ....e KC I. pavilion in which IIn dderly lady. prob:ilily tbe O"Iother of the rlji. k initi3ting tDc young rim into the leCfeu of the doctrine (rrmlllcillli4,,). The f~ hit clupcd tDc folded lWlIh of the r-1n1 in onkr to coMOle her. The ~prcaion of the qutal-mlHher betrayt sadness, 3ppll.f1:ntly in c:olliideration of t~ youth of the r-Int The d.rea of both these ladiC$ i&imert6ting; the queen-mother is wearing a robe: of white IlllUlin.' while the rinT il dad in a bodice of tr:U\span:nt gauze. tm. fine texture of ",hid, has bc~n delineated by while dOlI and lines.. Behind the queen mothtr is I. 4'Mllrl_betrer (felllale) wearing a low-necked gumc.nt (frock1) of striped lilk. 'The ueallnent of ha hait" i, \'erj beautiful lklow the ligut~ of the qlle~n mother there i. another mlIid, who is looking up in an uated mood; W lA wearing a bodice. of duk..grey bJ'OCllde. In fron t of the pavilion of the qucen-mocher b the _partment of the r~ji, in which he is dlOwn deeply occupied in 11. religioul diso:;llU$C with h.is wife. The conventionalue:ument of hi, lingeR indiotal Ihat he is explaining iOme inlriene problem. The attitude of the rij5. CXpres6al eamCWlall mixed with tenderfeding,lnd in drawing his portrait theartisc hu mown much poelic "nlle. The face of the queen has been spoiled by the peding of a piece of the fl'C5CO. but ha poiC i5 quite gnccfu! and "'OWl ,hat dIe il listening with M.tenfion to the counr.d of the taj5. The tr'IlJllp-Jretlt cloth of her bodia: an be disc:emed with gr ....~lu ccrtainty here., for the white dotl and lines showing the lexture of the gauze arc dear. Behind the ajl is a th.,lIrf·beam- of fair COI:nplcxton. the Ad upttUion of whose face is very .coking. Behind the rinI I.liO is a ,A
caiaI"

.,.Ic

I '0.: vi the: prmotI! indiaca tIuoc if ., """ I ~ft """" '" £oohi<,q for • """ ti...... h _Id IIfP
m..

"

•

AJANTA: EX PLASATORY T[ XT

In the 5W)(Id pan: of the story the rijl i5 represented as coming OUt of his palace riding on a white p~.lfrey,lhehead and neck of the hone being drawn with tcal.iuk (ffeCl. The cxp rasion of the fiji" face and the g($lure of hil right h:lJid 5how that, al though riding, he i. duplyab60rbW in some rcligioUlthought. The prince i5 riding on a ba), hone, ami between hinl and the rijltherc: is anothn prominent figure draped in a blue coat widl tight dtevtl>. He b:;u made a. loop ..i th the fingat of hi. right hand and he i, looking up. In front of the r.i.jl·' hone il a rh411ri"-bearer wearing a long coot I of white silk, into which figures of ducU have been woven. Behind the rh_ri"-lxaru there arc three figures; onc a.t the C.ltrctne right rorntr. with a btanI, has a ...·ery peculiar exprtaion. The uptumed tyebr"OW"i .nd wild loob indicue 50me d~nger or t:llamity looming over the rij~. Alongside the njl" horse:, in the lower put of the pain ting, we first notice a dute-player, then a dnlmmer, and a Iittlt higher up a conch-blower, wllOiC cheek. :ue puffed and eyes bulging out in the exercise of hi. c:alling. Above the: figul"\:: of the: conch-blower i. anOther mu9cian, who is playing /)11 cymbal!. Below him and to the right of the toncb-blowu il perhap' the royal herald, the quiekne. of w~ movement may be: judged by hi. "retehed_ out hand. Thil i. pcrhap; the earliat Itnov."fI ddineation of the hand c:&"prC'Ming npidi ly of -action. I n Iller H indu 5CI11pturt Ilnd bron~ iUch a position of Ihe lund i. quite common, becorrung -almQe;! conventionll.· The lower part of the fre$CO i. daJll3ged, bu t we sce a pavilion of the ratn (chariot) mood, -and near it the head of the njt can be traced among liCVerlll obli[~ted figurc:a. H e is apparently bidding adieu 10 the deniuTII of the rll~ce. r\ linle fanm-r to the right we set him again with tOme In.ale attendanu: he~ he if; pc:rhapluying good-bye to the 6e:rwnl.. of the court. In the extreme right corner wc $CC the rinI ~":Ilking alone under a Clnopy. This Kene probably rc:preKnti the ""ge when Mahljanaka had [eft Sh'alL The colour-tdteme and the grouping of figura in thi. frClCO 5how a highly rdind tUlC, and for thne qualicia it may be compared wi th IQlne of the bat It"llian work of the RenaiSSllnoe period.

SHlPWREC K

'*.l -----..I].

TItU ,~!jon i, .,.,.,d.. ,,l, ",.. ,1w4·· ..". ....,. ...

T

MAHAJANAKA JATAKA (I) Plau XIX

wJJ oftit. lift ';1/,. ~ lM __ of tu1-'" uIJ. TM fmn it I"";Mr.~ '-It.

HE idenlifiCltion of thi. 5ubjea i. iOmtwhat unccnain, for occurring on the: rock-w.al[ immediately after the I"fnltm:h~tiDn of MaMj~naka, it nlight&ec:nl un likely Ihal it alludes

to the n,il.hap of the prince in the $C3 voyage which he undenook in Cllrlier c1;!'yl 10 acquire wealth in order to regain hi, father', kingdom. J But -as the 'l..u5tration· and 'Renunciation' fOenC5 I to be dif=m Iium w InJian..,...!U, J 1 ... ']. .,. ftJIiou ""'" ,hili: .~ MahljaNb whldt ""' ... apmi", add bo:s on tho: ....... ... u~n ,-.- old K bel [.QmaI,br: lh_ ...,.. and &I. o c....,.n, So.nlllndi&n t.ronzc. and oa&lpao .... ~ ,hoe .o.'iIQtOland hr dlcu- "" ... Iiazem Iwhad bocomo ..ntin&w·D.anorofS;....•. -r Ioondoorne Ib ........... 'fhm be IJoou&bI ID hi~

""otm.

PLATE. XIX

of thi, 141d4 (Plates XX-XXn) 1 are alia not shown iD proptt Kquence ~..e may :IIC(lOunt for the anomaly by.uppo.ing that the p:Unting of the Jillolo VI"lIIi ~gun on the rock.-....'211 without any preconceiv«lKhenll: all to the order CIf evenl$, and du: diifCTenr episodes: were fronl time rn ti me delinell.ted :lC<.'Ording to the runcy of Ule artist or the demand of the \'OtariCl the $hrine. The subjco:, u painted on the rock-wall, may be dcsailxd thu.. We see a chief (rnerd=ltprinod) a.iJ.ing in :11 ban ....ilh k\'tt;tl allendanrs. The gc:uurc of his hanm, which ~ nthCT oon..,~tion ..l, d(QOIdo Ih ..1 he i5 t'aced with lOlTIe dilemma.. Behind the auendanl 10 Ihe lefl of the chief i. an obiitCt;tlro figuu, overshadowed by a canopy (tA,btotr). This figure IICC:UU 10 have betn :11IUrN in a robe and may rc:preK"nt MaMjanalut in a plain m5IUfTl('. hcfore. hit acquiring tbe kingdom of hil father, the canopy above. him being emblematic of his divine peNOnality. TIN: boat appears 10 be of ooruiduableuu, and a pavilion,limilar to thOle .1W)WfJ in the palatt tottne:s.· ~ c:rected in Ihe middle of it. The hull j5 massively constructed and in ita ude four CDuna of pbnkiDg are viliblc. above the water. The bow and litem tuv.: carvings of anim3.l head. 3t their enm. the eyes of the anima4 being prominent. A large 6sh (thark~) i. lmOleking the boat near the Rern; :.tnd a uilor bu climbed up the ladder placed again" the malt and he iI ileering th~ boat with a long pole or oar from there. Another sailor is at the helm, but IS" the frcsoo is tbm ..ged in thi, pan, his action is not quite cltar. To the right uI this SCClle, the sinking of the boIlt hils been painted. The item only i5 \·i»ibll', thl' rest of the boat being Iubmerget.i n06e downw:r.rd.. A 01111 is being attDcked by fishes IInd a 5C2-moniler. He has r;li~ both hi5 h~nd& in abrm. Another pc:non;, dlOwn being carried off by an alligator or wrk, while to get fr~ of ill j~"", he il trying to open its mexllh. The ",ild 6Ufe and firmly dosed lip' of this man thew that he i. nruggling with doth illdf. One 5Ct~mon"er resembles a beaver. while another, ""hich is ~nl~ white, hlll Ihe head and CU'J of • 011. Tht end of the Ilory is nOt clur, (or the fresco il dllmaged. At the Cl'treme righl end 'Ne ~e t WO figures, but their hClUU being delilroyed thei r action nnMI be delennilled. The dra .....ing of the fi~hes i ....er)' poor ,and,ueepl for the imerest ofthe '.1I1IJa alld the repr«enta· tion of a fifth-ttntury bo:I.r, the fra;m dOQ nOI poI'C$i ~y utistic merit. Below the dlipwreck :tn1 £ad>tr.~ '" ~ ..u: rbc . . ",*,..,.;pt. The CJV>nl _ bo.nt '"'.n.J !u. aIOIIho:r , " H..o: J'I;III ...,"""'"1 in I....d. ••. I bowno fOod ..... w..,. ..... ""Ni",.wm. W&I..-all"","" will ,"h'nlr tuIf cfiu..d I w;11jGIOSu-waW,lImi and _mod Iho: Ct\Ioa. c>fltlood. .••• Now ... tIw. run.

or

m.

8IOt

pal

riehaI then: and will .l..., .Jo.e kinp:.u." He

mule her bnng him .he hair, arw.f ""'h" I'X ~ h;' Mod:.ill-',.,.j" be p!It h on boud • oILip wiTll_ IIM'rbound fOr Sufa99lbh1lmi .,.d iIoode Ilio II'I!Kbor

dw,,, r--n. ..

It! _

...,. ,lie oh;, ..... _

hllndtfd

!at-. .... , ""rin& IIDfIC lOO -.ioIcntIr ill i" eau_If _101

wa,.

_ hold OUI I ill p/atIb IP"'t the wuer-RIIt hlper.0n4 hi, IIer, ~ wp IIopn lIl> .... k ill me rnlddIc c>frbc_ whis.. die aetI' ""'Pl and bm(,nlfd. • • • When u..

the ..."".. of the pit nallled MIi9irnillWllwl b..m appoiMol ,twdL... of the .... "" tbo ro.u ~ tX ~ wotld.. "'w.wthcG ...., Bd.. "", ,h""WII.., Mndr, ~Ir ,rinet: MoJu,j,oMh Iud pcriIW iIl ... - , I ",-kI [-J haft kepr "'1 t"IUry inlO the di.-m.: ........,1" 5IIc raaoi", M.oh1janab IoruvpI hi... Ill> Milhill, wIH:ni M fatlxr noled.· ~t, CIf'- ~ ri. 'IrS. I I-frw, pp. 14-6.

• PIa«o XIII.ono! XVI.

'3

LUSTRATION AND RENUNCIATION, MAHAJANAKA JATAKA Plates XX_XXII TAl /aV,,,,, ,.;.uti .. ,it -u '" rlu _1';,/., ~ till - . ""Jot JnI-' __ uIlJ,. ,AI Itft -It"" _It<106.,". TJ,q •• , iJ'I htJ loot.. ;" ~ aJ _ _ _• - '/ . ,.~, rf~.;J " , . . ",.fr, ... i, ,,!,....••

., • ""- ,ut, .. • /;p "M,. HE iubject of ullllnci.,;o". being the rn:tin doctrine of the Buddhiu rdigion, i, fre-

T

qucl\Ily alluded to in the 1"tala, but 11$ sa'eral $Cenes of the Mah:i.janaka $lory afe ddine:ltw in thi5 CIIve it appean likclyth:u thc:'LmtnLioD' and'Rcnunciation'pain ttdherc aho refer 10 tili, tttory. Conlmc:ncing wi th the: ' Lu.&tntion', wc 5tt a grey figure: (die ri'ijl elect) squatting on a throne. the feci of whit'h &how a deaign "ill 10 be noticed a l Delhi :lnd in the Panj5.b in the feel of l>elhlcad, and 5mall sloois (pir},1J). Tbc: baclllupport of UII; throne $flOW' c:h:ascd gold work set with jewc:l", whilt figuru: of tWO gOIl" are carved. onc on each ,ide, in UI erect po&ition,l T",-o ~~ are pouring wau:r from fluted metal pitchers ~r the he:;ad of the rijL' The head, of the 5C'J'nntJ are COl'trW with klirvcs. the: e:nd, of which. falllng into graceful folds, may be secn on their bach. The: urr~on of the: riji is tomewhat gloomy and the loup which he: h:lS made with the: fingc:n of hii Idt hand conventionally indicatC5 thal hi!. mind jl :.Ircady perplc:xe:d by the lentptationf bc:sc:tdng 11 princc's life. On the lefr hl1l1d of the riljl ue three: female attendantS, one: of whom hold, a tllllllr1and tI,t other tWO are bringing tht royal drc:sl and orn:l.mentl (~) on mys. The features of these attendanu are exquisitely drawn ~nd tht high tight on rht eyes and chin of tht middle onc, who i5 of a rcddilh complCJwn, is eJ:lremely anigic. T o tht Itft of the: fij:t'f pavilion there i5 another, :1I Iht c.trlrtmt left C'bd \If ....hich • kl'V1nt ii carrying a watu-pitchtr. Ht is wearing a abort JMR, but thc: upptr part of hu body if unco,·tred and the sacrC"d thrtad (jIlMII) acrou hii brcut i. dellr.} Next 10 him uthe figure. of I t.C'fV'.Int who ill ltaning on 2 ,afi". Ht ili clad in a white tight jacket and .OOrt JAfJfT. Beyond him ue t....,o women, onc Itooping doWll 10 take: the tray from th e hc:ad of a dwarf, who Ken .. 10 be crushed under his burntn while climbing up the "eps of the pavilion. The figure. of the dwarf h:u been drawn with greal Clre and it producai a comic e:lrca io the: picture. The woman. who i6 "ooping , 5CCnlf 10 be nude, but in nct sht if dlU6e'd in :1 14ri which has becomt tran'part.nt on aa»unt of bting .... et; the: foldi of iu tl'1lin can be $CCfl u her h:.ck. Behind ha there ill another female aUtndanL who is holding" lray: her <:omrltxion isduk. yet the features are vuy pleasing. Beyond tltifmaid there ilimpticd alWthu figure who u holding a tlrallr1; tbe r"lIl1tf i. visiblt, but the: body of the attendant iJ concealed by pillars. Ouuide the pavilion. to the kfl, arc bc:ggliR who arc uking for JiT" (alms) on Ihe occuion • • Below che ficu'" ohhe pc &C the rigbc hand 01 me 01 filth CltRlIl?) had r d, to - r 01 che .dip

I'IjI !he Iip~ or. dlil.i any .... be -.... _ 0I1he oIJ 8,u,1tIaIIic:aI faith. ~ ~ .......'" 01 ~ Coppfr pildle.. 01 dUo dcoi&n .,., ';11 told in dw .. ach'''''''''' fat donrf c:anaI ~ .. plllu ill the hall bazaan 01 India. (lore, which • .pn...,.;~ 01 the WI......., cl J s..ch r-..m &bow ch&e 8..ddh .... lit chio u- (aid the mner &ith.

fIi"

'4

PLATES XX-XXII

The I(JwCit figure is clad in a '/'I)fi wilh red wlpct, and round hi~ waist he ~rrictl a begging bowl and a bnwl ewer.' Hili righl hand is 6lretchtd OUI to receh'e alms, while: in bisleft hand ~ holds an umbrdb. The next bcgg:ar han hcnd, and the hair of his head itanv lOO5C. The third also has 11 beam, but his hAir hu been tied in 11 knot on the crown Qf his h('1ld. The tOp figure hu a round face and j, wearing It cap. AI Ihe back of the beggars twO arcca-nut palmi nllIy be 5«n, and in thc background are 6Ilme banana !feCi, only the leaves of which arc visible, lhcir !funks being concealed by the matting ((/,a/4'7) panitinn set up bctw«'fl the royal apartme:ntt! and the garden behind. The architecture: of the IIparllllCnlS i, intercsring; the entire fabric iCc<m to be of v.'QOd. set up on pillan whicb arc graceful in form and ~utifully gilt and p:tin,cd. 1 The l)iUan at thcir but an: fixed 10 a mme of wood which rest! on nmpant ligen and hyena h~ evidclllly carved of the same 1lI21erill.I.J The dcsign il fantastic, but al ElIot:t, in Ihe: ClIrving of tile gre1tge, the wearing of $laiC rOM and jew&, alld the giving of :tlms--yet through Buddhl5l. teaching it is pervaded by a spirit of indiffm:nce to worldly pomp and glory, and ~5 .a result wc sce tha t in the !«Gnd Kene, the' Renunciation', the prince hu donned the robe of ~n ucttit". I le d()('s nOt ~m 10 have left the p31a~ yel, for the ap'4rtmen[l; are: Ihe umc:'; bm his belongings arc very simple: n begging bowl is in his ll1lnd , while II few ''eiSCI" evidendy earthen, are placed in the ...."OO(icn frame .00\'e his llcad.' The &hafK'$ of these vcac1, arc int~esting; onc of them i5 an cgg.maped jar with a small neck and fb.ucned mouth. Tile lid, '" hith i. sepante, is like an inverted champagne-<:up.' The other two vC6fieis, which ue plao:d one abovc the other, have. round bodies, narrow necks, and liatlc-ned moutlw, resembling Ihe bf'UI water-pots of the MadfM Presidency of the prC6Cnt time. In the corridor, in front of the hermit', p:avilion, there arc four women and two children. Ooe woman it IUlccling while making an offering to the hermil. Another, of ~ fair complexion. holds a bowl, wherein &he has brought either food or lIowel1l for the h«mit. The rcm~ining t\\'O arc of a dark-red complexion, and one of them, who is behind the kncC'iing ~ hio: pdKe for MU ..-lh!. afu, !le IwI ~ Ih" , 8 ... cwomofthil WpUIl! ,rill found in BengoJ. • In die MIhI·,u,,1MfP JI...b.mcfllliW'oarpontl'f it MCC!ic life-. CowdI, "Po cil..';. J<>. I ·l\bbljanab M:Cfttl1 inuructal. his ancn,wu t\> ha~ ~uisirioncd bymeGnaI ~ IQ build aball, eo-I~ _ rdlo'" ~ and an - at.,";. 158. I The Iocapo 0 1.,';. J O. • \'c.dI of mil kind beo:n found in put.bun_'/21 mil Urn., for wc....ac., t:.ndo ofhyena heaII dana: in ,be cai .... of lloe Derom. lho ~ ."d main ""1.1_ ollhil ca ..... • A~ to the 141."', Prinee l\bh!jamb ....roJ

ha,,,

•

"

