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15(.7;'093.

Ya3
OQVERNlrnNT OF INDIA
DEPAR'I'.IlENT OF AROHAEQLOOY
CENTRAL ARCHAEOLOGICAL
UBBARY
Oun, __________________ __
i O.lJ..LNO }'46'
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AJANTA
PART ONE




AJANTA
THE COLOUR AND MONOCHROME REPRODUC-
TIONS OF THE AJANTA FRESCOES BASED ON
PHOTOGRAPHY
Wilh an & -planalory by
G. YAZDAN 1, M. A.
B'Ucrno..,. .. aoA_ Y, ".<-M. n . . .......... "" .. ,. _
11365
75/ 730934-

and 01'1 l mrodutlion by
LAURENCE BINYON
... T ....... .. ..
PART 1
TEXT
PUBLISHED UNDER THE SPECIAL AUTHORITY
OF HI S EXALTED HI GHNESS THE NIZAM
193
0
OXFORD
UN IV ERSITY
PRESS
LONDON
HUMI'HU'f MlLfORD
PRINTED L" GREAT BIllTAIN
BY JOHN JOHNSON AT nu;
UNIVEllfTY PitESS OXFORD
,

PREFACE
S
TUDENTS of An have already been familiwN with the painting. of Ajama, first
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 volunles-by the (ornler in Tlu Pa;nth'K' in lilt Bllddltist Tl"'pltl
Dj Aj01lfil, and by the limer in Thr Ajtllltll FrtJ(oN. copies have proved of
VlIluc in giving the world a general idC1l. of the painting$., and , being aceolnp:tnicd by moot
carefully wriucn essays on the hwory and ani&uc impon of the: freSCOeS, thC5C arlminble
volumes will long be studied with by every onc inletUled in Indian An.
.... ilhst:l.nding their merits, these: copies have: not fully sati5lied the For one
thing the: leanings and clur:acu:ristics of the: copyiSt MVC aept into them, OIod for another the
technique of the original (rescoe& has been found too vigorous to be r<:produced faithfully
in :I 1<:" pronounced medium, On the !:tHer poillt the opinion of Lady Hemngham, who
'pent lieveral Y<::lT$ 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 exe-
cutants 10 reptit it,' and further: '1\'10$1 of it has a kind of emphatic, pusionate force,:I milrked
technical ikill, very difficult to suggest in copies done in a $lighter medium:'
The Government of Hi s Enlted th<: Ninm, in whose dominions Aj:lnt:l. iSslluilted,
have evinced no smal150Iici tude to procure jllitiljul copies of the and in 1915, slionly
afler the cn:alion of the Archilcologic:tl Deparlmttll U Hyderabad, Ih<:)' were plcascd 10
appoint an anist, Mr, Syed Ahmad, who had receiv,i hi, mining under Lady Herrillgham,
to copy !.he fresCOl:$ 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 for his copies as reganb tone :Ire
distinctly .uptrior to tllO$C made by previous :l.rlim. An however, h:l\'e con-
tinued to crave for abiolutd), faithful copies, which they ,ugg"t are: pos5ible only by a
mechanic:tl procw, such a$ 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, although mosl
welcome 10 His Exalted Hi ghness's Govcrnm<:nl, at fiflit appt:lred impracticable, for through
the neglect of centuries moi$ture and dirt had formed a crust o,'er the which it was
difficult to remo"<: owing to the varnish which 50me arcltaeologuls and artists had hud on the
, with the idea of brightening their dctail :lnd Ii:Ifcgu:lrding Ihem from climatic
effects. These injudicious me:l.5ures, although underl:lken with good intentions, have, in the
of a of a century, 1101 only m:lde the fine brushwork of the frescoes mOre lndli-
tinct, but have in wme: cases, where 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. Pro-
fe&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
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 XVII ,
whete. the varnish had penetrated into the colourli and any attempt 10 remove it resulted in
total obliteration of the c;o!ourli themlelv($.
Mtcr the deaning of Ihe fTCK"OtS so far as \VU pnetirabk, Ihe nUl step _ 10 bring out
10 Ajanta an ezpen in ro1our photography. In the beginning Mr. O. H. Browne, of the
Hydc:rabad Electricity kindly made some ezpcrimentl' but lata the servicet
of Mr. E. L. V:uey. a Britid! upert, tae rtlXlmfnendcd by Sir John Mardiall and Sir Aure.l
Stein, who, it ma), be added parenthetically. have tdvi6Cd the Archacotogical Depanment
of Hydtrabad mQl;t .... illingl)' at C'I.UY uage of this 5cileme. The rtClOmmend:u.ion wu readil)'
accepted by Hi5 Enhed Highnca', Governmc:nt, and Mr. Vmy w cnVged for five
month$, 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. John
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
survhca on the roekwalls of Ajanta: and in a few aiCSo 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 rtpealed on a luger leak in mono-
chrome. 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 and his name .. ill long be 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.li ties of An. My acquaintance with Ihem, as
Dirtor of Archaeology, Hyderabad, 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 authority 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 Ajanta 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. YAZDANI
HTORAlAo, o.:c....
U I ~ '930



Introduction
Genenl Rcmuu
CONTENTS
EXPLANATORY TEXT
Story of the: Pigeon: Sibi }ilw
A PsI _ 11 Lady reclining on 11 Couch
A Bhihltll at a Palace Door
,
A Palace Scene: continWloon of the Previous Story
A Pal:tce Scene; ItQt itltlltifitJ
Story of die Serpent: Sankhllplh. J :il:tka
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&$JC..-back: Mahajanili
j'''''' Cl)
Shipwreck: Mllhljanaka Jataka (1)
Lunntion:lt1d Renunciation: Mllhlijanaka J iuak:l
Four Heads on l Salver: SIOry of Amm-OevJ (I)
BodhUatlV'l
Temptation of the Buddha
A BocIhis;llt\'ll
The Buddha in Vario", Auitudes: Miracle of Sr.ivut i (1)
Offering of Lotus-flowen 10 the BodhiAltYol (Vajrap:1Qi')
Story of a Serpent King: CiImpeya J alab
Fruco in the Right Aisle: Ml iJ(lrtijid
A PaI:u:e Scene; Ifflt itltlllifitll
A Court Scene: Per5ian Emba"y U>
,
A Ihcchanalian Scene (KbuliJ"lIu and ShiriflP) and Decoratiyc M(}Iifs
A Bull-fighl
J.ndc.lt
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1
j
I NTRODUCTION
W
HEN first J was honoured by the invitation to write lileK introductory words, my
impulse: was to dc:dinc:. For I have never S('cn .'\pnm. aI has been my desire
for many yea" to visit those famous cave-templ". with their and their SCUlplUrc$,
(ortune has dcnkd me the opportunity. How, then, could I be justified in attempting to write
!In imroduction to iuch an important work as Ihis f
But, though r urged all the reuon& a lIluunl diffidence prompted, to!r. Ya2dl4ni pc:uistcd
in his requon. The invitation W'IS [11 ,uth 8n1cious terms Ih!!! refusal became
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
of nudr to Asiatic painting in 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$1
painting in !!.lIthe countries of Ali:1, I ha\'e tried on thl, account to jUltify my acceptance of
the (:Wc..
