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OQVERNlrnNT OF INDIA
DEPAR'I'.IlENT OF AROHAEQLOOY
CENTRAL ARCHAEOLOGICAL UBBARY Oun, ____________________
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AJANTA PART ONE
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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.
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Y, ". A Ihcchanalian Scene (KbuliJ"lIu and ShiriflP) and Decoratiyc M(}Iifs
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I NT ROD UC TION
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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.
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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 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.
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a T ..... pooo'.iantol."" f.-on tbe-.nlt ... t(~ ha.'~ bom _ked OIU an the K.,. Plan ~nc ,he
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STORY OF THE PIGEON , SIB I JATAKA Plau v
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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: dUp0 "'" 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
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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
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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
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TIle third episode of the: "ory has been ddineated below the fi1'$l two. Commencing It the ldt liidc. we notice first a male figure wearing a crown and holding ~ long itaff. Ae has long hair, which j, hanging loose on hi' .ooulden. The IowCl' Ilm of the body is d:llllaged. To the: right of thili figure there is a group of eight J08'1. The treatment of dIe hair of c.acb of the:m il different. Tht IWO at the extreme right hllve plaiti tied in knOll oyer the head; , AcconIins to ,~ 8irrllk~f"'. wnion (xi!. ~) o.hc .ijl ....doe.. orw: of 11. Io with long 1taVe$ 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 er iwId be: huIdo • ..-, ......lIIins ihc IMJ Cbr- poc) of.he praem J If ihc w, .. idontilitotion .. _«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$f. there it a head. the features of which .bow grear e.xcitc:ment-
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In 8r;&/]m.anicall~.....t B~oldhlol""'" dI.,. •• ow tieHne..cd. andIorittsand k. be. traced. Below the princxu; i$ 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$t In indiating the curv~ of the body can "ill be wruircd. She is wearing a d«Vdcu,Iow-flWte him o4noon.w ~ hi", _, w.hinlinc that it '1Illntral f.alhirt.. After ~"I!i .....en ne. &looc hcr-, n&rnrd Mi#jin&, who had ju.. ..;..... from an lOOIZtic . ranQo, bch.c:1d. IllIw>....nII.hty ",1>0 In 011"" ill Mlh1TJ '
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'n-Iw t left rIwm..u, 0 Jomb : M eanhcn bowI _.......1M:e well" , Coordl, lip. cil., J"J. • The polJIoo of doe djl, Io!ing p:al=d '" _ cIa,kQ' rilll. thM body __ the _ of M:nna (Ill""" p.• 6).
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PLATES XIV &: XV
elephant is :I. luge retinue. :t;mGng whom is prominan the figure of an ;;IlIendant of red complex-ion. who it; holding uprighl an ullmcathcd ,"",'Om wilh an incurred b\9de.' He j. mpparemly the bodyguard of the young prince.' who if riding on a ba}' horse.' and i. over· dlallowed by 3 canopy. The horse is pn.ncing 10 dial a p3S6er·by hu been Wed \\ilh fright. The figure: of tllis lerro,~cken po:fetlTi~n n~y be noticed 10 Ihe righl of the prince. To the princc'. left thert: it "'nocha bodyguan.l, and beyond him the: headl of IWO OlDre attendanll may be iCen, ..... ith Ihdr bsir tT(':lrcd hncifully. The lWr of one hu been lbown in dU$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"IOI'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 ,htr.~ '" ~ ..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.
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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
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_ 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.
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LUSTRATION AND RENUNCIATION, MAHAJANAKA JATAKA Plates XX_XXII TAl /aV,,,,, ,.;.uti .. ,it -u '" rlu _1';,/., ~ till - . ""Jot JnI-' __ uIlJ,. ,AI Itft -It"" _Itpo 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
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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"
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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.:1, prnI"-":>or •• " 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. &
• 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- eaIJrnd~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 $how hi. humiliation and dej ..ctik1int"~lion .,( lbe bilk .. (Ioer ".., little Iin;c' of hilld', ........ "'"" ~ of hit "&,u, ~.n~ F.nho;. 05"..... 'u ",It c>f ~..... cooi", ..... ,~ io'r. g;yu. .. dwJO< 10 .be unrnitiatrd ""Hi .;,11 th.:!in ,... o(tIK ,~.1wId dw
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PLA T ES XXII" &. XXX\.XXX II'
of bloom, wi th ~n t1H~ beaUty of j" delicate !lItms, are absolutely muvellouii, In the enchant. ment of such an cnvi ron ment one can visuali7.e the drealll of the pious Buddllist. of:l vision of rhe Muter in ~ rh91163.nd forms ill a hea\'enly orcllard of 101u&l;, of Ihe PUf('S1 colour and !o\,diest forll1. The subjeCl ha' been aptly idell tified by somc scholars wi lh Ihe Gttat Minde of ~r~\':mi, in which Ihe l\laliter, to ou twil Ihe iix wise heretics of R:ljagriha, rote inlo the air Illd caused flames of fire 111l d itrtalll5 of wate r 10 issue forth :llternardy from his body. l\flerwards, he ~I'peared before the asstmhly sca ted in the att itude of mditalioll on :\ oolo~l lotll.-ilowcr, :lnd lII~de to spring from his body a multi tu de of Buddha figures ill a variety of POleS, ~i n ing , ~t:lnJi ng, lying down, and w:llking.'
OFFERING OF LOTUS- FLOWERS TO THE BODHISArrVA
(VAJRAPAJ:l II) Pltlter XXXl-XXXlIl T/J,
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view, to the ' Iudent of art the fresco Is a dea r rCpftK"ntltion of a prince of the: Eanh :and the SpirilulIl World. The rdined features, ~lutpc!y pointffi nose, large c:y«,' firm li pt.· beautiful round f~«". and graC1:ful limbs :ill i/ldio nt high binh, while the uprc sion of peaet and ~T(:lIi!y Ilcn':lding the figure u, luggclitivc of the majC1i IYof the ,pinl. T he dcli notio n of the jewellery, C$pc:cially of the pee.
rne ....zr.HtJ, "", d\e1'e .re 110 I..,."
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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: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!$, among whom a mother and child ue prominent. According 10 Ihe ].TII/i., Sumanl, the timrorite 000,.;0" of Cimpey;a., appear5;1.1 the makedan(% which is pcrformc-d before Ugguq &K w.nna .... m.. fmao. • 1'M ...., of oocb w lone booo ipko". m.. ,..... I""""" oIlhc linix ...... ar.I i.....
t-...-.
•
• 1loc
~ of the:. elephants j, very realistic, and the differen t ~ of thei r bodies show pl:ty of fancy. Below these four ele:phanlS twO young ones :lTe: painu:d, the: skin! of which are white. Farther 10 the: righ t wc IlOticc a big cavalcade, incl uding infantry, hOf$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 getitUrrk, 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" '/oq
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