AJAN T.A: EXPL ....l-lAT OltY TEXT

woman , has folded hu hand, as a mark of dt"VOCion,' The high light on her n()6C and chin .i. "ery artistic. TIle. fe:&!uR$ and posing of thac women are cxtremely graceful, and the Irun hu perfectly lucceeded in reiie"jng tbe Kriow nea of the iUbj«e bYlh ac delightful figurea. Of the tWO children, one i. l!etw« n the woman with Ihe red conlplerion and The one who i. kneeling, and the OIhcr child il below the buer woman. The coloUT-Kheme of the subject is quite dfeai ve, the brigh t red and blue of the pilla" enlinn ing Ihe i»le green of the backg round and the dull brown and grey of the human figures. On the blue capital51he effect of ,h:tde hu lM:cn IihO'o"o by dots, ,...hicltisvuy pleuin g.' To the left of the hemu l', apanmenl the ,ubject il continued up 10 the extrem e cnd of the wall, but the rrCKO being much damaged is not reproduced in the Plata . Near the cnd of the wall a pavilion mlly be Ken in which four figu res ca n be lfUlde out, TIle hud, of thr«of them are intllCl, and the lowest, reprcsentlng a man with a white skull-C2p, drooping moultache, and eyer. looking gdn\":Iyi, is very comical. To the right of this pavilion there is llnothcr in which a rlji is .itting on a throne. Hi. f'O'C .hon a f«ling of homelinc", for onc of hi~ kg' is stretched on the groun d while tIle otha it bent and placed 2CJ'Q65 it. There are also three women in this apartm ent; one of them Ioi tting near the feet of the rij~, and two .andi ng behind her. The fe:lllutcs of all thrte a.re l"1'l(I61; belluliful, showing freedom and play of fancy. in contr ut to the figure of the hCTmit in the 'Renu nciati on' or dun of Ihe prince in the ' Lulitntioo', where the anin io/!emt to have b«n fellered by religiollli ronvcntionali!ics, T he design 2nd wlourirJg of thi, lubject are differe:nl from tho&c of the other fre6COCl of this en'c, and it IeC:nu to have been painted by a differen t :artit;t.

FOU R HEA DS ON A SAL VER , STORY OF AMA RA- DEV I (I) Plate xxm"

''''tt'

/11'"

r .....1jm it "1... 'L..tr. ti.I ."', - ' JtI,.jJ it i,.J.. "/1*'- 1' U,....,.IJ;if _"' _.

Jr...,.

it it itot4Jd;. ,''''' '' jJIt. xX.1"fir,...,...,-I

T

HE fresco is much damaged. hmce the identification of the liubjec! with the ,tory of Amar j·Dcvt in tile r.lahi . ummagga J li tab made hy liGene ironologiUl mu!it be aecep u:d with $Oll\C [($CrYe.' In the lubject as painted. we 6Ce • white W'Uctun: on the lOp of which knob5 ~t with finiab IUggcst wooden archi tecture. To the right of this building there are 50me apartm entl, clther 2 continuation of die fonner or separate from il, in which 11 r lump figure hold, a I:\lvu with rOllr human head5- A young henoi l (Mah osadh d) holding 11 roury in his right hand looks at !he head. with an e:rpreuion of d«p 'ympa thy. Op~te the , 0 .. dw ro.tt- I of this .......... an ...hitiolo arab man. M&hooo4ba (dw Grru ~ NII1I>tTVUI ~ --.on... ....," ....cI b)o Hind.... .,~ p
vmilar !\Ilh.

{XXI ."

J A llooy o( .be (Q<J' I""" d'" ,..;,. .,..." SrNb, P"U __ " ...i .... and De.inda,....J dw: _ ral wfte

,6

r.k~

- " " lltemptII I" dcwror the G~ B.:inc. loul...b .i......

he __ ... -.0&11' tbci ....... and _ ..u .ri.... pb&ot. F""a;mpInt.omioIL,_eo...U,op..cit.,oi. , s6-~6.

PLA,'ES XXIIIII & XXIV_XX VII

hennit, on the othe r lide of we ulver. it a prince who il touching very gendy the forWead of one of them. Behind Ihe prince it a l:ady holding a redlUlguJar frlme in her right hand and a ribbon in her left,' The features of the prince and the lady have be:en moa beautifully drawn, and the (re6CO Items to have been executed by the ani« who painted the KCncs fmm the l\ lahajanlk3 Jiitalu on the ....':111 of the lefl :mle ( PlaIn Xrv- :X'VIU). Bdow the s:alver there i. lInotht'f figure, I ponion of who6e had il prt5C:rved. The outline of another head may be traced at the back of the- hermit, bUI, on accounl of its being ouuide the pavilion. it ptfhafH belonp 10 the 6.gure of the IltTllul hirruclf iD UlOthtr cpilOde of the uory. The rrea tmenl of the hair in bOIh tllne ht'ads is identir..':ll. and hence Ihii conjecture.

BO DHlSATTVA

PADMAPA~ I

Plaus X lQ'V_XXV11 T}" ,.J.jKt ;t ".11.. ", t_ "'J IINIIJ of tlu ia.r .iJ/t, to I}" "It ., tu UlKIIibdtr, ..J it ;, ,~ ill uUttr it. ,.... tu"', -"tJ.,_ ''1''''''''''' ,ft, IN"'n .... ,Io"'M ,it tAt "';""Nwt. PM .,If;, FrI"'ff'''

Ma.,

uJtJt"

of Ut"" .... jI.,.. ~, ,;.- ;. _ , , _ itIu• ......, ,J., &IN_ . . ,_.,IIH~... HIS fruco il unanimoUfly oonJideml to be: the tAtj...J'/rUVrf of Indian art. The principii figure. BodhiiatM " adfMpal)i,' i. delineated I'of colO6$ll1liiu/and itlgraceful pos.:, refined expression, and beautiful colouring at once Clpture the gtte. The artist ha. repreltllted in this 6gure :all the qualitiC$ which youth, high binh, Dobk character, and

T

religious tempc:n.ment can mmbine. The bod).. llthough noc: an idnllpecimen of physio.l culture. yel tw W"Ong IlJ.U("Uline limb.:. I broad cheu, round 11IU" :l.IId I wcll-aet neck. The faci:ll featllfU arc: mon eleg.mt: a high illtcllcctual foreileld, luge tucditative eyes. " Iuiline n06C. and firm lips; the. r.U5c:d eyehrO\\'I and tbe higb 1iglll on the n05e Ind the chin give In air of $piril~lity to the countenance. The complexion j) equally refined, a pearl-grey with warm brown flUih. Jlt'fhap; indicstive of the glow of youth. Long black hair in the hermil fuhion falll uncoiled on thc shoulders., while !.here j, placed upon dlc head I high crown $Cl with ehoicac 4llpphiret, emblematic of royal birth. The jewellery i. not profuse: bur is 6ekct in type; the pe:ui Md Npphin: nt<:klct mntainl the finC$1 gel"" and the dQign of the longer ittinV of pearl13nd the uyle of wearing them acroll the chcu. and

"'"1" •.... o.o.la,

n... ~ frame rinf-ITIte tmn IIooIhiaIn,. ill the lqinnirlc _ arpIkd to ~""7 <m"tt1bn of ,"" 8..,M « U0I1 ,",e t.
1

w.

Gaucama,wllcwi1l O3fIlirnoo 10 dolOliU ~hilt'Cfa, who it ' - in lhe TIIfia 1Iea.m, dnccndIlO ftO'lh.

(mm ~"i d&maJod, the I", of Iho/iguft from .linlc ~ b_ I.I'II! oniIIIIing. TM maoun:m(;llJ '" m... 0lIl1 ..bo P I o,~ M-. Amonr; /hoe Ji&uft in ito ~n ~tion ..,., _ ""-s: ,_ diohnplOhed cb., i...., (~ID - . U) were HnsN "Il"'i: r- crown 10 .. little below /hoe ~ CUlID,d",,", ... be oIi~ and ,&ili'" 10 DIt,aI B...idhaI S ft. 91 ill. and dlcit~..., UJtiI. P.dmaplrft, 'thab~, HT/MtI/: (ram w...Jiler '0 "'-Idt:r (.aa.. die cbeotJ, , ri. si ;<1. it """ of the di,;1IC BoolII"'...., and lie io alfdi..",d '0 the lMJhf &ddha AmillWA. t.nd "'" ~Iti I'lWu1. 1I''';,,: .aw., , ft. AcmnIiI" 10 S,""'biof JCipNI'I$ P.dm,p'oi . . -.. ,A...: ~ 6 in. pc<1Oi,1iin, ""~IJ' of.. Buo.idbI; NIK'l" the ~ '" FMi: f~ ID thin, , ft., ja.. 10 ja.., 9 in.

,e

I

Th~

me

'7

AJ A r-: Tt\: E X I'LAN:\T O RY T EX T

rou nd the ;ll'1ll are high ly artistic. The SColnty d rcu perhaps sugge&ts an ascetic life, bu t fig\l~ of r:ij~. h:\\'e genenlly been painlcd at t\jam3 withou t . any ~pper g:.:men t. ~e clothing round the 10;n5 in this subject i.& apparend y a Jhofi of stnptd silk worn Ul an :utli llC style. . . T he pose: wi th a ~ ..... ing lit the "':lin-line, although $(Ime ..... ha t l"On"~nllon:t.l , IS ye t mp/ox!""" The rOm><1" £"""r..!!y ~"""'1the dmdn;: lttilude. inS farm .... wor~mor .. . "d poople of lowo::' eta-., wt." "" • h!TU)' be: i"'t~in& 1" lIOIe lho. in ,be Mup.;.l ac«rum ol ,1>.:1, prnI"-":>or •• " <'.I~ 11> ,he .un, oM ,lie pi(rur.,.,;,( I"Jia • f.."".in: poot: !Or . kIng .... q_n ;. b".. usnl ,i.het-ligt."",,"CIr for p«>pIu living in ........!s, "·,lb • A",,"Cr in ,he h""d, foe ,,,,- who ho~ li .....! mnnlly a ...ilJ lif., ""~ whnoe ~ ·111" tin, of .he n""k bc:\o", ,t.., riglll j~"' ;' do.ker,"'" f~ Iu..... OCf...Jly 'U lned gl"ffn • •pin the I.ft ,it!.: "r dle t:r..;.:- is htownOl"Uwt 1110 poll of .he , 'flIc Icpof.h;' figurt:lkodoo m;'ing. res nn:alu_ f.ace ihown in .Ioe li",.. mtIIlJ in ilJ p.--nl ("..dill"" &$ 1<,11,;,..,: • A, A~ 1/"" • .n:mo ,,, 1.. ,"<: bow 1>0 ~r ilil'i",,- ll.i:ltt: from ......... n to a li"l. abo.e Ibe kn"", 4 fl. si in. u<)!1! &;, 'lja. ami <4.k quto:nS,.,.d .,<"<: ........ h"e bt.:n Rr,~(ItJ" acrOOl ' he>hnuW ...... I f,. fill. p;>int...! ft~,"Jt wiTltout "'If ikn:.prion. 'n..: 1I"_isl: acnw, '" "'. got"""" ruluuT uf Ihe uin ;., hown-.r, d.tk b""", .. wh;'b Bd_ ,'" ~"j" fi~" ac."., , rt. t .... ;" (ojtlr ret',""",l2Ii."C ,;,f 'h~ I ndi ... 03n'pI.~ion. T .. ,I,i, F",,, r."glh, 9 In.: br...,hb, 6 in. &<">....:U mI""" _1'mt> 1 b'
0'

a,.

"

PLATES XX I V_XXVII

gne na lunll y will be di rected, is very chuacteristic of the habi t of Indian women when appearing in pu blic with thc:ir h Ulbandl or relati ve$. Behind the llodhil;:l tl va and the black princew i5 a feu~lc cAaurj-bearer of rather unusual features. H er long bl ue 002.t and peculiar head-gear, with four upturned em broidered Rapl and a conical tOp ill the middle, luggest that Ihe is a foreigner,' perh3pc onc of the Scythianl woo had em braced Buddhism in conr.iderabIe numbc:r$.u this time and "tlkd in the Dettan.· At the right ~de of the Bodhisattv:l il a dar k mace-beam· who hat rai5Cd his finger, p<"rhapi to indicate that he is in wa tchful atten tion to the commandi of hi. lord. 111<: figure is burly and the fen ures rough, appropri ate for :a guard. He is w~ring a long white coat, apparen tly his uniforn} when on dut y. Betwc:en the Bodhisattn and the dark In3cc_bearer Ihere :If(: tWO other figures, one mQte :lnd the Other female, both of a d3rk com plexion. TIleir fe3 ll1res, howe ver, are obliter:1ted, :u; thc fresco il mu ch da n.aged :u lhis pbce. To bring the ligllre of the Bodhisau va in to prominence these tWO liguru have been painted their headl re:aching only 10 his waist. The background of the piClllTe also dto\ll~ much vinoty. Upon conven tional hills, which arc luggwed by red ba nds,J we 5«. monkep frolicking :about, and h.igher up a pair of pea_ eock~ crying with joy. The m..:lle bird hal rai5Cd up its neck, the be:ak being ol)Cn. while the female i' liMening to the note of its mate in I n :amorous attitude. T o the righ t of the pcaooch is a grove, whence a hum:1.II pair arC' w:!lching the nodh is~u\'a, T he femalt is leani ng on her partner in 3 loving m.anner, wilh her lerl hand placed on his shoulder and wit h Ihe. tight careUing his ~nll. The features of these IWO arc obli ter~led, bllt they $Cern to be: in :a joyful mood. On the left side of the rram :at the top we nOlice 1" '081IJrJ1"IM:tll (Rying figurCi), onc male :and the: other female. The lIppu paTU of thei r bodies :Ire: miiSing, bu t the lower are inlaCllllld Iho", tllun floa ting in Ihe ai r. TIle IlU;le sallJAIlrtl4 holds in his right hand :I Wo'Ord ereCl, while in th e lefl was perhaps a tr umpet, but thili ili not dear now. T he female figure h:as clasped th c , hou[.IC'r of her ma te and, ,upported thereby, is drifting in the air. Below the. Sitll. JllarvllJ arc twO lillNllrOJ (hea venly musieia ns) wi th hUm:l1l buslI:lnd birds' legl and ebws. T he long dark lines of JUrmOl (eyc-powder) :tre very prominent in the curner~ of thei r eyes. One of them is rilying on :I harp, the form of which will intele5t the ~tudent of the early musiCl I in~trumellll of India. Lcwer dow-n, :a little aoo"e the dlOulder of the Sodhi I3.UVol, i, :a p:ai r of d ....-arf, (chcrub51) who :arc moving thdr Mnds :tnd legl aboul 10 convey their $CnS( of extreme joy at the sight of the BotIhism,'a. Below Ihe galltIAon.'tJJ there is a]jI(I a happy collple, a fai r r~j;l and a d~rk queen, ~itting in I II :tI1\OrOU5 atti tude and watching the Bodhi~lIn from their hill retreat. The pose of the queen is extremely grJ.ceful :and ,hOWl mudl art istic feeling. The beltl of hill. cunlinlle at the back of thii h~ ppy couple, ::md higher up wc sce 50mc 1Il0nk(YI and also a lion .