I
The longer one studies the an of the world, the mort one pm"" the more one returns to-
or W:lI least is my experience--the art which, whether QStengbly religious or not, express
or is impregnated wilh the lik of the 'pi rit. A Ill.ndSOlpe, a group of figure$., 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$t lurely by IllO$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 lOul, ;lnd to which Ihe genius of great ani$15 har given embodiment] In such
images, luch mapes of myth and 6ymbol. CfClti\'e dC$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 of an, Ihut tills public::uion
Iw been made po5Sible by tilt enlightentd munifict'nce of Hit 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 I see Ajanu with new eyC$-
Let 115 first congdu lhe general elrea of the paintings. (I am obliged to wrile of the
imprcssion made by Ihe reproductions; no doubt Ihi, would be enriched and
intensified by sight of the originals.) The interior of the tJiMrl3 to which Ihe rresem "o\ume
it devoted, as we sce it in Plale rv, shows u& the di6rosilion of the paintings on the w:lUS and
the ceiling, and ren'aIt; aoo the injury of Time and lueh defacement :u has Ixen CIIuscd by
of men. All the lower portion$ 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 ancienl an, h:ur iOmc illuminating pages on Ajanta Incidentally, he
mentions 50me worth of mine. wri nen many years ago, in order 10 record biJ disagreement.
, lA 1,.",_ J r 1I"f'" ,,, G,.,." M.p/'. r.rit, 1929.
,i
rNTilODuC,',ON
Coming ftom the uudy of Chinac :In, 1 had once Aid that ,he conlpolioonJ of the Aj,nla
seemed 10 me: 'crowded and and their an 'primitive', as compared with
Chinc."5(: an. in of the: 'forcible' and imp<lflng impn:aion' they crc:ate and ' the: gra-,
dignity, and maracter' of 5inglc group' Md fornu. M. Slciloukinc: quoted from the 6,..1
edition ofnlY P(li!ui"E ill ,/lr Fllr &111. published in 1908: h:&d he t urned to the: thin! edition,
published in 1923. he would han: found that funher ' fudr of Ihe: copiQ 'I.n.ilablc: (aau:d
pholOglllJlh5 were not the-n 10 procured) h1l.d induced a deeper appreciation, tbough I
imagine he would Ihll diAgr lIoith the judgemcnI that 'the comp<l'ition i5 often turbid,
and wc life Id, wilh a senM: of splendid ,trugg],: rather thin of 5C'reflC mlUtc:ry',
1\1. Stchoukinc', oym view mu$!: be q uoled. and J \'cnturc 10 tran5l.tc hil word ..
Conk'nJpll.ting the (he tays). one hu lint the impration Ih" the filluns
rqwuentcd in them aIT anaIIgm-or piled lip nthn-, so RlUt i. lheir n'llmber in Pl'OJ"'rtlOII tt) die
.pace-without rrep. .. fQry thought or any pR'CXmuived pl.n., in 11 mafUlU.o rutunllht it 'ppet"'
accickntal. A cIosu arudy _ rnan the Iea"",d desig" which their grouping. In
rheir ansielr tQ present a picture tun of dTea, tbe Irti5t1 of Aj:lIlla rake arc to a?Old ,11 rnrtbnd
a
of n:wnpotinS./Icn: the gOveTNIIg idea if, looobviouf,. 5Uth 1$ thole which nhibllthc primitive
of I'rollgly m3rktd .prlmetry or else immobilize the de!ign by depriving il of .nd Iih.
An rheir ((Impositions '"', on the contrary, buo::d on compkll: arn.ngantnl.,.hen the vukfy oIthc
anirndo and ofthegrwpingt appelrl inuhauslible. IXIt Ihinbund."teoffonn. i. Car (rom prodlldng
chaoti( dnilln, opposed to all idea of unity; wed .nth ut, il heir- to crate" wdl-pbnnc:d COfU[1OIitioM,
the uniryof .... hieh by thefact lh.3r;, it made upofhctcrogeneOlU elemenu.
I am glad to qUl)(e thdC: worth of a critic who oen:ainly nl)( given 10 vaJue emhUJiasm bIll,
on Ihe contrary, h:u nOI only acute perception but dosdy feuQnM judgement. And lam
very willing to admit that I lNy hll\'e emph:uized lOO much the: 'abundance of fonm'
"ithout peri\'ing ,ufficiently their underlying coherence.
At any nle I frrcly acknowledge that the more lhe (moon lIre mrttemplAted the morc
does onc apprecillte the iu btle rc:lationihipto that connect the groups of figure., 10 that though
the 'unity' of the compo<'irioni il not wbat imprean the eye.1 fir\I-r.lthcr, in mmy ... t
Icut, the reve:n;e-one comu in the cnd 10 recognize Ul1lt profound contc'fltiOIll can di5pcnIC
with the formulas of c:lIrolued furfacc.amrngement and have their own occult meanl of
knitting together forms in diff'uiion. The unity ,wlincd il nol W) much like tbe
dCQITath'e unity wc arc accustomed 10 expcct in work.. of pictorial 1Itt, 111 like: the: deep COII-
gruity wc find in na!lue, the continuity of relation between the hills iIIId the trta .nd the
flowcn, the: , hadowl and the light: it in Ihe I:&me large and "lent "''''y. For this an
i. chal'llCleriSl ically Indian in illlo\'e o( n:lIural rrofuiian: it daires the ""Mle fullnes of life.
And uiU (ullnw i, nat merely the vigorous :wtrtion of human vitality, it iJ not complete
without the life of animals and plant" Man is iCen in the midn of nature, not using her as
5Qmetlti ng vanqui5hed and 10 hi l need nd pleullCCl, but emerging among
kindred (orm, of life u tht m()Q eloquCflt form .he hu created. The more the mind
itiClf in lhis arl, the IIlorc it u aware of the profound c:onccption of the unity of all life which
il.
At the prCiCnt day, obeying a reaction from the kind of art which u; engrotSCdin problems of
xii
I
INTRODUCTION
we by empliuil on dC$ign. Oeiign i. root of the manu, -aaun:dly:
yel there .. I danger in me tOO ron.aOUl purtiuit or daign. When the whole i. con-
on IhU. thc:n: " apt tn be Iosl of depth. The Ittim of Ajanta had before: the-m always
the primary aim of rendering the significance of the stones Ihey were: 10 paint upon the .... alls.
h was r:uher their intuitive uncomeiou5 which guidcd Ih", ditpoiilion of Ihe figu(C$
and Iynthaiud thdr grouping. T hu. Ihe da;ign il not Iltogetheron Ihe lurf.lo:, hUI an under-
lying ... itality within. I would not be thought 10 make an)' hard 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. 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
of gcu:uring amll and simi\ll.r device. of O)mposition, had littie mt'anl of appre-
ciating the 1006ct a.lld more hidden of these 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 Idf-
conlaincd patently l'C350ned whole, wi th an irnpo6Cd logiC: of c;onuruction, Kernl to rdea.
an inlldcquale of tile livillg world. It 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.
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:
guewll.y. 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 emerging from i.t a lif", of l\)e spiri t prevails, the .pirit
coll1emplatts and is filled wilh coml,aSliion, Sometime!, u in the rrCiCQ on
Pbte VU, this ipi ritll31 prC$Cn(;t appears in the doorw .. y of the hOU5C embodied in the
Bltil'/'II, who comCIi Ilke a m("l;8Cnger, and is wdcomed by itsinmat. But il i5 in the marvellous
rrnco reproduced 011 Plate XXIV that thi' vition of life auainl 115 coniumm:r.tion,
Ilcre il the 'pint of Renunciation: but the life o( the ipiri t appean nOt :u in KOrnflll
di5gu51 wilh i ..... life of (artl" (lpflO5Cd:lnoJ denying;jt eOlergt;'5 from that life embodied
in Ihe ),oulhful fonll of a prillCC of nobk birth and bn:cdlng, not wasted ucelioun but
.supple .... ith latent \;gour, though gentle in gcu:un:: and he 1000 nOI on any lighl but
Ihe whole world is in hi5 eye$, .. 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 spiri l.
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 rl 5qUIll'C U of plllan IInd CI'OM-
pieces, 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 glam
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 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 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
consider, for in"ance. the dnwing of tile RodhisauVlI', lifled h.wd holding the "'"!Itu4ily-
which 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 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.
Thi l 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 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'QDl lllltniC'atCl not only iOlidi ty bm bloom, quivering tiQlue
or the ' kin, 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
'"
,

c ... to, what i$ 60 unu,ual in Oricnc"ll painting, of moddling; and wc note th.:!.! high
Iightt uc soruetiruel rendued on the faces. Such appear 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 by ourv.":Itc:r-colour PWIICnl; bUI Ihifmay be an ermnlU5
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 UDder the inRuCllcc and after the example
of European painting. But dKre if in if not all, of Ihe frtKOa \1n attempt to produce
the illusion of depth and rct'ClSioo. :tided by an inmnsiucnl but nol 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$C IoCCnCl reprod ucccl on PI:lIe XXU; I dew! in which
onc can study wllll! iJ Ihe abiding fascinAtion of Aj:lnla, the t'xtr:lordin:try beaUty of grouped.
IlI'int. preoccupied forms, heR: immens.ely enhanced hy Ihe W'Ong, uprighl linel of the pillan.
UI
110WCVCt tentative, Ihis endeavour 10 realil':e or suggC!i1 the modelling of forms and lhe
reCUfiton of objecu in Ipatt il remarklble. And the problem is r:aiscd: do.:, thit.
represcnl iOmet hing in Ihe -I ndian geni ur., or i. il tomething "imllialed by foreign
examptc1 Appuetllly it diCl out of Indian painting in laler timCl. COOmar:l5W,uny nota
Ihl l '" E110". the remains of the !::I.ler fr(5(X)C5lfe much flatter , hall the eulier paintings. And
thi. fI:ttnCN is narked in the Rajput paintings, whelher on W.J15 or in mi lli:.l.IUJ'Q..
On tM Q(her hand. wc 6.nd WIt in the Mughal Khool the European drecu of atmosphen: ,
relief, and chi:u'OKUro 2R: readily 2Uimilated. And Or. Stc112 Kranlrlll;:h oMcrves th:1.I in
mmny 'Indian ICulptul'Cli the forms Kern 10 be struggling to emerge into the round ;and stand
free fmm the rcliefs 10 which conditioll5 restricted them.
h if wonh noting Ihat a .yllem of lnodcl ling 'n [wo tones, derived alm06t ocrtllinly from
Indian example, is found in ecm.in (by 110 all) of the ninth. century Buddhist pllmingl
r'O\'ered by Sir Aurcl Slnn from T un.hulIng (iCe, for "J. X of Tlte ,
&illalulS). But here, u lho in tome early Huddhut pictUfCS in Japan, Ihi5 'Y5lem is 011 tbe ....-'
way 10 brroming dcoo".t;"c con\'entioll, no longer really undcntood. It clemenl
that Chinese and J apanese p:tinting could nOI a.imibte and ended by rejeaing.
There arc. of count, wnteT$ "'00 beliC"e Ibat the an of il tomehow derived (rom
Hellenistic art; Ind Ihil might 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 they were Ilke. If the wall .paintingl of tilt third ntury, 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 the f:.l cts
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
INTRODUCTION
IYpa, due 10 the 10 India of Huddhlsu from Central A-u,ouuide the nonh-.. elllem
border, in twO in mU. (P1:tIO X).'XVlll and XJ\."XIX) IndiCl.ltf ,-,;naln
Ilmount of interoounc: with fordgn landl: hence thtre QUly h;avc. hem with
finer of f-Ie:l1eninie art, apable at lC'tit of wmubting.
How this great school of Indian painting up wc do not know. Probably, like. ;all
vigorouli Khools. il be. willing -and ClIger 10 borrow froln .n outside: i"elf what il rou1d
readily lIb10rb and mimilate. BUI in thcit day. we te2iC ounelva; overmuch ova lbe qur$tion
of origin'- The an of Ajanta is lboroughly Indian, whattvcr HinlulU$ it nuy have goc from
without. Thil is is really inlc.rt$ting, ill 'pccial (I) Ihe art of the wQr!d.
And J'"haps. after 1111, the solution of the: problc.m wc. h:l\'e bten dil(Ulting nll'ly be limply
tbis, tMt l"diU! art. being tht art of an Aryan h:u mo n1LlunJ affinity ",id, me ut
of Europe thall with thal of China and J apan. I cenainl)' fc<:1 that Ihis is true of Ihe p-.>inlingll
of Aj:ulla.
rv
Mort IhU! onc wriu:r hH rcnurkcd on the Iikencu of the Ajanl:l ptinling. to early hllllan
fn:KOel. r do nOl think that Ih" il nlUre than s general affinil)" wllleh would ihowal Ihe
JilIme lime poinll of contra$.!. The empirical pcnpcClive common 10 much Oriental
a" and the medieval art of Europe:, before the 'k'iclllifie' penpenjve of tM Renaiianee. ba.cd
on independent ,mdy,luppbntcd it; a 5Omc\\"hal timilu, lhollgh nOl idcntical. Icchlll ed
procedure::; the reprcknlation ()( IWO or more A1coc.hT episode. of a ,"ory in the foliniC
(lOnlpocoiuon; Ihe sp<lntaneou$ in\'ention; thc rc1igioulI IhCliC are tlte IIIQin poinD
of IikenCSf.
ut me:: dwel l for a moment on a poinl ofdilferencc::: Ihe painting of the nude humm fOnTl.