.rum,

.0 ....... scJ.oW.J. "'" Vlkl,ab Iti..,., of tII< _me. 01 "pm>

• AcconIinS ....&. "'...... 'f"t'''' _

W\'~ ttCln...!, luoI ..... rip bIo>nd;".Mm. ..... nhtr. _ find ;""'JjIIicn; aI NJoik arMI KJrti mcmianing 01 CC"";n 1..........1. A h'" ~"'I'l' _u..e;tahI~"";"

.M.......

the- """nlry ..0- eaIJ
r,_

'9

AJAl'TA' EXPLANATO RY TEXT

The reur.Unl :lnd :lI!Slerity u pr65Cd in ute figure of Ihe Bod hii:lun ~nd Ihal of hil royal COnSOrt are delightfully b:aIJn~ by Ihe mirth ud glee of the ~nima[ world :md the heavenly bdngs; and the rhythm of this 'piri!LI:U theme obt:ain~ addition ..1 gnacc by a tu teful con tr.ut of tOloun, the pale greCiU of the foliage ml"rging into the ICI rlet of the belts of hilb and the frnh bl uet of the binh' feubers. and we drapery :lJ\d jewellery enlh-ening Ihe dull lI.edHints. Apart from the marve!loul effeet of the ricture as a whole, Ihe IlUdent ",ill find deligh t in many a pretty del-;tii; for uampk. Ihe delineation of Ihe :UCCi-nUt palm and the tllohl tree lu\'Ci is cxtremely aniSlic. Again. the pb.cing of black dolS 1)11 tht; green b3ckground bt-hind Ihe crown of the Bodhilatn":l has -;tdded 10 th e pcnpcetive effeet. The name and history of the :mist who painted this wonderful , ubjcet will never be known. bu t the fading fr
TEMPTATION OF THE BUDDHA PlaItS XXVIU Old xxrx ni, ,~Jj", it ~""J .. IN "11 ,.'IIl1 of IN ...ltlIt.",..,... If i, .,p.",,,,,,1 1.111 i. ,.In<>" .... _,.,.."". ~.~, IlUltA •• ....,tJ. ''''1' I", .... f/ it... "'h If' ."J km"" /wti"l ,,,/uJ if.

TM fmn

i"

I

T i, 11 legend in which M:ira, Ihe lord of Ihe world of passion., comet 10 Cau!3l1la ( Buddha) while he i, praetwng 3.u"critics. and telllpt$ him 10 abandon hi5 miving. 11,e slory i~ not 10 be found in the Plli Canon '; but in lale r commenrJ.riet lIld worlu il it; namllcd with nUlch play of f;lncy, and it if also referred 10 in the 14fda.~ AI t\janl:J. the I~gend is lKulptuTt;d in Cave XXVI. but it u delineate<:! wi th far grc;l\er \'iwcily in Ihi, fTC$CO. T o dc&crilx: Ihe lubjeel; if wc tOmmencc at the top left oorner we notice a witch with crooked n~ and r rCIlruding eye-Inlls. The CIost of her otJ,eT features i, equ:lily hid eoul and her bream are 100IiC and hanging low. She holds a poniard with a ('Un·ed blue blade J in her righ t hand, while me hu me tched out the lefl al fulllenglh, wilh 11 6ngc.r raised IW.rniogly lo....ard. the: Buddha. In front of the wilch il a green monner. with the hc:ad of a ram, holding a IIafT or ,word in his right hand and another weapon in hU lefl. Beyond him W:lS anolha og re, only the leg of .... hom an now Ix lraced, and further on another gi~1II with the head and fin of a 1C1l1.4 Commencing again al the left lidc, wc liCe bclow Ihe figure of the witch a $Ialwart .....:urior holding I ' ...·ord in hll right hand. lie hu tumcd his face a5ide in anger, \\ hich is further c:rpteued by hi. contorlcd fenures. the dnwing of thCiC Ixing ,·cry realiuic. Below this , "".,....• !if'·/ R"""",", pp. i' It in ,h~ IUIJ of T,..t1t an.!
"I..u:,. ba,", .... ....,. """". ft,:

I,,~ rm'~ b, ,he &no ~_od: ·In.ll ,t..if d...u.Ji", -C""lIIg &nd lIa,o and r-.. Ukc ....""""""" Ik~ tM wind, ,Tt.: M"tt. made th .... .:_"h .., do... n we .....t, 'A fio. he IlK ,CCttc
JO

ood .."" ,be AU-EnIwumcd 0 .... ,,'" h~ did toOl 00 much opm h;'tyb 10 look ..""" ,'''''''' 00 ..........,,]""'" ..~ hel' eo-Il, top. 01., i. :!.lIB.

M

• The bI..... CO>Iou, CIOO.....uonall, rtp.eICI'lIKCd.

• TJu:..: ~I~r.. are no< tI.., Jr, ,b" rq>rnd~ctio" (r!a,~ XXVIII), bo., "'" be: ~ 111 ,he: otiii.w (,..co.

PLA,'ES XXVIII & XX I X

WlllTior are t~«) figura; one of than u of a monster v.ich a ~r'f hud and hum.an body, ""00 i5 armed "ith a mace which h.u a cireular top. The other figure reprQenrs 3 dwarf with a round face, bulging eye+balb, and v~ry wide mou th: the cxprewon of hi, face i$ one of anger combined with despair. Farther 10 thc righc i5 a prominent figure of dark·browII complexion; he if probably Ihe: general of Mm's army. The: han.h linCl of his face, che lighl lips, and stretched-oul hand 'ho.... grCllc wr.lllh. He i, holding J. long blue 5WOn:! in his right hand, and Ihe kllOt of hi. scarf il like che bow-knot of the Europeans of Ibe prCSC'llt day. A little above, 10 the left of the general', figure, i. a red monucr with a large hdd and ,mall body. He i. gbring fieredy and 0JlCning his mouch with hili little fingcn in order 10 frighten the Buddh:t.. The figu"" grotC5que in dC5ign, produ~ a Krio-ct)mie df«t in lhe picture. A white owl is rerched 011 Ihe hud of this mormer: in India the 011\ is considered to be the harbinger of bad luck. Coming down, 1lnd nlming again from the lefl, wc noti« a gr«n figuTl', the fnturn of which indicne a life _pcnt in vile pUl1iuits. He ill nising • blue l\\'Ord; but hili face U!oIo'S despair. OOK to him i, another figure, b.alancing a short spear wi th both hand~ in order to hurl it:1t the Buddh:1. The drawing ofthi, figure, althoughiDmev.·hatobliterated, nhihiu great vigour. At ili Idt hand is anothu figure the fcaturCf of which ;Ire dumpy and diitoned, their uglincw being IcccnlUued by Ihe high light on Ihe lip and nOK. This figure alia holds:1 Imr. Below Ihe green mon"n arc twO figures of an ~sh.grey cnt11 IJlnion. bUI their outline j5 obliteratcd to a considerable degree. To their right is a bowmafl, whic;h figure ;lglin u indistinct. F:1rther to the right ill bearded 6hield-bearer, the feature_ and expreaion of his f:1ce dJo\\;ng gmt imagination aDd study of human life. Around the figure of the Buddha, which will be dcscribo:l bier, is a bevy of ~\,en young dl1ll1sd;, fi"e in front of his .cat and onc on each side of il. T he exquisifC fcltureJ, gr:.u::tful pD'ing, afld ",,'cet nprMon of mdr fltu Rmind onc of the feeling of Raphad', school in the delinealion orrenJale figuru. At the righ t hand of the Buddha is a dark.grey nymph, who, wilh the light of lo\'e in her eytf,looks appealingly at the Great Being. I Icr left hand i, gt:lccfully placed on his throne, while with du: right, (Un'cd in • conventional manner, .he is communicating 5OfDelhing. The ronctption and ,kill of the a"iot in depicting this uquilite figure, which u iD life-like in exrrCS6ion .nd iD artiltic in dCiign, arc ab$)Iutely :1mning. The damsel on the Itft side of Ihe throne is also painted wilb great care and though t, but in the delinealion of her fealure, the .cnK of proportion is not iD refined :Ill in Ihe previoui figure. The eyel 5«m to he nluch 100 huge, iD perhaps the 00601', but the dTll\\ing of lhe fingcn and n:till is nquis.ile, ihO\\ing great elegance of form and luggetling t1131 ClrC {or their beauty "hieh charactcrized the: women of that time. With her lefl hand 6he, in a con,'erJlion;1 m:lnner, ili suggcsting iDlIlcthing 10 the Buddha, but the uprr:55ion of her fllce il rather liJod, :1pparently at the failure of heT miilion. The figu~ in front of the Buddha'llICat are much damaged, 50 Ihat their uprclo5ion, cannOt be nudied with ecru.irlty. One of them al the ClIlreme left cnd, below the righl hand of the !:luddha, holds:1 white pot. containing app~rently 50me intoxicating juice. She may reprCfiCnt the Indian goddcu('pirit)of wine. The pair jll&! in front of the k~t are caning ogling Sl.nces:

3'

AJANTA: r X PLAKATOR V TEXT

illeY'lre in a dO5/: cmbm:e, am! rhe wai st or onc is expotrcd to the hip!. T he ~ttitude of the pair to the nsht of thctc is ,,,nibr; onc of them is apparenuy demon~f':I.ting the charm of her pbce:d bml hr t:.Ut hy hulding it in onc of her hands, while a finger of Ihe olher h~nd mqlleu,.hly on hCl" dun. n Ine ~'cn enchanuCSSC$ are apparentl y the daughte~ of :' face Il 1I1111C"d 100llC lidt to $how hi. humiliation and dej ..cti<)n of spirits. T ..... o tilildlCn, onc on UTh lid .., a~ looki nS at hi, face: in a mock-sur pri,;c fashion. !kIn"" Ihe ligure of \Ik.i the fT~ U. d~troycd . bIL t farther dQwn il is in placn inIaC!, ami four IiguR"l nuy ~ IntYCi.I" oof them being of a dark-gre), complexion, and IWO {;ur, Thd r F.acu and J"*ng indicalc Cllh('f resrntmelll or despair. The figure of IheBu\ldh a, ",hid, ~ram t ed in Ihe middle, i, con\'entional. H e i, tilling c:rm __ !tJ:!!cJ In I 11>(,I, lat,,'e "'000, "ilh Ihe righ t h~nd lowCTed down ovcr the kn te and Il,e j'i lm UI".~ ,lIn.l the Idl haml rbo;rJ in hi. lap in dIe. /'ltis/,drldmNJr,r (ea nh.tO\lthin g attitude), ~ k " .J~.! In ,1 herl1lil'~ hAbit.' bUI Ihe right ulI1llOd h2lf of Ihe eh<$l art e.x~. The tOl uln /'If the folCt', on ao:count "r the da,nage 10 the fraCQ, arc K1.llCwhal indi~ljnCl, bUI the e,Y", Are .!"ocU, thl" I"bn uf Ihe (,"A r c1ong~tcd in ' he oon\'tntion~ 1 ~t yle, and the ha;r curly and "cd In .i kn ob nil the ..:ro,,", ~bu\'e ",hieh is eithe r 3 gold orngmen t or [.he con\'CI\tional effulgence r~<1I~!tng from the hiir. The tfO ll1lerll of lhe entire figure dCArly indial... thatlhc an in h:u had K111lC prescribcJ (omml.i IQ fullo\<., to viob l ~ " ·I,,ch "Quid hne bten a lino The ani,, ', fancy and $C"~ of hll'll<mr. (Ifl the OIher hand, :lIe amply dcmoM{J'3ted in the delineation of th e army of M~r.i ,

'J

I A

oi''''', (~. It t1la "'" "f'!'('U to be a...t..-.

1'1,.n r!'i XXVI II. XXIX ,

~

XXX

;J. mOlle)" erowd varying from 111051 ht'lUti f ul dam~l> 10 Ihe iunni nl IInr~ an.! rn<1I.I ~ ho"",nJblt .prites. Tht r~"" of CJch of thnc- figura i, m:lrked I'ollh dWrlC1<"f. ,1ml Ihfil ddUlUli(l1l reflcct. deep obkn'1llion and d~ $tudy of hun~n nnurr . The )!(nna l dTen .... t the Ir..-__ ," I'. hOllO'er, somew hat groteSlluc, und like many ;J. rie1uro: of Ui d~, III "Ih..-r e"umrin. il ",11 IppColIIO rciigiou,-minded peol'k onl)'.

A BOD lII SAr l VA Phut "XX TA••• " .. , II ,....,.... ,ill /wrf ouII '" ,ill .."'....""'. I. ,'" "lilt of'Jo, hv t/ IIv ./w-._ TI.. ",. .-I" Ikif... rlY".,U J i" _ " ' " - ..","

T

.... ~ J-,N•

"r

il E an iu h:as dcricl((j ~ rolO!' being in Ihc I~t condition. The Illood hng',( lhe elbow mm! Ihe finllrro.. \1111, ,hr:it ,ldij:htlul elllTCI and d(:cl'-'Ct nrub, i. abt.olu ,d ch:!rmi ut:. Inu Ihc Iype bcaUI Y j. 11H,re ".. -c,,, ..... t 11.11' ',goro m, Thc muml, "'rl'le dbow . the t1dica.le. 1<,," Ihr lu]],. lIe AHilI! Ind hi. wife, Ihe {om,e t look;", \';Ih r:l11-I I!lelllion al Ihe lIo.llr iv"'l. Th< tel'U"" "I tl..IlhU ue d.3r.tclI:rh,ie, :!nd in his kfr han.! he 1'01,1, 3 how an.1 .• ~"e;u "I ~n"".. . 11,( \'-"!lWI ,~ I"olr.ing to ....";!rds het htbb;, nil li if to «.mm uni.'J I( ",.l11e, hill;,t. y,. hi le ~ I,.,k(, ,,1 111.11-". ,rlr. ( ~) IlIng' bcil.w het \\"riM. Coming r~rthet 11 .." n wc KC ~ pair "f rlo\"n 1"()I)ing wi,h jny .n Ihe ~'f!'I1t "I ,he HoJI" .... m·~. 11tc), h~\"e l!retched Ihetr neclr.< r(\ exrr~ ,hf.t fecling'. I""'(r .1..,,"" ,. ~ I~") .. I~· I> offerin g to th( Ikxlhi~II\"';I. The rlclinol;on "f lhe llf" "t" lK'r tin,!,cr> ~n,1 "-ut ... 19~in U".remtly ani~lte. Al,he r.gh t hand ,,(,he I.uly, neJf Ihe fet! of Ihe jJ,,,lhi .... mJ." Ihe' h~ of anotl lu woman. The upr(><,ion <>1 her cv .... JnJ Ihe "i
y

"r

noWC"

I , .... >k1int"~lion .,( lbe bilk .. <~ ... "",."...,j ·1 he ~""""" ur "", r..tlr"""~ on n... XXX •.

,

JJ

AJAN TA: EXPL ANAT OR"t' TEXT

The ,ubje( t if more o r lew repeated on the left side of,rhe doo r of the ~hrine.' tJl cc pting ~he figu re of Ihe BodhU:inVll. whieh "diff uent, Ihe faee bt,n~ ralher p! ump and, ~ complcXlon golde n-brown ins tead of the sill-er-grey of the ,forme r pLd,lITe, 1 he repcu lJo,n apparen tly indiea tn Ihat the ani" had to r:linl Ihe subJcct accordLng 10 ~me prCK nbed Khelll e, without Iny choin: on his put. The pain ter of lhc~ two Bodhi~au\'2l and the 'T~njllatjon of the Huddh a'. :15 ahown by the uyk and t('('hniquc of thriC: ,uhject~, appc::l tJ 10 be the 5:lLme :lrtisl. v.hose c.nrcm e lo~c of elegant\" and ddiC!lcy uf feding in the Ire~t",e llt of female figure s ~ ay be: ~lLghly :tdnl1~ed, bu t hi, ut in Ihe delinealion of lIuk figures. ",-eh U Ihal of Ihe 'Hodh l5a UY'3 wnb Ihe Beaullful I l and', if frelkish and SlIlac.k.$ of Ihe v('~ of mally:m lrulian p
BUDD II A IN VAR IOUS ATT IT UDES , MIRACL E O F$ RAVASTT (?) Plau XX III b

"',,,It,..,,,.,

'Hq" ,.

l/It ..1W. of IN ''IN u:.Ji .1'" _"Jw. ....;.., ., IN {NM'O 11.1 on:or./ FtKn.Iy. ,.-". "il ;, NprUwd Nrt;' ..",.w- t. I' E :artU;1 hu painte d tht figure of the Buddh a in accordance ""ilh ,be rdigio u,canonJ, in differen l attilud es (",UJ""I).' The Great Being il dr«K d in rooo of variou i OO[OUT'5, g rey .nd green , ~nd hi, right . hould u il in tome figure:i coveTed and in lOI1Ie C'Xpostd. T he trnun ent of the hair. the loba of the ear, and the hand s if coo\'entiona l: Ihe expro sion' of ,he fact are SlcteOlYped . while the bend given tQ the neek, of 'Omc figure ~;l !':I,her inarti&tic. H e is dd,nC Jted bolh 5Ianding and $C'ated , his head encircled by :I halo, and cheru b6 are bring in g olferin p. T he figures of the btter ue deligh tful, bUI the really chann ing fe~ture of the 5ubjecI i5 the deiign of Ihe IOluH t:a lks which enlwi ne the Divine reprcs cnlation~ ' n le flncy and ~kill of Ihe ani" in dCI,icting the different vuieli et of the 1olu.. "o.... '(r in 5ucct55i--e A"ges TIt"

T

gnwpi."