The painting of the nude iI very ran:: in the late medieval pWlling of Europe mo5I akin 10
these Indian But with the Renaiwncc il lOOn bccoma the ,uprclue medium of
upreKion for :u (or 5CUlpton. Were it not For the erample of Grec::.k 5CUpllllrc,!l1it
cult of the nude: (orm would problably nC\"tr bave ariKII. But having di.r;a)varo Ihe infinite
upre$6l\'encss of Irn: body in ill 'nllked glory', the aniiUi of Europe made it !lu:i.r cenlral
"udy. Yel there ha. alwa)" been lomething which il inevitably a lillle in Ihis "udy.
seeing Ihat it hn been pursued among people unused 10 dj5penfC \\i tll uoching. h i. noe
iIOlI\crhing ,uggC!Oled by Ihe sigha of everyday life:. The:re is, indeed. IOlIlCtiling thal :I
drlachcd obierver might find al oncc a lillle \udicrou. and 11 link pathetic in Ihr JabouB of
the orthodox life da8l, wilh ill ring' of earnesl uudrnu drawing from a model nOI occupied
in 5OI1\e natural anion bUI p<lKd in an arrest of movenlenl.
To Italian Jl:I.inleTJ of Irn: Quatlroccnto, to Pollaiuolo .nd Signorelli, and, following thelll,
Ihe young /l.lichclangel0. the naked body was a dillCOvercd rolllance. Their menial inheriumor
\\'lIl tOtally diffmnl from Ihll of the Grttks, for whom the: perfeCl body had Ihe 520crcdnc::511 of
service iCvercly dcvou:d by di5ciplinc 10 the Stllte. 1'0 than il ","'ai, if a 'ymbol :11 all, a
.ymbol of from trn: :l.5CCtie fcar of, and dilguu with, lbe. body which lhe
medie' .. ! ccnturiei had implanted in me mind. BUI aOO\'e all it. beauty WII, mange and new.

I NTRODUCTION
&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 $Ciud with .1 sure
eye and hand. There it no 100 bold for thex trtiw 10 attempt. and it i, done
",ilh a htnlightfon.'lIrd lou tery. at; if no hard problem were involved. The fOnT15 arc lithe
and active, but ""ilh no muscubr development. There it :I noticeable gentleness in their
mO\'ementl.
When onc re:C1lli the fracoel to memory. it is the cJ:lraQrdinary grace and living quality
of pa.nicular figure5 and groups which onc rememben with moM Ihe SC11ed woman
K(11 from bdaind, for inA1nCf' (PI. XI); Ihe group' OD Pl.tt(l xrn, XVll. XXXVll, to
name but. few.
We have M(ed above the drawing of animals and bird, in the frelCOCJ; a kind
of drawing whieh seem. to OVo'e iu particular q\lwty not to acute ob&ervation fro", outside
bur to a da:p scniC of kinship with non-human life. No doubt the belief. of Buddhism
operated wongly here:. Acc;onling to the J41lllus, the Buddha lud in previauI CltIMenCQ
beto a dttr. an elerhant,:I gOOk-who could tell what .pirit might not be cncloKd iD any
animal or bird onc met f
AI the same ti me the internl, u in Europe. centrel in humanity. There i5 none of that
,<iyon which rompantively tarly in Chinex art 5Cd maD fet in the immcn&c iurroundingt; of
nature, and lwept along in the greal nream of univenallife. Theland$CIpe clement is tenta.
tively lIppro<lched, h:l"lIy gruped III all The ridgca of hills arc mark.cd by .... hallppean: more
like a j;Orl of 6tf1.lcture or K;lffolding, 5Omellme.J to di"ide one Kene from another. And
there ;1 a "cry curioui convention of rerff&cllting broken ground al if it were the debril of
nusonry. ProfCl6Or 51n:ygo",Ui has noted that jutt the same COnl'cnMn occun in mosaia
al R:Jvenna.
BUI in plami and flowers the plointcn show grel.! int(rt$t. On the ceiling of Cave I are
pand. of dCCOl'lltion in which the mOlivci arc planll, fruit" flowers, and an;maI5. Example,
are: gi"en on Plate XXXI X. Plate XL also reproduc two pllnc\sof iplendid animal painting;
a group of deer, and a pair of bulli fighling. ",'hieh it ia to compue with 11 famoUli
dra"'ing of the same subject by Toba 56,;0;, the greal Jap:lllQC draughtsman of the twelfth
century. Mr. Y:lZlhni notice. the beauty and mlllt of Ihe rendering of foliage of panicubr
trees, the arec:t-nut palrn and the tn:c, in tltc PadmapiQi frC;KO. And in Ihe pands
reproduced on Plate XXXLX wc 5CC actual Indian fruin and flowen of gn::u variety combined
with bird. or human or fanciful aninu1 fOJ'Itl$. The fincc decorath'e invention, drawing richly


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
century on"'';lrd., i, in 50 deep a debt. Yet dt( daign itwlf iJ quite different from
Chinc:&e 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 a upremt' and central Ajllnta The gnnd
Buddhi.t art of the T'lIng dynuty in China .... '" wimulated and inRuenced dircaJy from the
Indian an of Ajanta and.doubdes,OLbcr monumenu.,now deStroyed. and not maely Ihrough
the formulas of 111e "rum flov."S onwards thrOugh Coru to Jap;ln. h i, a great
and fructifying "ream. ror it ghCIl 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: 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,," Unlike 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 into 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
thatlhe Buddhi51 art of the Fa.n.ha Eu t deri\"CII from Indil only through Glndhln, ... here
Helknistic formula wu made to 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 timn of Buddhist 11ft in Chinl, when Chinese pilgrim.
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 of the Far Etit, !hen, we have an 2ft blUC'd on illdian painting and
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
is the: home of moo wc- Clnnm conni\c of hC"l" in thil Iphere
from other
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$.1l1V11 al 1\ 1:1nlll i. not, like latc-r CfC2tion. of the
Fanner EIi$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<Kh :lnd !lIC fields. Ihe , un and the
mado",,, 3nd the green C'arth around him; he is:t -,urplAing ,pirit', yet a lIIan among men Ind
women. For religion here il nOI tomething .pan, iOtnc-thing 10 which humanity paY' homage
:u to lIn caence outilde iucli: it it. conformation of the mind . ;1 il tomClbing inhaled with
me brC'alh.
LAURENCE BI NYON
'"

EXPLANATORY TEXT
GENERAL REMARKS
P/aUt I - IV
T
HE be-Juty and chann of Aj anta are abtolutcly marve-lIou,: Ihe Buddhist monk could
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 of surpassing loveli-
nea. 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 cal
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
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 mvl!YI richly
capaOJQnc:d ekph!lllll and hones, Ind long trolin. or IIlnUtly followeri, tming 10 pay
homage {O the anchoritc:t or Ajanta. The common phltfoml of rdigioUl devotion would
enable: the humble to lil down with the lordly, tlle crnrlSman ... ilh the JCholar, :IlId the pea$llll
wi th the Slale5man. and il is lhir chequered pattern of human life which in i15 spiritual aapeet
is liD adminbly portr.lycd on the "''alll or Ajallta. The eh:lflm of nuural scenery and
life m:adc ':In equaUy dc:cp imprcuion on the mind of tbe: anin, and inlpircd him to thC*:
uqui6ite drolwingt of gttK, pncocb, '1ntelopn, bulll, and c:lephants in K'Cncs or
man'eUoua bc:.uIY, among wood. :and groVCl, b.kel and pools. The human vein, running
tll.mugh the binh-ltori (Y4rill'u) Ind the legcnd5 of Ihe life of the Buddha, \ibrate. also in
the frClCOCl of and it i, tlli5 fling-, Ihal the gods of Ajllnta were living human lives,
which appeal .o rnueh 10 the imagination of e\' ery class of people.
The wa.1b, ceilingt. and pilla", of nurly all the twenty.nine caVCI were once :adomet1 with
paintings; but the rerrllUIU :trc: now found in Ihinc:cn ta\'C5 only, the fr:tgmcntl which are
of lpc:ci3l interest occurring in CavCl I, n, IX, X, XV I, and xvn. The m.llerial use.J for
lhe$!: w(lndcrful paintings is remarkably limple-Iamp--bbck, red oehre, yellow ochre, 3nd
1 ....... c:a .... ol A;mt..lI1ulfLl&tOd "" the hOI",!l-watom "'" ... lIabIe.., thilowion. For Ajanta ...,...,
"\AI'Ar of the Nium's Dominion., 1II.I1tt.....m roiI_,....>on if Jllgoon, OIl the ma1n 11 .... 01,,,,, C.LP,
of A .. canpbkl, .. hidl it the Mad-oquartM .... the oil...... Rail ... ,. It . in Rn ... and I ... WTlJ'VCfI
ancI "- a brp tear_ 111\ the Ni......,', St.u Rail ... ,.. miIItI-ah oflhc c:a.-a. 1' ... "d",. """, .. _ M.,.
. ,
AJANTA : EXPLAl'iATOR Y TEXT
\:J.pis-luuli fonned tM principal coloun.. The Ill" camcfromouuide the DcCCln, but
in days it teem. to have been very popular, nccltlilcel of lapis.-Iuuli bead. having been
frcquenlly 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 tmoOthtd with
il trowel. The suhjc wu then outlined in pinkish brown or b1ad:.. and IIfterwanU colours
were fiDed in by wnhcs and detail accentuated by woaD and dots.
It i$ difficult 10 ,peak with :any precision :115 to the beginningli of Indian painting, but in
the telXlnd century A.O., u represented by lIOme of the freac:oct of Cave X ill painling
wu 11 fairly del'Clopcd art; h reached its ctlmu in Ihe fifth and lixtb centuries. after which
decline 5Ct in, so fhllt by the eighth century, as reprexnfed by lOme of the f(CiCOn at
Ettor:l. it seems to have lost all ib gnce and vitllIiIY.' With the atinClion of the Buddhi",
rdigion in the kVcnth century the noble traditions of an Kem to pvc been desttoJcd. but
although painting in ia pri"'ine bclIuty ilnd vigour never revived, the u5ter an of tCulpturc.
a few centurio later, 11\':1$ Stirred into new life.. Aftu the wdden downhlJ from the golden
.age of the Cuptu it is nol until the tcnth century thll Hindu M:UlptUfe riscllo :tny aniStic
&ignilic:tnce: and then it _UlllCS a different character, being an uprcaion 01 inner
nrifc dun of pesoe, of violent emotion ilnd uubcranoe of feding thin of rncntlll ealnl and
5piritual repose.
Cave: I, which fonm the l ubjcCl of this p.an, is t'OnMdcrcd arcbit1urally 10 be Ihe finelt
'Dilr4ra (monastery) among the rock-hewn templcs of lndi1l. Thi1 prai5C will OOt be <:em-
iidercd u enggmtal on 5C:Cing aod rejoicing in the exquilile beauty of the sculptuu with
which the cave ill adorned. The eXterior vie\\' of tile 1.ili4ra lw be:cn IOmCYIhat marred hy
the dcslruct:ion of the porch which was the prominent feature of it (Pbte Ill). TIM:
has 5C\'er:al banda of carving, among which the scenes frorn the life CIf the BuddhJl., the elephant-
fights, and hunting expcditioru; have been dclinC2tcd \\;Ih t'Onmmm:tte: ,kill.
Thc plan of the cave compnKlI verandah, 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.
iu trillng il lupponcd by a colonnade of tWC:Dty pilbn, leaving ailles of about
9 fl. 6 in. wide III round. At the I-clt of the hall ;,ao :ulIhamber 0 ft. by 9 fl., leading
inl o the shrine, which i. 20 et. square approxillutc1y. There:lfl: fourteen celb in the interior
of the cave, four e:.ach in the right, left. and back aWc:5, and only in the fronl aide, olle at
n t h cnd of it.
The column. of the verandah and the lull are moIt richly carved, Ibe deyica beillg in
tiOlIlf: ClSel fantl5tit, but alW:I.y5 cleverly cxeeuted. The shafts have venic:a\ and .pinllluting.
encirded by btol tl of exquisite trattry, and .he bales and capital5 ue omllncnted with
, In hio Ctw T ... ,u,., I ..... (Pw.. XXIX), FCfIIII-
.,., bM IqItDdIlClOd _Iipns the..ny pointinp of
th. can. He =nark., At fu _!pllI'" Qn be COIIJ_
paled with pUnri..,. Ilw __ """" 110ft _We
""- of the IQIlplllm &t S&ncloi of the line ....... ..,. "'our
,
ut... But. tMre io .. M "f 1"'1 u.cripIion .. dIo:
ardI of c:...e X, the. any pJllr:U.;t in art Cl<If:nI "";!.b
"" ......
, 0.. thio. point. 4-' R".-r 0( ,he Atd'r f P
Dcputmcat ofH,o.nbtod for 19117..a, pp.