, Th~ oi the tip .... in do;' (,.,.;:0 .... 1"0110.. : At tho;"", kf,.ban dcnme r ••e. mok and f"",,", fir .....,·

li.. vl_ of .... linlUJ oi dw Idi I....! ...~ bdoL h, lite V ..,mrm. c ...... EI!ono the ~w'" ,,( Ih .. Build'" ;, ling il1"'"""""",,1'O'e,hem io &t)I)lhcr p;li •• >ra,"', Q"·od in .'u'u~. lie ")oolding tit .. tip of ing ... ,he: hil!., the woman h.adM pN Ihe .t.ou!d u (>(Ioer ".., little Iin;c' of hilld', ........ "'"" ~ of hit "&,u, ~.n~ F.nho;. 05"..... 'u ",It c>f ~..... cooi", ..... ,~ io'r. g;yu. .. dwJO< 10 .be unrnitiatrd ""Hi<: '" .....4 'h< M on lite, righl ohk of ,"" door of.M ohri"", Ik'- In .... .....u.inK remark Ill>': the gOllIw CUI h,.lInl . MKC'.&nd io. • ~ ....1It> ;. tm"l;'n g. 0( w~ 1oI~ ... R(IW'" I<> i< hoWi", It to rtlkoc tbc plin. (1) Dlty... or .~ ledilili.~. .".,.. thrm In the Bo.lhi. In"L ..~"I>c:t ~.!M.~"" of ;n ....It"'" bocb the Iw>do a'" pbood in .he bp, """ abon: ....,.b", '"(!nW, ...., loo; "~ , ohc ;'10"1,,,,& up.. In 'he ,"" 01""" with ,he palnll (l) AM-tpr Of A""taI'IDI", ""''''''''' right· ..."" _ . oi ,he '''''' io ~l'IodlCJ ....1 doe In wbidI .he right h&ncI it"I""'rsi.c.I .... ith the ~lbow cvrrrd hcood 0( doe .... 1I&u'~ io .".., /u ....... . while ,he p""" ondpolmuF d,andtholdip..:e.lil'llhel&p. AnoI (4) of No PU''''' lndkale> oh,....... nk;,,..n _ or t:anh.,U\,d!lng, iot which , h••iV ' ........ • The: pl"incipol ,,""ull .;,11 th.:!in ,... o(tIK ,~.1wId dw

""Iow

•.,..,...n..n,

,I>.,

,.. . . .

.hi,

PLA T ES XXII" &. XXX\.XXX II'

of bloom, wi th ~n t1H~ beaUty of j" delicate !lItms, are absolutely muvellouii, In the enchant. ment of such an cnvi ron ment one can visuali7.e the drealll of the pious Buddllist. of:l vision of rhe Muter in ~ rh91163.nd forms ill a hea\'enly orcllard of 101u&l;, of Ihe PUf('S1 colour and !o\,diest forll1. The subjeCl ha' been aptly idell tified by somc scholars wi lh Ihe Gttat Minde of ~r~\':mi, in which Ihe l\laliter, to ou twil Ihe iix wise heretics of R:ljagriha, rote inlo the air Illd caused flames of fire 111l d itrtalll5 of wate r 10 issue forth :llternardy from his body. l\flerwards, he ~I'peared before the asstmhly sca ted in the att itude of mditalioll on :\ oolo~l lotll.-ilowcr, :lnd lII~de to spring from his body a multi tu de of Buddha figures ill a variety of POleS, ~i n ing , ~t:lnJi ng, lying down, and w:llking.'

OFFERING OF LOTUS- FLOWERS TO THE BODHISArrVA

(VAJRAPAJ:l II) Pltlter XXXl-XXXlIl T/J,

"'~)trI ;, ,.n~,,,,,,

/M IwJ wrJl-J ,A. ;,,~tr ,,;,1,.,. ,A, ';IM of'M

~~,,,_Nr.,,,, i. ~,,..*,.uJ i.

,hr" rJ...r ,ld"I, ... , -J IMo. r,p"'l...t;~111r8 ",1Nl, .f11r,fr'''' ~'" fir. oIhn- ru"/M ""U of IM B<4/1i""tw ..,.J of ~ W.d p,;~,,,,.

r[H E identification of the principal figure of Ihis iubj«:1 with VJjf~p;u,li/ a~ m~de by iOme ichobrs, i5 not very convincing, for the symbol held in hi~ right h~nd i ~ more like ~ h~lr-bIOiiOl1led Inlus-flowcr with:l delicate ~Ialk projel;ting tQ the right uf his. thumb J than tIle tlld of It wjra. the iymool for:t thunderbolt. The id~nlifio;:llion is ;tpparelllly based on th e analogy of ~Ine of the Ruddhin ClV« at Ellor.J,. \\"herc fi~ lI r~'S of the Bodhi§:luvas Padm~p'l l.li :lilt! Vaj rapih.li ar.:! carv..-d in Ih~ an techamber of i/v;1r"f<1/'u, but the symbolic lotus·i1ower and t·"jr" are ~:Ich absolutely di,tiru.'! Ihere and do nOI lea,'e room for rl ollbl a5 ill the pr~sc:n t C;i.sc. The iigur~ may with greater CC"rtai nty u.c id~ntified wi th Ih~t of Ihe Uodhisattu Avalokitdvara,' for we nmice the rcpresenl~ l ion of:t .catcti deilY, who nlay be Amit~bha, in the (TOWn of rhe 1l0dhu.attv:I, th 'alokitdv:tr.t h:ls frequently been sculpluud as a Jwlr4- V~JII.\ /,il/tl in Buddhi.t .hrinCii,· the image of Amiliibha being the Sllj~nt f~!llure fPr his idcnti/ic:uiCl!l. lit it; the 111061 c>leemed BodhiiOlt!v:l of the MaMy~n3 pantheon, being ' 1)'1«1 Sllighn:l.lna, or the J ewel of the Order. Though Ihe idcl1liliClcioll of the 511bject 1113Y be unc~fI~ill frolll an iconogr:tphic poilll of IJit~A""".iJo~, XII, lrutd. by Bu,nolUr, Inm"!'. PI'- IblJ. ~t>
, So.:

: V~jt~1)i it ono 6f th.: Ji ..ine lIodhiA",·... ~ Jw. it • a;li .. td IOth~ Ohr1nJ RlIdJha Abhobhyund "'" Rud.lh>ilktj 1.<X:lo
l 11,~ Ro.Ih~';O with ,he btliuli(ul Iland 01.., IloMs 2 Aow ... "f fnctly th~ samt (n,m.

00 ThlI ami ,11<- Tin ll>iL s Aooording 1<1 ,Jw. M:Jt.ip". ",,"'Mon, A';Jukil .... {,"',... 'OPNN a'I h.r.';n~ ('TIW",,.,.j from Ihc J)h) ;II~ lJuddha Ami,::;bIu. and I'"~,, paQ,.t...-J. '-or (u6· • r or ~umpl. tn c.,·~ 11 .. Ellen. • 1'ju,

J5

,

I

A/AI" I'\<

r.XrLA~ATORY

, ' .: >':T

view, to the ' Iudent of art the fresco Is a dea r rCpftK"ntltion of a prince of the: Eanh :and the SpirilulIl World. The rdined features, ~lutpc!y pointffi nose, large c:y«,' firm li pt.· beautiful round f~«". and graC1:ful limbs :ill i/ldio nt high binh, while the uprc sion of peaet and ~T(:lIi!y Ilcn':lding the figure u, luggclitivc of the majC1i IYof the ,pinl. T he dcli notio n of the jewellery, C$pc:cially of the p<"arl.d rops of the diadem and armle l$,lhn wl much dcliC2C YQ( f«l· ing and artistic l:lite.. T he po&c;$ equ:dly graCtful. Ind the (2U$C of the bending in this t'tiC ha, b«n cxplQincd by the Imnd of the Ilodhi..attl'll being placed for Suppor t on an adjoin ing figure. 11lc complexion is goldcn.brown,1 the body in Ihe royal f:l$h.ion i. cxpoK d 10 Ihe .....aUt,

:md a mipcd silk JI!1Jfi coven the loin~ T he p«1in g 3w:1y of luyeJ"i nC1l T the neck and shoulders h:ls Inllch di,figllred Ihe general effect of the pictllre, blll it aill abund an tly iUus-lratCS Ih~ poetic ooncrl,uon and cxcep tional lkill of the an;$t. T he genius of lhe ut;,t "ill, howe\'er, be beu cr :lppreciM~ on ,wdyi ng Ihe mi nor charlCtcn; in thi'illbjeL't. For e:uOIple, the figu re of the old miniU er, below Ihe right hand of the Bodh ium "ll, i ~ a m:lr\'clIoll5 piccc of an, so vigoro ll' :md perfce ! in ledln iq ue :lnd 50 redolen l of iagacilY in cxl'~on. Trn: finely modelled head. "ith grey hai r and i harp features, the L-hin rtiling on the batk of Ihe hand in a tllouglllful 0I00d , the ii h'er broca de g:mne nt. all ,how eXlrao rdin:uy power in oonccplion :lnd 'kill in execu tion. Ikhin d the minister ii a riijl offering IOllll-itowtn; 10 Iht Hodh isIHva . t-l e;5 lall eDollg h, but quile .mal! in the prt$Cn ce of Ihe Great Being , whO$(: glory h:u It rutk him with awe. The featuu ', of Ihe raja arc wcll elll, and hi. Om~ment~ and drcss lII05t beoom ing, but the contra u bttwc cn him and the l3odhi~th'l1 ii "ery greal, and by it the :lnist haa aimed to .how Ihe inferiority of world ly pomp and au thoril Y. T he dCloign of the c~r-rings of the r~j:l. COilliRing of Ihree ~IU-nte drop' of pearl IIlld iaprh ire (?) from a unall link, is interesting. Ag~in the check 3nd mipe pauernG of Ihe d uth in which the fluwer . ttay il ..... rappe d · and the d~gn of Ihe robe uf the riji arc: nOle.....on h)'.· T he m~ teri31 in IXllh caSCI ~em$ to be: oi lk. T he palm' of the rlj~ alliO are p~in tc:d, which 6llOws that il W:&s custom ary to uain them in lho!.e day" Below the figure of the riij~ , to the riglll of the Bodhi5a!lVll, is a prinCU li IQ whom anoth er lady of swa rlhy conlp lcxion i.otre ring 10tua·Hl)wtN. 01\ aeCQunt of Ihis fe:.uure we gathe r that the prino:c.;. U Ihe con," n of the llodh ig tfV J. T he arl iM hu ddinc ateJ tht figure wi lh eXIT:lordinat')· skill, nOt only: l' regards exquisilenCll6 or fonll and be~lII y of ~rtist ie de tai l, bu t aho Il reprd s life-like o: tfel't and inlltT up r~ion. T be COntour Oflhe fll« is IlIOit gnCC:lul and Ihe featu r« high ly refine d , "hilt Ihe delin0:3· tion of the eyes is ("x tremd y ro:ali~tic , the hazel-brown uflhe pupil5 and the red uf Ihe corDers makin g them ahllO'llifclike. T he nO$(: I ~ warp :lnd the lo\\er lip a little thic k. The tre:l1l11ttll of the hair al thelo: mplu and the nape uf the neck in fine curls i. mIoIt. of .he ...... er lir I.>.s fo4c.1 alld .he ",hi,.. , 'J1o.e oI"".<>"hhr: .ob< of' .... r:ljlano Ii&/l'. ij~ thawr "",~h hot ..........Iw nwrN ..... ~'7 of ,I,c J The pal .... >bow ,he rif«. o( point

"

r>ee.

rne ....zr.HtJ, "", d\e1'e .re 110 I..,."

(tI'

PLATES XXX I-XXXI II

also uhibits equally good t:me, the pearl ti3n with a fine s:apphire orn:lmenl in the middle being extremely effective. The peeling a way of the fresco in 50me places hat robbed the pitture of a grat daJ of itf charm: bu t itli fine lIIode\lin8, c:tqui.ite o rn ~men {UiOIl, alld chasl<', restful ezpremon undoubt~ily pbce it among the best worki of Indian genius; comliduing i18 age it may. pcrhaJ!5. r:lnk high even among the bcf.t Ipccimell5 of the Ht of the wo rld : but it would be more 'lppropriate if Klme o nc who i& not an rndian were 10 exprcw an opinion 011 this point. T he fealure, of the lady who if offering flowers arc too much obliterated for 3ppreciltion of thcir beauty, bu t :lmong hc r ornaments the large wlu~d~pcd ear-rings' and the Kt of ivory b:Ulgles. $uch :If arc 5till used by some of the primi tive peopl~ uf Tndia,' arc promincllI. lllc.re is:l lady, al the Icft-Iland iide of the Bodhill:lllva, who also is wearing la rge car-ringg; the pinkstriped design of her &kin (f) is al'O intcresting, A luge portion o( the hC3d of Ihi~ figure is de>troyed. hencc the CXpressiOll of her file-: C:1I1110t be slUdied. Bdow this lady is thc figurc of a stalwart personage, wil h broad face and well-defined fcatures. 111e Ilodhisatt\f:l ha s pbeed his lefl hand on hi& ,ho ulder for 8l1PP{IfI. -n lis intilllilcy i ugge/;\S thal he is an important person, ~ rhapi tht; general of the army, which $uppoo;.ilioll seems to be collfirmed by the two bhck Slr:lp6 on his shoulder (rom whieh the swords Ire hung on hi!; b:t~,k. The tIlcral buckle to be secn on OIlC of these sl ru ~ ill in tercr.rillg;!iO is Ihc simple daigo of Ihe gold ch~ill rOlllld the neck or the genenl (~). H e i~ ..... earing a 10llg coa t,. aod a gold b:lI1d ~dorn5 hi~ head.' H igh up 011 the hills, at the top left·hwd corner of the fresco , wc $Cl' a male and a femalt; figure, prob.'lbly hll$b:l.nd and wife, dceply cngaged ill COII\'etSaliOll; th~ lopie is ~]lparentl r religious. ;u i~ indica ted by the conl'eo tionll.l loop of Ihe fingers of the male figure. T he fea tures of the woman ?ore somewha t obli tCf1lted, but Iler pose is diSlillC\ 3/Id lIl()$t charming. The fe:lIun:s of [he male figure. except the eyes. lre well prl!SCr'\ted, alld reprcscUll handsome face. nle beauly of thc chin and nG6C is ~ecclllualed by throwing a Iligh Jiglu 011 it_ This figure also has a black "np with a buckle 011 the &hou,lder. Above tile hilla, high up in the clouds, were IIpillrlll (flying figures), but they are dcstroyed lIOW, dlough L1le sn ir ed bluC"-II;i lk 10""cr ganntnt of onc of them /I1ay itill be seell. The colour-scnsc of tile anist s.ccms to be hig hly refined. ,."d th<: idcll of wllilt ilowcrs Oil a I,a le-g ree n background is uTremc!y happy. The blUe of th e garulCnl$ and OOIl\'clllioIl BI hills is also most eh9rllling, while the "ario u. tint. of browu, gold en, c!l\'itllut. ami clay-colou r h:we becn judiciously 3d9plcd (0 reprctiC n! the complexions. . 11tc crea tions of this lInist, ~p:lr' from their wdl-defincd ft:l tures, poMC.$6 a CCrt911l robU5lllCRS, which lIIakes them striking , r:speei9lly so in CO!IU:~.t 1\ ilb lhe dclialle and supple figures of the majority of the otJler artim of Ajant ~ . , 'Tht "nl!: in tht .i&h' "'" of the Bodt.;~t .... i...lso <)I' • oi",ib. ')-pe, and the blue coIO4£', of the! ~ J In 11.;' ",bj«1aIllk.~ m.a.lc p&'If"'> IlIt ,lj., mink.er, and II"'-.ti,arc d...-..J in loo" C<*b,"I'!"" .... ly .. ~ nwk or 'e!pC
Wc "'""e

nuti~

in

,,,he, CtlUtI .......... ,ha' in Ih" p,dft"'"

ot.h< "'r~ Ion! minor

0.1_,.

ptnot~ arc ~rop<1ly .1,1>ough he hiabdfit...." r"llr d,.."..J. • Ahho"l!h of n..,.t beautif,,' 'Yi'" """ e in .<>gut, ,Il< we or hcaJ-~"". """"'8 (1'.)"""1 ptnom ha.! no! <"Om<: into f:t!h,on. The ngu''''' w
crow.,.

,h.

37

STORY OF A SERP ENT KI NG, CAMPEYA JATAKA PltlUJ XXXIV-XXX rI " TIt,,~/:j"" " fM""I ... lA. Mi' ",.JJ "'N i."", ";'/" ~ ....wtlv - . .fIlw "lit.

11;, ~,,,",,,,,d ;. ,,,,.,, "~"" ,"'" "

_·lvMti. 'I E mis t h a~ dd inen ted the Slory in four Wenei. following the \'cn.ion of the y ,ttdll in the main ,' bUI d c vi~ ti Jlg from it now :l.IId lh en in ord er 10 add :1 (Ou ch o f ro mance. In the fi rst Kent y, c ~c a r~j!l in low 5pirits; he has pl!1ccd hi, ri ght hand for ;,upport on the knee

11v", NUtl'. <6/_ ... ",.

i~

T

.u ..

L -0..1,11.' • .,.... on in ... alIridP Ii>rm i.... IOIIo.n~ f""'>I'Ic. ...ho _ NO n.oI:k by bti pcrf~ and A • • rimE ,k II<.odhi.trn. ........ of a pocI'I family, ~~ ... him. hor uocd 10", la m. ri .... Campa whomt, IIw:n )im 2. l"_ , he ' ",...1 s.....O&t\I, not ba"inc on:n O mpep for Snpct.1 Ki", """"" Cl'''''"'''' W"- P>rT ~ ,"" mmeri""', ...... ' '" the ....-hafo,and no< Iindi", him nm Iu. .... boat by • ~ Bodhi<;a",... i'".......u~ 'I!uij he ,,",",red '" 10. .C'hato .. ,hoo .....~ dtouj4h. mat h~ ~. King. I.. of.lInt ,k iL>J1Ua.rn _ "" du ......,. SM rhcm""' ........ i"'t"i ricf" ..... I.... tha. rtbum, but ....." ,11. I~ his h.... w .. f.JW wid! ,he !inpen' Kin" Md t....n CI,,;eo! by. 8 .......... 100 "'nB and h~ """,,,.-..I, ."'•• tI:II1ioCI& or Bc" ..... VIe ,....,...,.,.J It) hi> cou." and hdJ dter" ill rhi. rq>Iilo- "'op<; Sumolt) in r.....,' and beinll ~ of hi. feol ... lk!enly "' ...., cart r for lird' The Ko>dh''''I1 ... tllwR/!' ,,( puui.og ,1110 ,he !.,Jto:t. T'M Kinl .. f lknaru. d,~ In moJ ,.. hi. lir~. b", a It"'''~ r.....l. Ie.".,n., N mcU .m.,n <)( Ih~ Snlk~. Iooknl . ",u nJ . and beOOWi,,&Sumanl Sunun1, pcruivm~ k1m ., .s.j~ c:ame Iu a.n ..... him j»i...! in dI. ";, l,"l""cJ whQ "'" wu. Sumanl: . nd "'" 'lit kW '0 OIhm of lit. kin.l. wh.. ,J1 come anJ ~inll I'I'IIIIk gIf~rUlC '0 him. ... n h all manner of muoi<::al i_ru_ ' No G~ I, '''' °li ..,-., hOI' hu",,,", A f.....le of ,he ",,,,,,"I ~;nd, Ct>mI' (" ' . crmoill . hing.' men ..." ,hc;r IwwIs. 'Tha. "'P""'" ~ a n I;' b.c:Lme

w"""

m....

"""to<

cu"',

ni..,

Id'....

" <{I'

"..utin,

"",,,'r

poIa« 01 SUb, .h.. tIoo<.&I*' ,,( ckarlo Id. himj M h.. WTpt'''' ohapc and w 01\ the C'O>ad! in ",""ri~ 01 In,. and ~.,' In d", cumpony of !be SitiJrl< ,"" &dhu." .... ofmo . it.bz.:d llio ,..It of .......... '" he .hou,lu of I"... i", ,.... 1rIl"""-worIJ ...... coi''I to Iho wotId I>f ....... ...hete he _d ....,.."",, hi< fuunz ............. cwrdiOWy _ ..., Mw.,.,. ,bo:: frontier yil1>ge ",od. w.I himotlf .... an ...,_1,.., hy .IN: h'&h toad, ""r'ng, 'n...... ... t•• oko.r .. "'r .le"" III ""T pan of nK:. U1 11,"" ,.k" 11. o' if "'r would 1'1,.... 'no ... I doncinf. .nAt, tt • •Mm mak.. me on.' A YOU"~ II r~h""," of 1k1U~ wh" h.J 1...,,1tIl .he ch.'n' fOr ..~.d'lR' ~ ....... . Iuoppt,,",,, 10 p""'.J""1!- ,11.. ,0&\1 .)w and ".. k llc dlll1l' andll'PraodIN '0 cud! I.bc s...n lM s.-rprnl. " il" .h""Ch' Ihu hi. pu;-. ..... powo:
_~ .~

"".!lIt

ht,.......

"'j,

'On

t.c.I~.la,.. the

knpl So .....

all"'.

.......... f,.......... Y' -.l1O .. k If.oIr ...... , • j"iW"" him : f ..... mr h......"" tt. my . .... ' On !><ari... ohK tu"I UIZ'"""" .J.I.-....I .bt Un ]' ....... Imllr.....:honnn dI ...: ')u.dYlll)w .r"! 1""'1', .... I Strp"".li be..y Wi.h g"Id •• " .. Mrnl k i"~. ~ .·ilL.gt:, 1l ... .. IU me.;. "'" fur "lO:

bur .It.

,.Irot."i,,,.1re

-, h~ .... k~'" .. "i n l"" of .h. IkJhi~....~ in rh". h",,,iliad,,, hin ... Jf. ab.crwd: 'I .,,,, '" gir..,)"'II' .... ~y. K.. ' .... ,he Sr1pC'I'It "'.... J<' fn,."

· 110.... I ,.,.,.. ",In>... d .. Se........ on,.. ...... willlflml....,.......:

,.kate4

1~ Scrprnl " ,"" ...... 'f. by ..... 8..Junan, ~ hilt). I'Of'PCIIml ... 1""''f. ..- "'"G",fotmdy h!ln 10 Kin;; U~ '" lk......... T1M: " 'ilK ...... ~ .........t. Sutll;lJlJ. do ..." fmo" the "; ' , jnintrl him, ,he
.... rm-....... Ludlll<" Suak~ In :on .......kc, and~.

1Inw., .....

"""""11

PI.AT£S XXXIV-X-XXVI.

of hi. oonM)rf and with tilt left h~d M iJ m:lk.ing a geA.Ufe indiclling the wrclehedntSl of hi. f,light. I It CUI easily be identified u the Serpent King, Cimpeya. o( the YJI(1l;(1, whell he puu off hi~ serpent shnpe Ind in the enjoymcnt uf:l roy~ life violatet the rule of vinue ~nd then !lter1y regrets hi, conduct. T he exprcaion of the face is ..lull, which, !tuwc\'cr, fi t, in with tll!: remoTlCfu l mood of Cimpeya. but the poornrss of the dn ..... ing as regardi phytical fcatur($ cannot be acrountc;(1 for, and the tTe:lIment of the kg. i5 pattictJbrly dum.y. The hllir hu b«n delineated in a convcnliOll~lltyle, resembling thu of the prin~ prOlilnting himself before the: Paccck:i· Buddh.. in the ClU'lier subject, 'A R!j5 going out to attend the Se rmon of the Hermit' (Pluc XrV).' The eIayey complc.lIion aiM) is nOl ,lIIncti"e, and the only reliC"'ing fCHure i, the loin-clod" with ill artistic blue border falling in fold, on the right leg. 111l' daign of the cloth of the cuihion on which C;ImpeY:l is 5illing i, al50 intereM_ ing: small 'tan ..... orked out in 'ilk. or gold or ,i h'e r thrud, on a dull ydlo ..... Wt texturC', which itself il either of gold or tllver th~d. At the right hand of ClmpeYJ is hi, oonM)n (N4gi1l1) IOitting on IJKIthu ctJ~hion. which, full and round in iu map<:. it 5imilar to Ih~ nljA'l, but the daign of the cloth is 51ightly diifuent, the$tJtf being four.pointN and worked out on a duk background, The poK of Ihe N"8;'" ia aniotic: 5I1t: has plao:d h~r hand below her chin :lnd i.IOQk.ing up lovingly:ll the Serpent King, The featuro of the figure ue, however, obliterated , and the merits of the dnl'o'ing Cllnnot be itudied widt d~ sautio)" On the left hand of the r-5j:l is Ihe IXImic figure of a dwarf. who i. presenting iOmething to hi' lord on I tn.y, ThC' mllnner in which he if looking :11 the rilji show. deep concern, Behind the dwarf, hetwetn the pilbn. i. a feRl:lle figure, a N4plli U); bUI the frQCO here ill 10 much dam3ged thlt her fClllUto C'milOl be m~dc:: out. Behind the r~jli are two (.fill/ri-bearers, one of J darey compluion and the other reddilh. The figures of both thCR attendantli aiM) arc much damaged, anu their outlinC$ can be traced with difficulty, In the rorrido r 10 Ihe Idl of the r.1j:l'. pavilion ue a mother :lnd child, whom the ~Tli$1 has ddincatcd 1'0'11.11 grcal pathos. T he (Mlher, 5uman! (I), is grieved at the idea of Clmpeya'. going :lway to the world of IIKII to perform his fa~ting vows. She islcaning ag:unfit a pillllr in :I 'tate of dct;pondcncy; hning placed one of her h:md, with mOlherly affection on Ihe head of !he child and wilh the other hand cxpr~ng the difficulty of her poiition. TIle child is looking up aifectionudy :11 IM mother. Ikhind the child Ihere is:m allenO:lnl of a teddilh ooml'lexion, who j, looking ..·ilh concern :It the N4ginr. The ch;!ncteN of the mothC'r amJ 1;;;''11 nf

Ikn..lrn. ba,,!! illnlct by IM 1II1'l>~ of Ih~

ph~tnon,~,k~:

'S.,perh~"

mnp may lIanUy WIn 'beI"f, doq 11,.. If)'9U ~ the IMh. 0 Seqocal, Wilfre'. ycut ~d Sbqw Ih~ '",.: The Bodl!i.." ... byhifgra. fOW'CI' mackof_... ~ Ihi"" an m<1ooi"l ..... U _"" hit po!Kc- and IlMI 11,..

1fI'' '

~l'P""'ch ..... glol'i<.oldl,.ldomod,.,.et .htn he (On· duct"! U~ '" tM.bode oI,.,rpcnlS. On • ..,";ng ,"" I"~ he olf<.ml di,hlll ,in!IQ and rlrink 10 .he JllCiIIO, ... h" ...~ mm' ............... days. ... nc ......rdo. whtn U...,... ..Mod '" rfl"m 10 Iknam, 'M Gns' iklng, 1oo.I'''B hlr ,,-re in too>'ml h"ndm:l QnS, ..... ,I wi,h doe ki,.. r IN doe f.ill ftIIion, _ Cowc!I, . . en., i~ 21h--qo. , S.."., P. '9'

39

AJANTA- EX J>LANA1' ORY TE X T

wild do n~ appear in Ihe \'en;ion of Ihe ]4talQ quoted , bUt lhe arliR may ha\'1: adopted them from I(I1II0: other \'en.ion of the i10f Y. Tho: coloun; of Ihi. lubject, (lcePI Ihe blues, whiw are invariably fmlh at Ajln la, ha\'e I f.tded linl, bu t their ani'tic chum iJ nOl lost when 5hawing the autumn effect in the leaves of the tree behind Iho: m~her and child, T he IoeCOnd ~no: ~rro:sen ts R ~ji Ugga~na of Ben ~rCli walching the pt'rforlllanc:<: of the Snake amidst a great concoune of peo ple. T he anist hai omitted hero: die pon ion of lIu: 5tOry rebting 10 Campey,,'slaying himSl:lf on an ant-hcap and hi5 hcing Clugl!! and to rmen led by Ihe Brahm~n 5nllko:-eh:mner. apparently to avoid repetition, a ~imib r episode hon'ing already becn ddioe,ued on Ihe b.,ck. W"~11 of the ld't aisle in the S:u'lkhar:lb J :ltaka ( Plate XI).' On the rock wal1lhi. Kenc is 5Cparated from the last by red and white blocks., rep rCKnting conventionally either hill, or roWI of buildingl. T he figllre of Ugg»cna i6 damagc:d, Ihe head !King IOlal1y mi56tng and byen hlt\'ing peeled off from K'\'eru paTU of hi. body. H is amucment at Ihe perfonnance of the Sn3ke is, ho.....ever. cleu from the geslure of his righl hand , and the aniS( will be intereued aho in the beautiful foldl of hii JI!n11 (Ioin-
,0

"Mlr will ...

_",do""""

~

ap-

rq>md"rn".,

J In lhc "I'l"" PO" of h.. car he ;. wnri"& .......1 ri..,., 1IIdI • • ,e ";U in .~ arIIClO'I, tile H,nduo ,n ttrtain po ...

01 ">ilia.

•

PLATES XXXIV_XXXVI ..

the crown of hi. hud, "re M) Iypic:al tl1:at even tG-day be might be laken for a citizen of Senares. HiI.;'xrdlt4 of Alver brocade, with Hor:ll pallenlf of ill worked out in it, ariD, 11 rcm.ini5«nl of the drCSlllnd 5pecial brocade indu~'ry of Ihe platt. The r~turC$ of the other figure are. like those of 1. Bmhman of O~. The uylc of his hair and the manner in whim he hM thrown a p:l.N ofh!s Q\'er hi.lhouldcr arc a1110 ch:rractcri~ic of the OriS$! people. The fXl'CS of ,hc$e figura are utremcly imcrQting. part.iC\llarly the homely ....-ay in which the Onyl il stlling and looking at his; Bcn:trC$ comrade. Behind the ~jl "..c nouce 1. group oftadi!$, among whom a mother and child ue prominent. According 10 Ihe ].TII/i., Sumanl, the timrorite 000,.;0" of Cimpey;a., appear5;1.1 the makedan(% which is pcrformc-d before Uggu<'na. King of Benates. but me hoIda hcrsdf in the air like a divine being. Here the arti,' liu painted Sumanfi like a hutll3n being, walking on the ground with her child and talking to the ladies of the pabo:: about the release of her h Ulband. The heaJ of the mother is damaged, but the manner in whieh lihe i, looking up and in whieh dle hold, the child clearly shows tJm &he i$ apptaling 10 the rajl in a human vein, 5aying IOffiething like trn.; 'If for no other tonuden.tion the Bodhi$lIICVlt can be rcl~. he lhould be rcleased al lea$! for the take of thi, child.' The f"KC of the IV'O female figures near the: mother indicatCl Ihat they an: deeply 51irml by her pathetic appeal. One of these 13diCl is dteMCd in a long robe, the: tUturt' and dCfoign of the cloth of which are worthy of nOlic:e. It appe:u1 to be :I very thin f:.bric. :md the: paltemb, ronsisti ng of UIlllll 1I0weli arranged in diagonal belt$;. ue interwoven in it.' The tre:llmcnt of her hands 6CCml lOmewhat crude, but by her gwure the UtiSl hu designed to show the commotion of her feelingl. The coil. of her hair are very artistic,:u is the hair of the mother, who&c blue bodice is abo \'u)' effective. 11le child is W'Clring a pair of lOCk, or long boots. the upper ends of which :ue m;arked by • dark line.' The third ,;cene of the Ilory i5 p:t.inted below the 6m and 5oecond. Commencing i1t the left \ide \Io'e notice a grove of beautiful trecs, among which the banana, ueca-nul, and a/ola arc prominent. A pink tlephant \1150 is to be seen here, the mgltw.lt, holding a goad , itill perched on ilt head, but C~mpc:ya and hi, royal gue" Uggai.CnQ have dc:scc:nded from the animal and they :lfC to be:. 6CCn ou t~de a white doot\\""y of DraviJian style.· The fresco being damaged, the figure of Ugg:ucna is indiuinct, but C;lmpcya nn be rc:«lgnizc:d by the halo of "ilg" hood$. To the right of the doorway is the royal ~I filled with ladia and attendaDu. In the middle Cimpc:ya is initiating Uggucna into Ihe mysteria of the faith , ;u is shown by his UtKlti"8 altitucle. The features of these: two figurct are oblitef:lted , but IDose of some of the 12,Jiu are fairly well preserved and iIIu5ll':ate the imagination and skill of the 3.nist. For exa mple, lhe figure of a young bdy ~bo ... e the righ t ' houlJer of Clmpeya is most churning, I ler fc:l.lUrct arc cxquUite. and lhe high light thrown 00 her chin , liP'> nOK, and forehead has

""lIfl

• The ,.....,.,. of Uw doq &K w.nna .... m.. fmao. • 1'M ...., of oocb w lone booo ipko". m.. ,..... I""""" oIlhc linix ...... ar.I i.....

t-...-.

•

• 1loc

~
of thD.

i...o.k io mm",""",,, 01 \he

'*'"""r -t 01 It.. IuJI

n,rl·hrw~

-t IlnIctIOraI

lompko of It.. D«on nm ~p 10 tM ,och ""n•., .....

.'

•

AJANTA: tXPLANATQR " TEXT

given almost 11. divine dfulgencc to her face. Tho; P'* is equally gr.lccful: with Ihe right hand ,he is balancing I 5lick ......hilc the left is r.lisc:d in 11. pretty mlnncr to .....lIrn. hcr chin: the fingc:n of this hand are most artistically delineated. Below thi. lady is anothcr of a reddi~1 complesion, ..... ho is li~tenin@: with s~at attenlion 10 the csotcfic Icaching of Cl1l11peya. Her flllce altiO i. very SVo'o:d, and lIie way in ..... hkh she i. looking up al Ihc Serpenl King iJ molt effective. Bo;hind Ihe Serpenl King wc notice rhe comic racc of:l. dwarf, who has Iwilted hi. eyebrow. in order 10 show hi, indi!fcrence 10 the iCriOUI sermon of C5mpo;Y:l. The (",urn of Ihe dwnf an: 5Ome..... h.u fI.:n, his hair iJ I;Urly, and he is holding a ,worn wilh a jewelled handle much 100 long for hi, tiny smure. ;\t Ihe lefl hand of the dwa rf behind Cimpcya iJ a lady of tcddish complCllion, holding a peul necklace in her right hInd !lnd a tr.ly with a cover in her Idl. A cobra hood abo"e her head indicatcs that she is a NilginT, and the jewds in her hand& arc appar~nl l y 10 be prC$CntcU to Uggascna. The fcalUrCII of thii lady arc IIOllIewh:u oblilel1lted, but her head-ornament UMmllr')' iJ clear, and will inlerC5t :I nudei'll of Indbn je..... ellery. On Ihe left-hand side of Ihi. bdy. behind King Ugg:ISCna. is a guard; although hi, fealurn an: IOme ..... hat indislinct, hii (:lP, with a round brim and pcakcU tOp. c1~;uly indicata thal he is a forcigner. He ii dreMCd in a long CQ:It willl lighl .tee,,",' and anned ",·ith • 'word. the jewelled handle of which is; prominent. Ikbind Ugga&cna, al the right-Iu.nd !.ide of the frCK'O, is a group of five women, two of whom are lilling and !.hree '1.lIIlding. Of those who are .itting one is of a bit cornplexion, and ~he i, U"ening wilh iUler~t 10 Ihe conversalion going on between C~rnpeya and his royal guat. T he other ....,omall i. of a pale-brown coml'luion, and her featufU arc c::orquis.itdy drawn, Ihe lItltl1lo;nt of the: fingeor being panicul:l.1ly charming. Among the women who ate nanding,I¥I,!) arc carrying Irays, and Iheir f'O'C1Iare e:nremely gr.leeful. The figure of the third "anding ¥I'Oman ili iOmewhat obliler.lled, iO that it ii difficult to judge her bearing ¥lit.h cerlainty, but one of her hand. $CC"J~ 10 be clOiC'd, while Ihe other ii "retched out in an ,ppc-a1ing f"hion. Behind the IWO women who arc carrying Irays there is a male SCT\':lnt, whOle fClllures and head-gcar and tire Ihree horizon l~ 1 pailll.-5treak, on Iris forehead are intcretting. I lis face i. l,!piCll of the Brahmans of KiU, and iUch cars (Inn/ol) :lTe Mill in U$C on cercrIJoni:d occa8ions. Aooording to the ']illtJlII the lIory cnd, wirh thc rClurn of Ugg:asena to BtnM!:', after he had rec;eh'«! choice gift~ and \'Ut trca$ura;- from Ihe Serpent King; but on the rock. walllhe &cqucl of the Mory is painted in allothel iCeDe (Pbte X A), the purpose of which annot be detcnnined wilh certainty, for the frC$OO ii much damaged. It may ~l'rCiCnl the fulfilment or Cimpeya', wish :lfler hili g~at UlTifice in the N4g;t world 10 be reborn U 11131'1:

'l\'OI (or !ife Or ton. or pelf Do I wre
1

Tbn _

.