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 sm
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,lumn in Ihi. ClIVC (Pb.te XL 6). They have been 10 carved that
the onc bead le"," for the body of any of the four. The p<l'("I of tht bodia afC mou graoc:ul
and ab50l utdy rcaliwc, mowing dOle "udy of n:l.tlrn: combined with high tcchnicallkill.
'nu: colOi6:3.l Ultue of the Buddha in the dtrine i ... on the other hand, uTiedy ronVtIIUona1; the
:misr in the Ire2.lmtnl of the body hu 2pparallly followed 50me fi:{ed callOI1f .. ).
The uprcaion or the face is, however, lnarvelloVl, betokening gre:lt internal calm and
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 XXXVIll , 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$e
which survive are in the middle of the walls or on the ceiling, in "-,,r.lIed patchC$, n may be
iCen in 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 <he ca...,. it MknrW:al
,bat or tJ,. .. 4b of die pIaa!:. The ",Yd ofGIu.toc.
bell bar :an u.mprian 10 dIC mcI or the fifth
0ISlI .. .., ...... Apia,Ca\'t 11 .. Aj&ou.I., .. kid! ioao;a .... <:d
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 ...
bom _ked OIU an the K.,. Plan ,he
-
3
STORY OF THE PIGEON , SIBI JATAKA
Plau v
TIIi,"I!j,., ;, ,...,J _ 11. ..,.]J" lit. Jr- eUk,lMw .. ,Iv ......... .., -' tAt ...... ,.,Iu lift I{ it. TM /N __ it
"';;"..,? ""-.pi. -'M IN .... , .,.. _."" tI, .. it it r,,,.d .. _"'-.
TT iA interesting 10 nOle that the delineation of Ihi' UOf)' al Ajantll ulliei with the earlier
1 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<l'ition of Prince Sibi, his giving away hit; cfC'$ or the tied! of hi' body 10
the 'hawk', but the full pigeon and hawk -.nealolc, with bslanccs (or weighing an equivalent
amount of Rah, not to be found exccrt in bter worla, $uch lIS the SIi,,.41d/lU"iI or the
&Jlriltlf11k1wJJlla-l:alpa.JIIIJ. "herein to have been adapted from the MaA461111nlltl
vcmOO. At Aj2nfl we notice a pigeon iD the bp of 10 rijA, whom.herwlord.wc kC wnding bI
a pair of I01Q and encircled bY:I bn-y of l:adi(f""ho art bmenring. The hlWk. however. doo
not Appnr; evidc:ntly he hu lIiillmcrl a human form when demanding jllllice from Prinec Sibi.
'
The whole $10ry i.s de-picted in thrn: cpitoda. 1'0 eonunenec at tbe tor Idt-hand (Oma of
the- painting. wc.nOlice fitll a Jt.'<1rIl,4111 (doorkttpcr) lIanding between t ... "'O pil1.tn. Ir .. COIl\-
pinion is dark gre-y 1Wd hc is .... "eating a long-ileevW garment, of while aDd bbclt check
p:utcm. which il tightened round bit waist by a broad girdle. 'nle- pillan lit hil back
ue black, dlowing Ruting. and ornanknlntion with precic:tUl ROnet and gold, Twq
Iadi n :arc Randing Iherc; onc of the-m i. wc:aring &han wn of $tripcd silk and elaborate:
jcwelleryon her body. Hcr eomplelfion aod the face indiealel rNt $he I1 oo:u-
pied in some deep thought; thc in which ' he hll5 r:tUcd her finger to her lip iJ very
, I".k ,11" .............. v_ P...-n, ""'..,. it /W-
...w -hint;; lih dYI.: Jndrt..... ApI, ... me die
1idd'1J 01 Prmo. !l.'lIi '" !M la"" 01 rich ...... ' Ill, _
\be .... orlu. .... k'" piP'- Th..1atter (Apil.
by IM ro.-. elnd,.)....-h""" I_ion Pri_ Sibi'l pn>-
ttion. TIle "'wlt "" ndt 11"",....... ... lawful I""T.
but tM Prince f'<1lUa.. ' Ho dw pth lIP'" """'tal
mine, prmioR, .. ntO i .. "" 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 no. inscftd 01 ... piceooL' TM ....... oIrdt.m .hoc
it it 1><>0 "'" u.w of hio 10 wdI ,hi.... 1111:
Pri_ dM:n _,. dw ... will_ ""'""" but
he will &loto .",,111", in hit pow ",hich 'he ha ... k
fIIA,lImwod. The bawk rcp!iot dw; iIc. o;aII udr oqM
"'foWl';" olthe P,;_'1 ...... 10311...,.1 in -'Ih' '0 "-
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" "'1"
"nolO&". hoI, ;, it " ... lficia.t: b., on> .... ",Ill op,., hoI,
IliU ,M No- hii .. 1t.hp a..It. fituJ1r. all

""AnA t:I'or, the P into ," oca$c IIt-dl 'The
<WO .... !lw.> mu... !loa. dioi .... .,., """ _nee 10
!.ibi lhu f.". .he -:riMe 11.Il00 .-k "" -W he p.rilioI
in 011 WOIIdo IhrouaJ- .,.."";,,.
to.,. ..... r .. ll ....-... .... ... V_
(Inp.h to ....... by P. C. Jtor,l. pp. 596-<9 (CaIa< ....
.n.;
_]IIu. CC-lend&,! "' .1. r., t'P- "solf,I.AwJItw
C<!t.'" iv . ... (3d oatd ."'" 00 Po '''7 of F_" IIIItIIIa-
riatI (&I...u c.u-).1IJd. MHJ, ,,"0. '%, CilIi Jloabl
CA.on,I Pi,.ho. No. a, SOviDjla-C. t
-4.1 (p. '1'" of rho! uv.laUon).
I In !he New VariorWII I'llidOfl J.be M",itMU .,
1'''';''' pp. J09-,Q ( 11111 imp .....,.,), the \wIII!d cdi!ar
... M..uIUr .... rcnion ol.hc ot<II1 aIonr:
widI ",,-1egomoIo, bws wilh tile
M"u.,., tf y,.." he 11 Itown.:r inIe.-i,..u
IIIcit IIOric$ and tbrir """opbOl .u.nwDor. mar k
in an ..... T. ",rdy .hei. .nlh
Shylod: and An"""", 10 the thin.- p
_.'
I
PLA1'E V
dlnacteristie of Indian ladia. The face of the other bdy doa not mow 50 mud! feeling, but
her anxiety is by the prnition of her hand on her brew.
To the right of thw: ladies a rlji is lining on 2 low throne, the back of which has a ,up-
pori ..... ith squue posts decorated ..... ith gtlld-work md jewdlery, in which blue Slonn arc
prominent. To 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 gold work with 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; of ic:Ven.1 string' of pearls; the apparent mO\'e-
menl 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 h:l.l be<ln confronted with come dile:mma. ln his
lap there: is a blue and pigeon, the: head and tai l of which a.rc in tact. The oompiexion
of the raji is fair, and has been paintt<! a sillier-grey tinl.