~1

~~j (~), 10,.1

dw io

IMP •

ICmIS

11> bc Ml k {_~J

with

PLATES XXXIV_XXXV U

We S(e :a riji .... itholll any halo of cobra hoods, from which It may be: gathered thllt the: BodhiS3ltva ~ reborn 1& MaJ! . whik 10 show hii llSIIOci:ation with the N4p world in his previout bi rt h the afti" h;u painted Kl'e:r1Ii N4[(1 chief, and quee:ns,' who :lrC paying homage to the Bodhili:l.trva. One Nl1s;nT is presenling kiln with a ihoft Iword. Ai the fr(KO 1$ badly d:amaged in all the four Kenl:i the skill of the ani" Clnnot bc: fully estimated. but &ome of tbe figures which arc intact prove him 10 be In ani~ of great merit. For example, the p:l.lc-brown lady ~mnding at the righl hand of Campey:a in the third KCne (Pla te XXXV) i, a m:lStUpiecc; again , the: delineation of the citizen of Be:n:lrCf lInd the Oriyii Br:l.hman in the SCO)nd KCne ( Phu~ XXXIV6 and XXXVI a) is very succeil&ful, :lnd 6ho\\'5 d()St: st udy of their ethnogrnphic fe:lll\rcs.

FRESCO IN TH E RIGHT AISLE, NOT IDENTI FlED Plate XXXVI"

T

HI S frC$(:Q does not seem to have beeo completed, for m:lny of the figures show ooly the reddish oUllinc:s or the fint light w:uJu::s of colour. Again, as it is badly damaged it

ii difficuh 10 interpret prope rly the:story delineated tlie:rcin. Commencing from the Icftside, we

notice a N4gil king with two he:rmits, one of whom is re«iving II gifl from the king. The df',I.wing of the figure of Iltis htmut ,11ow~ greal ~kill. A Jiltle: to the: right of this is another Kenc fcpra;cnting a king tii tting on a throne:. Thert are: also two ~tce:ndants ~nd fourele:phaOls Wilh pink 'kin" 111e: trC-June:n t of the he:td5 and trunk!> of the:. elephants j, very realistic, and the differen t ~ of thei r bodies show pl:ty of fancy. Below these four ele:phanlS twO young ones :lTe: painu:d, the: skin! of which are white. Farther 10 the: righ t wc IlOticc a big cavalcade, incl uding infantry, hOf$emc:n, and eleph~nt-riden., like: ~n army on the mardt. T he: tronb of the: de:phmts in this lCe:nc also are p:umed witb wear care. and the treatmelll of their legs indicates rapid move:ment. Procce:ulng fanher towards the:. riglll, we nonce the oute r COUrt of :1 p:lhce:, with a lllrge as&emblage: wherein the outijn~ of IIOmc horoc:.a 1113Y also be traced. T he: freiCO is much d~m3ged hcre, but ",me: human figures are:. inf:lct, and the high tight on their forthcads, n~I, liPJ, ano.l chin i5 interesting. T he treatment of the: lingerii is also highly iugenious, their position. curves, and loop$ varying in ,he (:1st of eadt figure and suggesting dj ITerent crpresoions. The: feawro> arc uniformly sharp, and ~arl necklaces. large car-rings and banglcs (.tIl,rAI), in pain. or si ngly, appc:ar on tbe body of each. One of the figures ia dressed in a robe (or sheet) wilh the: right shoulder c:xposcd;' he ilO holding a ROWCf (lotus) in his right hand, and may repra;cnl. Bodhwtt\,;l. At the right end of the: wall is painted the: 1361 iCene of Ihi$ Story, represen ting :l rajl :and rillI in the interior of a p:llace. The figure of the ~ja is :llm()l;t demoyed, but th:lt of his CQllson ii in part prC5Crved, and 5110\\'$ much grace and ingenuity in its dclineution. The pt= I The hood of lh~ oohr.I it tho: dntinguilhing .l" fo< • gip.

l The lieu'" bdow .he bnd of the: ........ ~I !he rigll • lid.. ofthc rqorWlICIi"" (Plate XXXVI_,.

AjANTA; EX PLANATORY TEXT h~5 ~ ~ria

of c;:urvu, al l having a e::h~rming dlec::t and adding to the:: lup!'le c::le::ganc::c:: of the figure ( Plate X ,), T he ram is looking up ~wce::dy at her husband, who is up13ining to ber iQme:: rcJjgiou~ principle. T here ne:: a few other figure~ ill this scene, but all of them tOO fr:!gmentary to throw any light on the subject of the painting. T he work of Ihis aniSl, so far 31 prl.'liCrved. is characterized by a love of be-.luty and grace in the deJineltion of form, but as regards expression his aealions arc nther dull; this, however, n~y be due to the fresco being in dle 6rst pbcc not completed, and again 10 its having been damage::d by V;lriou& c:l.U&eS in laler times.

A PALACE SCENE, N OT IDENTIFIED Plate XXXV U TA, ,~!jt";' ,.iJuti .. ,A, ri:Iu ""'" "'N {rw "'/', - ' i, r,!"'i"". u. "'__.

T

HE story depicted in this fr«eo hu nOI been identified, but ils reJigioL1i na ture:: i. app:lrent from the cKpressions of in characters. \ Ve:: notice a riiji biuing 011 :I Ihrone in • homely manner, his right leg being curved under him on the Ihrone and the left r"",ting on the ground, Although the head of the figure it p:lrtly deslroyed , the featur~ which ue preserved show ~ thoughtful mood, which i! further demonsmned by the getitUr<:b of his fingers; the righ t hand, partly closed, sugge.m a mystery, and Ihe finge,", of Ihe lef! ~re stretched 01' \ as if 10 fcel or otch the object about which he is thinking. T he drawing of the 6gure of the rajii doe, not exhibit a happy Knse of pmponion. and the:: fingcnI arc parti. eularly long. I n fronl of the dj3 is his conson. sining all a green cushion. Her po5C: is very graceful, and hct features arc also agree::abk, though with $Ome enggel1ltion, ~~ in the ca5e of the ey<:1i, hand~, and toes. T he Ireallnelll of die b;lck 9nd u)e '-"'liSt 111ay appear somewhat voluptu(ILl5, n also the dllrk roil' of hair 'pre:ld on the shoulde::rs, and the g:tuze.like ma terial of the loillcloth; bu t the calm rClilraint of tht: face counter!>-J!antclthat feeling. 111t: position of the left arm may ~! rikc a European as unusual, but tho$c EUlliliar with Indian habin know tlt:lt ,ueh a post: is quite rommon. The "mn,l, of ribbon cniled on the back have a pleasing effect and ,how the anist's fancy. Between the riljil and rani ~ female 6gure may be notic:cd. perhaps representing a maid of honour. She i5 wearing rich jewellery, and lotus-ftnwe~ decorate her hair; but he r comple:cion is d:lrk brown and her f.:aturd c&d~, suggesting :In inferior position. T he eyes of this figuJ"C aloo afe Jl\uch 100 large for the facc. Behind the maid there are two nlOfe female altelldants, the features of both being roariO!". Onc of th em is holding a fan; bUI, instead of holding it by the lower end of its Jlandle, she hold~ it near the middle, and ~hc has also bent her ann in an unuiu~l wrve. T he Olher maid is looking "I' ~I some object. CJose: to Ihese: maid, ij a male $en'am, dr~d in a while:: robt and carrying a me t:!1 (1)

...

PLATE XXXYl I

lid. 1

bu with a fluted His head -gear if intereuing: it it either a pan of his C'llpe:...Jike cloak or, ICp;or:tte long eap "yled in India the la",a/. His oompluion is f.Ut, and he may be: 3 (ortigner. At the left band of this servant, behind th.e rinI. il a female (,faun-bearer: though h~ ~ is gnceful, her features do not luggen a tound &mIC of proportion. and her eltrrnsion lIso is dull: ~he is lIaring in a stolid lIIanner. Below the throne of the rinlare tWO female dWlltf~; one of them, of Iiill colllpluion> is carrying 3 bukef or bo x of:l fluted dooign Ill) hn left tihouJd<:r and hu a blue lotus-Hower in her right hand. The fC:lI urcsof both figures ue crude, and they are 1I00I' 'p«lmeru of art. TIlere is a cAllllrT-bc:ue.r behind the throne of the riji u well, but it; the hod of the figure is dmroyed her upression cannot be 5tudied. The JXlK is graceful, and th e proportions of the limbs arc beUef than thok of the other figures in lhi$ fr~ The drawing of lhe waist is, howevct, of the ""me style as that of the qU«1l and of the cA"Mr1-~rI:r behind her, which .J~III" that the utili if following a ccrlllin type: -and hu no originality. Behind her i, a dwarf of reddish complexion, who i. carrying in hi. right hand a round ~I with a lid. TIlt fro;oo is here damaged, but the fututefi which are prC$Crved dlOw neithet beauty of dr.ming nor force of txprcuion. There iJ; another female thquri-bearet "luatting 00 Ihe ground below the Ihrone of Ihe r3j3. Her mood is the same u that of Olher figllres of this freKO, IInd il w(:Juld appear that the anUt 111'3 incapable of giving appropriate expressions 10 his crC'Jtion$. I,n front of fhii figure wc notice an urn9lihapcd ,·eikl with a pair of rin&, in iu rim, ~ugg«ti ng fhat it is of (Onliderahle weight, the ring' being meant for lifting it lip. There j, abo a tumbler, probably of meul, pla«
wc

I

MtuI boxa of.tu. 'YJ'<' ~ will IOund in Inoli..

a

S~,.,.,p. 11.

) Tbit.,...,., it not

...,....,..1OIl<'d in 1'1.&,,, X X.X \' 11

• t·... tb~ r..t:llld pt;ct' mmp...iI _ _ p.18 note ~ .

+5

A COU RT SCENE, PERSIAN EMBASSY (1) Plait XXXVUI rh.

I~.j",

.It'

;, ,..,;81,••• ,A, ,00sl1 ofd. Jr••' "M. , ... th. n:"'·"""/ ,i4, of'),' .."it! ,our_"~ MWZ ,.lIth """'C,i it is "pod"",;., _An"" ...1], lIS KeM' has b~~n the 5ubjcCI of:1 great deal of contro\'crsy aUlong schollln. One ela5s favO\LT¥ the opinion that :l!i $Omc foreigners 3ppe:tr in this freKO offering prl:'$Cllt$ to an Indian king, the scene Tll:l.y rerrcse.nl the cmb:wy of 1111: Persian king Kh usr3.u 10 the Ch:llukyan rij:ll'ulakdin in UtI: beginning of the 6C.vcnth century ..... 0 .. Schoblll of the ri val group do not 6« the ~ibilily of the ddine'.I.tion of any historiC'~1 event on the rock~walJs o f Ajantll, and are Anguinc that the scene reprC$Cllts a JrIldo which may $()ffiC day be identified. The glorious period of the Aj:!nl:!. frncoes in general, and of the paintings in C:;l.VC I ill J»Irticu l~. ooinddcs with the rule of the: Vakii~:lk:t dyn3~ty, :md e,'ell if the date o f Ihil fresco, judging fronl iu uyle, may be 6xed at 3 later period (A,D, 6(0), therl; is [itt[e chance of the portrnit of Pulilkdin, who ..... as a Hindu by religion, having bten painted in a Buddhist rnonntery :1.1 Ajant~.· AI the same time r.hel'l: i, no doubl mat the 6gucu of fon:igneNi represen ted in the SCClle bc:u a very uriking resemblance to the peop[e of Turkistan :md some other oounlrks 10 the north-west of India, and as in th e frCSCOC'S the artiuf hnvc invariably delineated Buddhifit ~t(lrie$, adopting chal'1ll.,cf$ from umtcmporary life, the preIiCncc (If these forcignefl! seems 10 n,ark a period wben the peop[e of the DecC3ll Ilad acqui red f:lnulbriry with Ihe inhabit:ml~ oT the countries nonh·wl:lit of India, SLl ch 3. 5L1l'position gains streng th by reference to historkal reoords, for in the C3rly ccnturies of the Christian era !hkasatrnpi es ..... ere established in Surashlr.l and Milwi, in dose vicinity 10 the Deceill, and the artist of Aj~nta mLl${ have knovm intim:ttcJy foreignellii of the type repn:gentcd in thcfrtscXJC5.1 To describe the &eene: if we commence from the righ t.h:tnd 5.ide, we 6fit notice. a part)' of foreignersounide the gale of acoun-hall, among whom two are prominent by their peaked C:ipio 'Illcir «)mplexion$ ace fair, ~nd Iheir features iLlch thtlllhey appear 10 be inh~hjtanl' of oountries to the norlh,wc5t of .India. Twoof thc p:u1)' h3ve entered themurt through theg:! te: e neof them j~ nrmed with:t long ,word ~u.pcnded from his bdt, and llle o ther, following him, is ".Irrying a tray of presents.. The coun is full of dig uit3 riei lInd :lttcndaIll6, 3nd at the he~d of the hall a dja i. sitting on ~ thmn"" III the middle of Ihe 9S6emb[r we notke three foreigners, onc of whom, in the fron t, i5 presenting a pe3rl om:llllen t 10 Ihe r~j:i, H e is wearing a pe~ked cap of miped ~ilk or broad doll), 'Uld his long COOl (1jIlIUI) al60 it. o f the sarll!: III;l.tcrial, il& Stril'd of blue "nd black occurring ~hematc1y on a white backGround, Hi ll complexion is pinkish, and tlle belll'd is prominent in a JUrt on the chin. The second 6gure, in the middle, iJ dressed in a IjnbiI of green broadcloth, 3nd hi5 C:ip is whi le., with a coloured blind round the brim. H is feature:!! arc umiJar to those of his leader, :md the growth of beard i~ more prominent on the

' T

'S"'ith'.E",I)Hllloryoff8i1i~(fu.,nhcd.),p.+f2.

• 11". point if {"nht. ~ on P. 4'.1.

+'

, flU,

PLATE XXXVIII

chin th:an on the cheeks.. The third fortign" is carrying 11 my full of jewellery; lhc ClSI of hit featurcs and hit; gait :ut! typical of the people of Turkist:an. He i$ dad in I white 911b4 and grcen ep. The figure of the nj5 is much d:am:aged and the portion representing the hetd hu largely peeled off. The upre5lion of hi, fue therefore Clnnot be 'tudied, bu t the gellure of his left hand, with forefinger raised, .hoWl that he i. w:aming the forcignel'l about aome 'honooming. lInd they all look. aWNtrick.en. The lijl him~f is $ilting at case, KJllatling on th e throne with hi. leg' ct'o55ed, and leaning on :a pillow which is behind his back; hil rigll! hand a[so restl on the lame pillow. The ruffle of the lower cnd ofh;. d/wo is aniruc, but it appean that thi$ treatment had become conventional, for il i. to be K
AJANTA! E XP LANATORY TE X T

lar, By her .ide i~ placed :another tray on .....hich tome &mall caskets,' probably containing je....~lIe:ry. may Ix SCal. 11.e breast· band (b,.illl;}rt) of Ihil woman iJ interesting. Ikhind her is ~nOlher v..om~n, but the: frC1i<."O is here 50 much dam.1gcd Ihat he r fCllllJ rc:s cannol lx lIudied for pur~ of tTitici~ll. The uit from the court i& pcrhllPS on the left .ide of the (rnco, where wc notke a forei g ner going OUl of:l door,' The: pillan of the court·halllCem to be: of bbck ...'nOd (ebony~); the :anist in their delinClltion, in5lead of gil·ing:lll ink·wuh. has indicated the colour by a 5CriC:f of dark linc:s which ~rc "cry cffeai,·e. Si mibrly he has ihown tile: blue colour o( the capitals of the pillan by im:dJ dots. Although fine brush·,,"Ork i5 visible here ilnd Ihere, yet the drawing , 'peaking generally. is 5Ome"hat tbt and d()e$ not ~how any gre;1.I uti5{ie skill. The ,itcs of the dram~ti, personae and their pMiliOllf in the pil.'tUre, on the ()ther hand, u h ibi t con5idua ble thought ond care, and the subjeel may be admined for ils ensemble.'

A BACC HANALIAN SCENE (KH US RA U AND SHIRIN I) AND DECORATI VE M O TIFS Plau XXXIX rIM" ,Itnu,., hIi~I"".""N ,.;0.,........... • '" """"",HI;,,, rJ_;" ha It.if1I.w. T i! interesting to nole th~t the arti,"s of Ajan l'a. un li ke thei r riwls in E urope, refrained from I)ainling ..eligious subjects on a .:dling. although this would «CTl\ to be Ihe most appropriate place for the delineation of It divine Iheme. T he U
I

r.hart

, One .. lu.udomieallid with. knctb:u doe '01" it ' -..... dle JIo4rt/4. ~} 0( die p...... cia!. • nit door", _ "","",..ad in PIac XXXVIIL

,8

*"

Bdow thd .. bJ<.:t ....... a buoar _ . wlticll it a 1* of.nop. ....,"" mad.. "11w: buaar f('ttle it ~ indlMitd in I'lue XXXVII I. J

..~ 1I"tW. mo..;h

PLATE XXXIX Mr. Griffith5 in hi! monumen tal work, Till djlllftll P"illtilll/ ha devoted a complete \'ollllne 10 reproductioJu of this decontive detail. and lIS the: plato thuc:in arc: quite failhful, a$ rc:ga rrk, but to gi"e our readen IOme idea ofi15 general chan.cter we lihow two pane:k. One of thek represents a Bacchanalian scene, wh ich. like the: 'Court Scene' previously disCUSKU (Plate XXXVIU).' has betn the .ubjtcl of great difference of opinion among uci1ae6logiMI. Some of them have identified the figures mown therein ti those of Khu5rlIU and his beautiful COl\$Ort ShIrln. ThU: view i. mainly bued on the information given by the hiltorian TabarT, (hu Ihe f.lme. of the King of the Oecon (Pulakdin f1) Ip read beyond the limits of India and reached the t:lT5 of Kh uJnl.u King of Pen;3, who in the: thin y-lixth yeu of his reign, A.O. 625-6, rtOO\'ed 11 complimentary emlw5y from Pulakdin n, The ('OUrte$J_ l ubic:q uently rc:ciproouc:d by a return embassy lent from Persia, which wu reodvc:d v.i th due honour at the lndian Coun.' The enct year of Ihil return emlnSliY is nOI given, bul il mUM have taken riace two or three yean arter Ihe Indian embauy allended the Persian Court. 'D Ihat thec-vefll may beZ5Sigoc:d roughly IOA.D. 630, and Ihe painting ofthe~neon IhelO'lIlb .nd cciling of C:l.\'e I to :I rull later dale. This view bc:romcto practically unlen~blc when we compare the 51yles of lite archileCtUre, Ku lplure. and painting Qf this (a\'e with tilO5C of othet$ which bc-ar inllCriplions; or, :l8lIin. if we lake into consider:llion Ihe fatt th:lt during thereignsof Ihe early ChGluk yu (..... 0. 55G-'J50) Buddhism,although prof~ by a con&idef'J.ble senion of the population. gradu:tl.ly declined and Hindu ilm grew popular. Magllificcnltemplcs were at that time CTected and dedicuc:d 10 VidlQu, Siva,andothermembc:n of the Pur!nie p~m.bcon.J The presence of foreignen, rc:scmbling Bactriam or Pcn;ianl (f),' in Ihe frescoes at Ajanl:l on, however, be: ta5ily e.xpbined by the fac! lhal Buddhism, wilhin a few centuries afler Ihe death of Gau!ama. JI"Ilerr:lted inro Ihe regions 10 the nonh-v.-m of India, and iu votaria in t~ diftan l counuies began 10 \;&It the ucrcd &It Cl of India as, pilgrimi. Again, the Cllablishment orSab 5:ltnpi<::!i in Surishtra and Milwi in the early centuries of the Christian era, and the domination of Ihe H un& in the fifth century ..... 0 ... !c::u'e no rOlOn 10 reject the view th.at the inhabiI3n1' of the Oecc:m were: familiar wilh the people of the north-wt.il counlna long before Ihe ernba"y of KhuJnl.u IQ King Pu bkdin in Ihe &e\'emh century ..... 0. T odt$Cribc Ihe JCCIlC as p.aimed: we nndee.a ehief " tting on a wcll-p:tdded CUllhion or divan.6 and holding a cup. 3pparently of winc, in hi, rig hT h.and. H i, n~ i. f:()lIIewha t Rat and hi$ cheeks $unken, and allhough the bc:ud is full, tlte gencr:ll COlllour of the face provo hilT! to be

n.

I

$..,..... 1'_ ,.6-

• Smitb·. &rt,

u;,,., -t r.... (ru..ro. ....), pp. H:lo-l'

J .R.AS.. April18191and B~ rp·. l'o·ot.. _'N &.JJJo. R. f T,.,t"'f Aj.,. (As'W.I .. No. 90 Ibnboy, 1879),

"",.... p . J The V"1Ih1.l~, _

"""otatoJ 10 hewn _ ... u,., i... w.o: of cl", CIIlJllkl' CO~~ of B1
Lna M.oIpmI ".So.b~ 500 ( ...... • 01. iii, pp. JOS /1".

"

Si9), /t.I. A~..

• AcoxW"110 Fur->" '/oq

rtpI_

s-.m.....

while Ra}mdnlal Mm:. ... ppooeoI tbmo 10 _ Iboti&na. B~rp·• • lU...uIt. R.I T-,JII.] Ain,...

"f'I" ... ,.,

pp.·1.

no'"

a.

, Tonml(l&~ 11"-1( • • of MlIwJ .he mIIlJf .he iif." -'1" • TMdo
AJANTA: EXPLANATOIlY TEXT

of Turanian racc ralher Ihan Pendn. The: cxprcaion of Ihe race" i510tnewhn dull, pcrhaf'l luggC$livc of Ihe stupor multing from h:tving drunk 100 much wine. He is wearing 11 long COItI ('1"M). of pllle-blue brO:l.ddolh, the colbr, arm_bsndi, Ind cufflof wbich arc of a lighter colour and prolr.!bly embroidered. The Clp is pc~ked and 5imilu to the iulilh of the CDuntriel no"h-w~1 uf Indi~, and on hi, leg, theTe:lTC cilher itockingloTtoft leather long bootl, which al&O ue sugge"ive of the habit of the people of the ume countries. He h~s a belt round his w:liu, frolll which a5word it hung, and there is also a ihicld on hi5 b:tc:k. A handsome fair hid)' i~ ,itling by this chief and looking ,lInorously into his hec. She has her right hand on hili ,houlder and "~Ih I.he left lihe i, suggesting ~mc thing agree:lble to her lord. The featuTCIof thi.lady arc putiallyeffaced, but the dress;, fairlydistinCl; ,he is w(:Idng a while !Unic whh long deevCi, the collar, cuffi, and aTlll-\)andJ of which life embroidered and fulimed with trimmingl. The ends of ribbon flying at her bsck arc intere!iting,' Behind the Ildy may be $Cen the embroidered cnd of the bouler, against which 6he: and the chief are leaning. At her left hand, below the diVlln, ili a female :ltIendant of graceful features, who i, holding a "'i ne-ilagon and stooping forward u if to replenish the: cup of Ihe chief as 500n as it i5 empty, Thc drew of th is attcndant is inte resting. She ilo wC9ring a round ClIp of red rn~teria1 (broad. clolh or velvet) wilh a white border, which i~ eithcr of fur or tome woollen m:lIerial. A white plume: spring, from Ihe top of the cap. Hcr uppcr g~tment i. a long coat with tighl ,leel/es; it i$ embroidcred ~t the collar, ,houldeno. and cuff•. The lower garmem i& a long white skirt with a. frilled border of p~lc-blue colour. TIle uyle of the: !.kitt may .uggen Greek. influence, but il i. diffif."Uit to affirm thi5 with any authority, for no d~ta are: a~'ailablc regarding the: drCtii of the people of the North-Wtlit before the :ldVenl of the GreckL In from of the divan arc two burly figures of nther ~Iong(ll ty]'e, with unall eyu., 5llort n0SC5,lIId prominent chccks. The bem:!. arc, bowC\'er, full. The:y are holding t:r.I}"I of dCl6Cn and looking with attention It the chief. Their loob are ""pid, and lhe arilit bas apparently given them thi, cxpteuion to impar1 a comic effect to the .ubjcc1. 'mer arc wearing while skull-caps and long coats (foMI) . onc of the lattcr being whitc ~nd the other pale: bluc. Between thC5C two figurQ the carved (or p:UIllc:d) cove:r of a tray may also be obicrvcd. On the right hand of the chief, below the divan, i, another female ~I!endant who is 3100 holding a wine-Ibgon, but of a different shape from that held by the allend\1n t standi'lg nC"JT the lady. The fe:llurC6 of thi. Y';oman arc ralher CO".In;c:, but her d r~ i5 ,imilar tQ that of hfT rival, ~CCpt that the akirt has a double frill ne3T the border.~ TIle background , 110\\10 a ....'1.11 or curtain with red Howcn. The dC\'icc5 at the fOllr comcTli of the KCne give a fair idea of the aniit'5 pia), of fancy. The pair of gec:5e with folmted tail"

,n.

I BurgeiO ..ri.", IhoI the I.w.,...w-.wpod .. rnrncno or IICCtIC ";111 oIi,11< n.rwiono if pURled AI Ill," bandr""""-apparingon rtm. cci.... well, ...... du=tn_ ",he. p/ao!t on rite Mlins of thlo """" S...... _~raI ..., of JrartWs:&nl boil the device, like.he k"M*'W"n other -if- ha.., bctn ~ in doe (dllng, tire _ -'f of (;",11I:':&n .. hich • aloo to ~ Co..nd at Aj&=,. crttC'DOO ino1icar.. O
....., ha,.., 50

,......

PLATES XXXIX", XL.

looking ';I.t ooe ';loot her 1111norou51y, ue c:xlfenldy effective; iO are the bunehes of IllangOC$, pomegran:Itt5, :lnd pine-apples amid foliage of great bea uty. The dCl;ig ns in the other pant! (Pl:ue XXXIX 6) are still more varied and gra«fut, fn the midd le wc I.CC IWO paiN of fre~ki~h animals- ~porting ..... ith onc anotllC!"; their hews ue like those of oxen, but lower down the bodies terminate in a foliated devite of great delicacy. A t the right acnd left of this th eme are tWO jCV\'etJery designs reprcscnting chased gold_work 5<: t Wi lh ~p phjrC$ and rubies. At the top m~y 2150 be I«n a rarrot perched 00 a IOIU5-5talk. the flowers of which ha\'e been dnwn wi th greal skill. Tbe figUf(:l; of [WO little dW\l.rfs, holding ~ ,ht-a-tiu, which llfl: in th e lOp IeflCOfner, an: ClIl in the reproduction ( Pl:He lC.XXrX 6), bUI another of their kin may be noticed, in tbe bouom row, playing with a large lotus-Bower. The 1IlnIlgerneD[ of die p1neis :1nd the v:uiely of the /l/otifs, ali regardi form and colour. have an almost kaleidOliOOpic effect, and tlle fancy and skill of the artist cannot be 100 highly praised. As the ceiling 11 absolulely ltat, it 5Ceml to follow ineviNbly Ihat he painted the subject lyi ng Hat on a ~ffoldlng.'

A BU LL- FIGHT Plate XLII Tit, .dj",;,

...".

'«""'''' IItH_"'''' of'''' '''*'' tin.... I...". ,''' ,.,It/I,,,,,,,.. if ,''' """, . wl it r,~,";" _ ..

, }".

T

HE artists of Ajanta ha'·e ihown gre:!t foodn~ for painting anim31Hfe, and th e prCScnt wbject is 3 good ("x~ n\rle of their skill in thii line. Wc notice two bulI5 cng~gw in :1

close figh t; the po6turC$ of both of them are idcnliC:.JI, alld the ddineation of their bodiCi is full of force; th e lo ..... ered heads, the oontr~\;ted ulu5C1cs and ra ised tails all conveying ten se fury. The cur'ts of tll~ neciu, humps, and I ~ils lire very vigorous, while the finebrush-linC$ indica ting the wrinkles of the. , kin of the new IInd fortleg$ arc extremely pleasing. The tiUhjecl is most 'ririted , ~nd ilS techniq ue shows th:!t the anial understood modelling. T he repre«nl!l.tion of two bulls engaged in C(lmbm ;$ alr.o 10 be seen in ~ C:lve at nh:lj:t; bU l the t re~uncnt is not *> realistic 2.Ii here. J A bull-fight is also p:tinttd ill th t l\b\:l~ll-i-Kh!i" , Fatchpur Sikri, and although it is a thousand ycar:5lllter rh:1n its prototype at Ajanta il lacks the forcr of expression of Ihe 11IIter.~ , The psincing of. ,·...,1""" 11I,{= is "'" ,.. "ifliNI,_ .,,11 il can be done me .idler tw..Iing ~ .irtlnt:~ but to 1Qin. '"" a!l.oh... ly Ibt ooling i. ClI' ...mdy ,iri"G> IW 'he hdd mmo! he Thrown b.ck -' a ~.. ""sle 10 4""...he ""bjte< cor ....:t1y, , rOTS........'. CItfN T""pI'l if I.ii., P. SI'}, PWe

,..i,,,

I In !h~ I.... uvr~ a'e fnwntnll of INlplun:: (tOn! a Doric ,,,,,,pie At....,..,. in rh" Trtad, ertaed in ,hco lifrh Of sintt Century' I."'.' In which .... iJIo.... n 'wo buIlo, Mt;a£N ill IighrinJ!', cimibr ro '''e p.ol",io!& al A}anrs, ~.;'" G rillilh", ..limit. P';,.,i"l"

• IMJ., lig. 87.

XC \'1.

5'

11365

,

INDEX rd;p....uiru.k,;Jf •.~"" " ''',*Jltlnor..of, ' 0 If. I, 12., S,tti, Vl1. ~ of .be l.s. 37, 43 Bamen, Dr. L. D., ..r; paiJ,ringI by'''' ~i, [I tM, ""......: ~ion of lIatktl>, rcp1't'K:flWw. or. 1i, 33.

A~~,.

"hrna4.

"jan.... I, c..~

J.-).

g.:ncnl o.IeoaiptIon,

l-ll.culpnlt<;'; ti,uuiM!, 1 - , ,he pilUit'i\t: OIl the. eapipJ 0{

• pillll., SI i on

u.t ~l;ng, 4s..s I i

~ P.......... ", n,:
.....i. :
d.>.rnase.

~~I H.U~

ruotic in/l ......... """"",,~.si l...r..." allini.~ .......1.,;;, JI I materials uor.!, method of ~ucu.i"& 1; rtproduaion t.,. ~r phoroW"p/lI. ¥. vi, s:i •• ~ ,; Ak~ y.,. Jung il&IIIdur, N.o.nh,

'--1.,

n AIJI3, painrinr of,

•4

Alligator, I'<1'n:.,..,.uio
riP#. bodrn"

.... nimals, rep''''''''''''"'''' of: aUigaror, :1.3; anld"""" 18. I'H buIlt, 5>= .wr. 3> 3 ".'; .kw.,., 33' .kpIIlII.., . 8, 4', 4]; Scat. SO , ; ~ 14; ''''''''''' 18, 1~ 431 I...... 19; monk..,., '191 owt. JII oxen, r4, SI: po:ao>d:", i. 19; piP"'> 4"""1i tefpCnt>, I :}-14 , )8.....4-]; sJu"kl., 13 ... ~ rt"(Ulwn ...,iolll of, r8, '9 "rdli,oau~ '" m., po.llJli"Pt '7, 15.

"30<,41

Al't'a-nll' ~ 1'<1',... nw;o", ot,

Anntea., '"l',.....,ta.1Ms
"

A'o.u ....... Buddlur. in nrious, 34-5 A,..wkitd,';ll':l !I), p.i",in, of, 3J-f Hacch."&lia,, ~a, 4S-S' WdJtit, 1!oWC'1~ring:I, If

Ronona-r...,.., l'<1"ctrntlriCIrM of, 7, 15, fl

Raud,

sOOl. 'epraoenruiO
"'''

1hPl.ah, .tmI.... lOll.' IkRs, .tpraonwinno of. 19, 4i, 50 Ilmam "',. d ,10, 11 B!tihJ. at. poba: doo<, .. s...." Bltll.f""rlit•• m iglout .auinodt, 34 ".Bin,...., W~rcnCl»'"

!:Iou. ""'P,
of

lows--

It""""", 1<1 ,Ile, 3H Bodhiwtn Padmap:l:o;, :l.i-JO BotIIoco,~wiom(tf.8, I~, 11. !l8, 41

BoItKr. rq>"""'w;"" of.. So. Boon, '
14,

"r..

Dmut-band, I\'pltomtsrion of a,.8 1Irucadts, ' ''' IS. '9. 200 1', ~ 11.'

Elrowne, O. H... ~i

Ompcya. painting of,3s-..3 C,,!,itai or. pilGtr. pain""!! on th~. S. Cap, ,"l' ............. iomo tJi. 37"'"

.2.

c...km, ~ ...ri
.'.

Ceiling: palnring>, . 8-.5 1 Choinl,g:oId. '<prelOtll:1tK:on!;(tr, .0 .... ':0., 37· tA41-jo-. saddle. 19 ".'

Colla', j~1aI, ~" ... iun tQenwiOOD or, I i. 11

"'"' ' ' 'l!'