Two small figum, or dw:uu. lire sitting af the foot of lhe throne. Onc, of dark-brown
coulpluion, is holding .. ewer of graceful shape. The high light on Ihe: nOK of ihili figure
and the trenmenl of the: hair exhibit much artUtic skill. The other dw.tff, who i$ of 501\le-
what !:trger 5lze Ihan the former. is looking up at the rij:l in I rpectful atti tude. with
fold<:d
Behim'! Ihe raja'1 Ihrone are two figUla. One il a female of greyish oomplexion, betwecn
",hQ6C lips a red (carmine) line apparendy indicata [he colour of the betel (P<fll). To the:
kft of Ulls figure if the head of a with grey h3ir. The f:lce has bec:n oblitcnlcd, but
wc nOK and lips ;l.re wdl m:oI.Tkcd out !lnd lihow murerl y 'kill in dr:twing. To the rigbt
of the throne we notice a gTeenim thualri-bearer' 51anding. The: m:l.flner in which she is
holding thc handk of the (/rUaI,.; she\\-, much artistic delicacy, particularly the of
the lingenl..
ProOffiling toward. the right, there. is a pallilion in which 11 prince. princess (?) are
lining. The prince is \\-C:l.ring Q high D"l)WIl and I of pearls acr()$,l hls body, like. the
of the Bnhmans. The ItellmCnt of hi' cars if oonllentional. The princess (f)
is of grc:.:nim complexion, and her ft;llufe!i are of a I)(culiar type, the nose being prominem.
She looking upwardi toward, Ihe pavilion, in which [he rilji!. is 5i[ting. The prince 11:15
the fim and second fingel"$ of hi s right hand erect, probably fi uggo;ting "'nlc 10 Ihe
dilcllllru. with which the h:lll been fated. To In the oonlrl$t of Ihe bl:l.ck lnd
blue: pillaTl of this pavilion will :I.ppt1l. The blue colour h:lli been laid in streaks, the plSte
u&Cd "'-":1.1 (:Oa1OC, but the effect is mM!. artistic.
Proceeding farther to Ult right. we enler Rn opto court where !.he grc:.:n leavC$ of Q pipll!
tree flgain" a light \'Crmilion horiT.On ' how exquisitc t;lt!e :18 reg)nis colour effcCt. Here the
riljii has been reprC$tntc:d Handing by 1 pair of JCaJc:s.. Onc of hi' hands i. open lnd hanging
low, showing in a convcntional manner that he is prepared to make a IilIcrifice. The: treatment
, CJ.....-" l 6y-whiok.
s
AJANTA: T.XPLANATOll. Y TEXT
of this Mnd up to the wrUt is splendid. but th( dbow :and ann tlo not a COrfC'eC
knowledge of analOmy. With the other ham! the: rij.1 is holding the Iolring$ of one of the:
wiles. Near the of the iC:tla litands a red male figure. wClIring a long white OOIIt
( .. tightened by a girdl.;, three of whi.cb n(:lr the: ",,'llist-line may be: notica:l.
In his left hand he holds a long Itick, and hili right i. ni$e.d in a pcculi:armanner,
pe.rb:tps suggesting th:lt the vow must (or mU1i1 not) be fulfilled. Unfortunately the he:l.d is
d:lmagcd,loO that we do not catch the correct exprdl5iOtl of the f.acc and C:I.l1nOI dcade wbetkr
he is the of the Itory, in a hunun fonn, demanding the fulfilment of tJle vow, or :t
dr:voted scrv:mt of the rajl imploring him to ccfrnin from such an attibn.' The :lniY" delicate
brusl!.li.J.'lcs, indicating the in the g:mnenl of thi$ 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 of grnish complexion. hu r.likd her in ucilementi tbe hllndt of the
thin.!, who hu a reddidl cornplexion, laYe been damaged. The remaining two. 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 of the Pif6/tTc:e arc: u.own bills, from the: tOp of which tWO JOJiI are.
watching willl the drama which i, being enllClW below. The tre.llmenl of their
plaited h:lir i5 good, 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- pr0-
ceedings from conventional cloud" The figure in tlte front, who hid ILgrccniUl colnplcxion,
i!i wearing a crown on his head. a peatl necklace round hi5 neck. and a red Jacket with dlon
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 $IfOng contrnt to the panic-6tricken group of women at che
right hand of the rija. The drawing of that: three figurcs u good.
Above thie scene we notice two lC:lted figures. onc with the filOt and lingel'$ or hif
right hlUld raised and the other with folded hand., probably reprC'5Cnling a
in the tucbiog attitude, with his YOluy. Behind the:m arc tyoO allcnchnta, onc TlIale: and Ibe
olher female.. both damaged. The rtd brw;hlines , howing the join,s of t.he
IOC:8 ue
TIl e 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 wnion (xi!. o.hc Jen'aru, IhTOU&h .lId r,,;prct All hio_n,
.ijl .... doe .. orw: of 11. Io<nU1I3 to cu. <tIF r""" his bod, rd'''';,. m.ndoi",1hal. Tbe 6f;urr.painted -1, tbueb'r.
of8coh t.bo hawt, ..... the
6
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 right 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
lpolt ed 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 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
The dr:l1Iring of ,hiJ subject on the whole our crude, but here and there tome bits
may be: found 5howing exedltnt modelling, fine brushwork, and elluigte 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.nie qU1l.litics; the earnat 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 RECLlNlNG ON A COUCH
PlnUt VI " and Vll n
r .... ;. ,...,d .. "- ,At .... ' u, .. IN _"IN fr-t ",J" " ,AI Uft <f'v __ T/o, frt'" iJ _A
""-zd, ,....,w'dA.., .... ",. .. dwJ -Hi-r- M-t
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 .... oi th a pillow under her and another under her left
, Aboe 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 ,DQ<d.
The l'rl in the mioWIr (&pr.: d'm..-') ha
.mdIcd OIl' h. rip, band 10 ...... _ .')lII,rllli",.
In hil od>er iwId be: huIdo ..-, ...... lIIins ihc IMJ
Cbr- poc) of.he praem ob.,.
J If ihc w, .. idontilitotion .. _<t, ,,,,," the: Ine
ddi..-ed .... the rod: wall mm b) thio qIioodt .,""
1""u: "\Vlien Prino:: !r.hhJ.i-Jta _ with;", 1O.u..
.he'!_n (StnIT) ,urn t.ck, hu .... _ j. V- "'"",
the roool, 10 he tut u,,"Jk ofit r.hd ..;., ... ltc:r, "Sce, SlnII,
thiootali: canD<It 1oo:;..u..I tgin''.and be.rp:ated "'10 half.