CCl........... 0/, bd .... 19,41.501 bodi-. 8,.1, If, 2.', :all. fli boots., f' , 501 bnorol-h>nd, ~lIi btidIeo:, 371 CIf"', 37.··... :I., .5• • 6, 41, 501 doaIr. ~5;

""a, 6, 9t •9, 10, U, 29, 31, .'" . ' , 4~ +h. fit 50 ; Jkli. Ill, 19> 2.j., 2.5. 111. 32, 36, .". f '. 43, 471 fmJ, 4ft +71 girdla, 4. 6, ,m hoad-gt=o.r. 1.9: jacUlS; 6, 9, I ", 12, .6, W.141 kink, 91 .ibbonJ, 'I, 18, 4ft So; robot. 8, ' 1, 2. '. 36,

J;#rl, 2.j., 47' 1CItva, '9, If, 3', 3::11 oki .... 4, I~ ~ jOl uuU-ap, 16; oocb., 4'1 ~ 37' ,1IIl1(", SOl umhmla, 1.s1 tn4tstrip, I 7

.....no...

tht. paiminp b"

m. Zl'i;, niii

f'. 4J;

S""kles, ropr-ctrnwiont or, 37 &.ddh. in attI'lItlc:o, 34"1 BIIIkllIz, tempta.ion of, 30-3 Bull-Jigh.. ~, 51

H •• 6, i;r, SOl d:uU.. ~6

Chi_ an, xii, w,

(Mh. bod~ /1, ' 1". CbJ:, rcpraenwion "'.. H c-.,
Courn, rtf'rt:IIeI1t1,iOll of .. 7.

Cau"""""'"

a, f6-8

C""".... rqtTcoeowion$ >Ji, S. ~ 13. IS, IS, 1;. 3J. 37 Cupo, I'<1'reiI"tIUfkw of, 48, 49

Curuin,

"1'~nUfion

of ...

~s

C.......... L ++. H, 49 Cyml:ah, '<JlT<xntlri""", of, ':<" 'i.

n .114[8". IILOlting, .:15 thor.oM, Ay-whisk, I'<1'rQCntllioo< of ~, represen"ri"" of .. f(l rhe, 5.11. '0, tI, '5,1'. 1:<., J.f. UIt, aJ-, 3.-f. Ihncin&~i'lo, paintinllt of, 1:<., 1S.... , i 29,Hdi

53

'I\' DEX Mr6~. doMkrptr.l*nli", M• • fqIfaaIW;on of a,:2S Gandhi .... the .... of. nui, "'" D"rur:..i." Motif.. ~5' J"WdI•.,..,..J (IffiI1tII'fI.., n;p ......"'l""iJutrwJ. Bri", &a"m, :1.9 (l:o...u, n;p<eoentll;"" of. 9. 11. 11, no- nI: an obj«n. $• ...,., 5' 0..." hjH'*'''rariomof, 3. 3'" Ok _~ ....... a rdi&io- atri,We, prr.n;d: .nookta, S. ' 0 •. ', J+ •. ' ~, """""""';0""'(, S~. 36, ...." 371 barl£ki, 10"'. I~ Gror..J .. paintinpnf, 10, 3; ' 5. 37, ,.3; rn..;, .... 0 If,; , • '1. 31; IoW, "",m, '1 dlwti {~,*"",n ob"",. & g&nnftI.), l~ +1 nJt,hw, • rdigio.>ut ."llude, 3+ ~,' br. , I~ 15 ~,', 2i, +'1. . 3; eirdJa., rcp •...,.,uuiOllt of, •• 6,.7 nWk-m, '''I'I'cl<'ntarion of .. 36 9 .... 'S, 16., 36, 3i, +3' -. ~n&<,l ... 101 -.Ih ......., 16, _ri""".s. 8, Dlg....l!, "';"'inc of.. '9> ' 9.,' Go.ut. ~.wion nI., +I G.>ott., ~""ionI 01, '14 ~~~of,'6,,6·""7 11, '3, IS. 11' nu.. .0 .. " J6: Di ....., "1',...,wion of .. +9 GaId~~ '0,41.,' W>IpOciIi.,d, ... I '1. ' J, 1So Ill, 1'. Domo,k - . anicle. af, ."I".....n- G<:.uu,oer, n;praml&rinoll of. 9 33. «: ,,'rilrlttJ, 5. '5 Griltid.., John, tt>pieo of the ~"'u", J~, hnod_nt, +1 IIOn& of: IMUctt, '1,33, +Co 'U' bohl>!f, So; I>owl, 1j' ~ ++-jl JDIi-.Jobn.,vi lit,·, 49 c:uk ..... 48) S. 8, '0. ". '5, Grin.wo '0, .~ 16, 19- hr-...."w,_·rin" .6 16, 16 • •', 1il dinn, 4~1 ......."" So 2.SI fhsnn. 50; jM, '15; nu.r ..... 2,. ~5, 1i. 31, lJ. 3+. i' 1.,1" b:lnglc.l, 10.,', +3 49 .... I pillow.,;. 411 pitck ... 8, Hih',l'od-oui"fi'lt '3 Khut ..u ...d SltIl1n (I), 48-5' 14; poa., 8, '7,)11 alvn, 16-7". Hup, '''''"'''''utite of .. 19 1{;",oIM~poi'mi.. oIthe, '3 ''''JIt 9> 11. 13, 1So 10, 14t J6, 19. Hawt aM d,.. piJfOll, doe --r 01 th.. MO<)' 01. Sorpcnt, Js.-..J +:1., 46., +7, +8, SOl uamW ••• H I ~.' .a-.." Iommlly m.... 29 Hcd~munml>, rq> ....nwinoOJ nf, K;nk, "PICIII:IIUII"" of .. ., .--~ ", • i. 1 S, +S, 47 [)(Iorwar. 8 •. .6, 41 K,amrilch, Or. Stclla,
J."

"' .

'5,

= ......

,a.

"nas.-..

,M.ri,

.

• 6, • i. 'le,

ZI.""~,

3', J9, 4~

.S.47.5'

.,

fllot&,

............8 ......... I~ ..... of, I" die 1OI1e".., 16,

,6,.,'....... 1.

Eu-....,J;'oo n;prooo:n~ N, 9 .", 15, ,6, 3"-17.+3

tltfban...

"u..

~"""'''Iiont of,

Ia. 4'.

m.,. ••• ai, x,', 25

Emo-y. Pe..w. (/J, +~~ Etobin ~... ttiii E"" ... '"","'''~ot; S. 25

"l"....:o,w>nn. of. H, +i .'ight,.b..lJ·.5· .""I""""nlo 'cpMmwian of a, 10 .la£on. rcpram •• of .. 50 flu~ repratnllltiono
oo..

.'I'0:(0I in Ih. ri;lu...w, 4M

H~rrl,1Jhant,

t..ir,

(!<'\lfn

or

,J..,

point;.., by, v H......, ItjMau,wiont of, Ill, 1'1, +3 Hydati. Sir At!.., .; HJlkrat.d, H,}:" H, ,"" t>:;zam
"'1'1 br.·,

,.;

t../unrt... ,kirt, 1 ••. Lion, ~wion 01 .. 2'9 Lac_II"....,~ oII'~ri"i; of. 10 !he: Kndh,ta""a,'S-1

LUJ!ra6un and nmuncialinn, 4-6

f'&inlinl; of a, 29 MopJha, KinI of, painl;", 01 !he,

M~,

'J

M .....janab. painl1np of, ,..,;. _6oWt.:.t, elepl...,,-dnm, +,

I ........ an, lril<, 1 ltolJ." alii">".,. 01 lhe plI""",", ""i-,nii, 31 Joelms, IijHCio.." ... tiano u, ,6, 10, '14

or,

6, 9> 10,

i- .. ...c,o'ld ,h..,..!, .. J~ .",:n-,~';'

.w-.

a,ii, :n-ii;

......., W'I", of"",~

' S If, ' M.. ~ Itprt:trnla.ion ni,S'

Manhall, Si. J<>hn, vi

--~', oiIk, 41 ~.' MUII'
"",_ta""" of a, 49 .,t

Mic;ho~nI

Mil....., J. A" .ii !\ liradr: 01 Sri .... l. U-S

I

I NDEX

....n"'f'&inrinp .', ""

Rajl toi"' ...., "" I\ont-.back, 10-2 SlOt)' of. Se:pem K;"&o 18-4J JlIjl Pn& 0111 l'O ",""" dIe.,..-, Scorrord>epop., +-7 of tilt- l lmlllo, ,8-10 Scoty .... wtttpm.. I}-I f 29 hj,.... pointinp,n Sonp, ICiation. 1",,12OOn and, 2.4-6 Stra~i, PnIl., ...il M...iaJ "",nun.... to, "p' ... WOtKNII Rilob;.m, .."reocutaOIOfll of, 21. 18, s..~ palnri", cof', .w, .' <11: mneh ... 11.J c1"'hoI$, n. .... So ....-, <7"~. 19 ' i. 11; liru.... ' T.:I.1;; 11...." ' 7. Rin£s, "P'-"'~ of: ear" 9 •.•• S~'cpe_ra60r.o/'. 19, JOo 3', Ij, 16, J6. 37, 4)' Linger" 101 J7.40.4"'43046,so UII"'W, ' 7' Iw1>. a<J 1\1;1W1, tlu!

I

",;,.~..... ~rum, ' 7 ..iJif,. COOI''''';C, 11 I\f~ rqmwnrarion 01,

__I,.

'T,

N.d ........tu m ... 11, 1 S ,..\ 17••". tJ

..t.

OH";ng of 1oc.... lIowcn

~"'Js-7 0Idlwn, C. F~ A. W.. ,.;

$. 6.,

'0

-" R-.,..

R.nton. ..".......rwiono oC, 8.

11, 11.

J6.4',H RodcI, Sir RtJoneIl, .;

,110:

T~of8uddha,lI>'J

T anlct, '"l',..".wion of pIItcnII on, 8.9, I~ " ,11, • 5, ,6, 21.J6, J7.

"'I'"",",wion of.. 26

J9. ."~ 6, .,,

•.'

''b~ paintinp..r. S, 1$. ~ 'l6,

s.ddk, "P'''~'''.''O'' of .. 19, '9.·· H.4] S.hu, Ii:ov boodo on .. 1(o...ii nopre- n. .....Jo.rin&,«P' t« Ibodl&ll, 11 ., ..' Don ofa, 1.6-?' T ..... « .......,QlioNoI, 10 •.·,J6 OflWllftl"- $" J~"'" unSa.\khaplla. ""'....,81; 13-'" I] ,..' 1'lIla ~ nii ~hr:ad _ _ _ r, 16 0""", Q.unt, ~ lhe ,.,. pnnm.. tqt.....laric>m vi tIIt-, T ...,.. ,cpd T .. mbior, ......t, rcpreki>n6..n of .. Ox.... , .."...,."tlhtN. of. t ... S.

,·10-,01.,,6

"'.... ....-m'"

-

or

o..

...., 'd

Mo p'Qi, ~n, 2.)'-)0

...."Utot. I~ 2.

~ .. pt_,,_oI,I90""Jo,

.."

SaoIpw~

f'aj.ban, broada et, ,0 P>Ilatt ~.""" ;-1.10 ' 5-' ;. ~1, ~"

...-,

"ammoo 000 IUtiIo:t,, " .......'~ (J, 11,9, ' 0, 11, n 1S,.6., 2., Jb. 37.

39. 4 ' . 46.,.., •.'

P-n. 1qri .... ,tationI"r. 7. 19

..eni.... r....._r (I), ~

"ig«><>, 11"", or!h•• 4--] I'Hbr. p.>inti"G .... .hrc:.pital of., $ I l'iLIo"", rcpnwnw_of. i. H P~RI"'k1IwicJnoE; SI

,;'" ,-, " ....."12.,;.,,, 01 ,lit, $, 6 PoIW ...... n!

«01}' 0(

a,

1"", ' 3-' ~

Sttvcm K;"ilo otory 0I"38--.+-3

1h, beW4eaf,lhcj.ua.of, 1.

,.,AIo.
!he,. Ajanu,

.

TwrWi..... : t-aer. from, ",foi, poilllinp fmm, .u, ~ l.ndi.uI, Twnic,~or ... SO

J..f

P~I~ ,......,.. .. wioo. 01, SI Pcrur.rd, .."racnwion of"10

p.....
Shub, rq>!f, 2J

~ n::pr....IIl1n.- 01, 190 10 S/lip.1ed:, n -3 Sblrta, Kbuon.u anoI (fJ, 48-5' Sil!i, PrincE, the """1 cof'. ~-7

V.j,..,;: Cl), 1*"";,.01', J5-1

V-r. E.

L., ...ao,..-p/wA""....,a. of the: pain ..""" 07. ri VCIOCb., rqI"""'''riont of. 0'. ' 7. 35,

SignordU, ".1, It';; Sil_boo ,,-, 10,.2 • .' Srnb, Pri __ , pMn';",.

. Sd 1 0 (,

;-3.

w~...nl'l ~, ..... of., '7 W.."... ttpramlMionlol: bow-and Ski..... "p'a>:Il..uo.. 81; ... ,6, '18, IIlTOWO, 33; d.oger, ~Ol JO H. 46, So Sock:t. "l'n:omwion of, 4 . Wild •• pUn1l ..g of .. JO Spar. n::pr.-tw;"" of., 3' W,;,,\1cu, tq>r<:IimtationJof, S, '5 StITOoWI, rnil3deor,]4-S

'$-17

Sccboukinc, Inn, OIl the poiminp,

WwT~""'"

:D-.,w

Stein, Si. Allrrl . ... n , xilo

55

•

fo,. \

.

..

".

.-

•

.'

w.,

,

'",

•

, ••

.

-

1 " or

).tAr IHtJO,\"l!.('; tlOITnI 1'1)

•

.\J.\~T .\

"

At J.

--

".

> .

'" ",

" •

.

.,

-~~hl;"'.,."",

..

,,.

1

• •

•

-

I

• •

•

P1~

It"}p UI kI..,. IN biJ(lk ab/! .lId t1JOYing.

(,...

..I

efDlnl AR:bt.eolo;iCIII Ubnry, NEW DELHI.

Coil No. 7fit ·7J"'f31!y....· Author-

Ajanta: The Colour & Monochrome Reproductions of the Ajanta Frescoes Based on Photography: Part IV

Read more

AJANTA THE COLOUR AND MONOCHROME REPRODUCTIONS OF THE AJANTA FRESCOES BASED ON PHOTOGRAPHY. Vol 1

Read more

Monochrome and Colour Television

Read more

Ajanta, History and Development: Arguments About Ajanta (Handbook of Oriental Studies Handbuch Der Orientalistik 2, 18-2)

Read more

Cave by Cave (Ajanta: History and Development) (v. 5)

Read more

Gastroenterology: An Illustrated Colour Text (Illustrated Colour Text)

Read more

The Trial: A New Translation Based on the Restored Text

Read more

The Trial: A New Translation Based on the Restored Text

Read more

Note on the Text

Read more

Dermatology: An Illustrated Colour Text

Read more

Gastroenterology: An Illustrated Colour Text

Read more

The Colour of Magic

Read more

The Colour of Magic

Read more

The Colour of Night

Read more

The Colour of Magic

Read more

the colour of magic

Read more

The Colour of Magic

Read more

The Colour of Magic

Read more

The Colour of Magic

Read more

The Colour of Magic

Read more

The Colour of magic

Read more

The Colour of Magic

Read more

The Colour of Death

Read more

The Colour of Magic

Read more

The Colour of Death

Read more

The Colour of Magic

Read more

The Colour of Magic

Read more

The Colour of Magic

Read more

The Colour Of Life

Read more

The Colour of Magic

Read more

Recommend Documents

Ajanta: The Colour & Monochrome Reproductions of the Ajanta Frescoes Based on Photography: Part IV

• . • • J - -~-- -~ -~.- (ivVJ:ltN!IIB!'iT OM JNnIA / • '-{)~rAJ\n[ENr oV.,nCUAEOl CENTRAL ARCHAEOLOGI LIBRARY ...

AJANTA THE COLOUR AND MONOCHROME REPRODUCTIONS OF THE AJANTA FRESCOES BASED ON PHOTOGRAPHY. Vol 1

ConRSll1t~.,. CiF umu. DtJ'ARnLENT 01' ARCHAEOLOGY I CENTRAL ARCHAEOLOGICAL LIBRARY Cu.. ________ 1 1,~ ____ , ___ ...

Monochrome and Colour Television

NEW AGE INTERNATIONAL (P) LIMITED, PUBLISHERS PUBLISHING FOR ONE WORLD New Delhi · Bangalore · Chennai · Cochin · Guwa...

Ajanta, History and Development: Arguments About Ajanta (Handbook of Oriental Studies Handbuch Der Orientalistik 2, 18-2)

AJANTA ARGUMENTS ABOUT AJANTA HANDBOOK OF ORIENTAL STUDIES HANDBUCH DER ORIENTALISTIK SECTION TWO INDIA INDIEN edite...

Cave by Cave (Ajanta: History and Development) (v. 5)

AJANTA CAVE BY CAVE HANDBOOK OF ORIENTAL STUDIES HANDBUCH DER ORIENTALISTIK SECTION TWO INDIA INDIEN edited by J. BR...

Gastroenterology: An Illustrated Colour Text (Illustrated Colour Text)

Gastroenterology Commissioning Editor: Laurence Hunter Project Development Managers: Jim Killgore and Lynn Watt Proje...

The Trial: A New Translation Based on the Restored Text

THE TRIAL A NEW TRANSLATION, BASED ON THE RESTORED TEXT FRANZ KAFKA Translated and with a preface by Breon Mitchell Cop...

The Trial: A New Translation Based on the Restored Text

THE TRIAL A NEW TRANSLATION, BASED ON THE RESTORED TEXT FRANZ KAFKA Translated and with a preface by Breon Mitchell Cop...

Note on the Text

I: Note on the Text Rush Rhees The Philosophical Review, Vol. 77, No. 3. (Jul., 1968), pp. 271-275. Stable URL: http://l...

Dermatology: An Illustrated Colour Text

Dermatology AN ILLUSTRATED COLOUR TEXT THIRD EDITION Commissioning Editor. Timothy Home Project Development Manager:...