.anu, .. ... on,05l'nIr.
"'M. Wloen the hanI hi .... "'" -. ... hcncdordi
,., "ne no i .. ,UOOII .... with J(;n& Mah1j.onabM, and Ixin&
unable! 10 COIIlraI "'" cnd', >he bc.u hrf IIrtao1 wn" bcx"
IIo.nds and fell ...... 1ctt.. 11 .. miniowt_.onoJ
ho:t bad, wilb wuer....t rulobod b(r /wId.and fm,t.nt! At
.. "'" , ...... c.-.II, 7Md .. , oi. Jl.
7
/r,JANT A: EXPT./r,NATORY TEXT
foot. H et head i5 incline4 !0W2rt'b the right aide, but the legs, IIlthough folded up. are not
indincd in direction, 10 then: is a contortion in the body netT the To;
this po6C mlly look inelegant, but the Ajant2 rejoiced in 'howing t uch pos;
evident ly they aImed at producing by them an impression of 8uppknt'i5. The treatment of the
figure in olher ItIipcctS is excellcllI; the IC81 hne bn purposely dr.awn thin to ,hcaw IlIte
she hu been pining (or love. Again, the expreu.ion o( dIe nee u wt, lInd the. pale brown lint
of the body indiCll IQ her anaemic condition.
A bir attendam is pouring water from a pot on her bead 2nd another on hu legs. Between
two figUfC:5 thue is a third attendant , Wh06C head ii de$l.royed , but the bu" . dad in
a tight bodice of white material, if intact. This atteod:.mt hold6 a nick in ha right Mnd.
A male "rvOnt, with a pitcher on hi. shoulder, is 112nding at the door of the chllmber.
At the right 5ide of the bed 2 mllid with a Ay.whiik is si tting and another is looking in an
unxiow manner at the lady. The figure of the lauer mliid is dQtn)ycd and OIUY the head it
illllla, bUI it, delineation shows mUlerl y lkill. There was a third maid on t hi. liide of the
bed, wit06C" grey hand removing the pcarl--$Iring from the nk 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. couch of the lady, :a nd the floral dnign of the
clOth of the bodice of the attendant 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 #<Nit j . ,oJ_.od _"""'" ..... ,'" ftlwi of'M Bhibhll i, .f _ ,,"', .. -I.rt'
fN ".., ;. tI"fIil.
T
HE 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 world. The
enet identification of Ihe iubject maybe unccnain; but it h21 been dc1indlcd wi th .uch perfect
skill and artiuic feding ahat the help of a tel.t il not nC66: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
righl h:lnd raised as if to cxpl'ain by gesturc:s of che fingcn the &ol lllion 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' TCment of a BAil/nu. J
J TIu: doorwa7 in .. hich I'" RIUI, .. M 1WXIi", it ""Ut in the: IfIobalc ",pc.,.d it ,,_ ..... with a 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.
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$(:5 and bdia of poUtiOll :ltc:: often delinnted wearing a1rooa
U'afnJnl"enl .ppuc:1 (g'uu),' while maid6el'V:inn IlIId women of middle ha\'e their
bUllS properly covered by t'06!umes 3nd materials of nrwul daigns.
Behind the pOnceSll tbere are twO more allendanu, onc of a pinkWt complexion and the
other of greyiJh--the. coi(J'ure of the Jailer bdng irllernting. All the women of this Jlicture
have circular marh on their forehads, resembling Ihe flU or 6i1,ii put Ihere by Hindu
,",'Omen atlhe prucnl day.-
The expreaion on the face of the princesa ,how. much pathos, to bring it ;nlo further
rclief che .rein hall ,uch of her fealurC$aI; indicue her youth: Ihe fully developed
dangling locks, theahon and tightkirt1e,llIId!.he bewitching jewellery.' The oolour-
sc;heme of the pie!:ure alto &ha",,, refined taUe, the 11h-gre)'" complexion of rhe 811ihlul bdng
contl'Uted with the gofdenbrown 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 .ho_ much
imagination and arti5tic feeling, .nd rep1Ul:nts the high-water mark of the Ajanta Kbool.
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.
T
H E whjee!: nO( bn identilied with certainty,' but it il a oontinwtion of thal of Ihe.
previous painting (Plate VID 41'), al if appare.nl rrom its dose 10 the Jauer and
from the rt'$tmblance in the 11yla of toilette and O)!itume. to thOM: of the figures of ,be
, Dacx:a w. """'" (,. ill line m...ur.. N line th..
Kt"tOl yudo 01 m. ..... trrif.! ODUld be cb_",
--
rnI ocb"' .... uJIron 1'I"Ilp.... dWl<.
I Two dilFffl.n. kindJ 0( ..... rinp _ ID be "",iced In
.hi> pUnli.'I' 0110" 01 th ..... whetl-pattnn worn on
m. Lobe, ...do it worn !or r"fJ' of tile. ""'''''It daYI
and tM other .. om&Il goId.win: ciod .id! ..,,""
,
(Iod), ....... in .he uppo. po.n 01 m. _, and.Mil1
in WUooIln __ pom qf InoIQ.
""'" of India _ tMi. botIi ..... itlt
..... primarilytoconcallhc bcow., oItbti.M.i ... a..n ...
to prntm (,_ dinwic efcao (nom wltid! their
tan., dothin& ""'" lit=.
"Tho _ ..... ,m.:. III lItioqodtoJe 01 Mah.lj.nah
J.la.b: ' Hori"' ....... thio lira rcooho.tion (10

AJANTA: t XPLANAT ORY TENT
previous Slory. T o de6(:ribe the painting: U wc commence from the left $ide, fil'1t w C$ the
figure of A gnndce or general (?), wc:uing rich jewe1kry,1 and in a of gTC:Ilt excitement,
his eyebrowl niK:d, tyc;$ bulging out, teem e1:poKd. and right hand Stretched out witl!
the palm open, indicating 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 corridor where he
hu appe:tri, 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 eya are Klrncwhat con:nmional j the
"nu,," of Ajama evidently aimcd "I producing a lI\edi tlltive, dreamy, clfect in thcir
crcllions, and therefore they h:we painted eya almost half dosed. l11e c:oi tfure <lIso (If
thac two Iadia is enremc:ly prelty, and where the hllir parb Ihey have deoor.llw their heAd.
with Onc of Ihem, who iJ laning .. gai nSt the pillAr, Is .... uring _ tunic ofulk (1) :
il$ blue 6tripa on a white ground an. Vl!:ry eJTecivc.
T o the right of the corridor where the gener.d it $landing is .p.wilion (:I.
where four female atlendan" an. prominent. The mo&t of thelie i. tbe tAII .. rl.ba.n:r,
standing behind the pillow-in on the prinC$, who6e figure hat bC'en dc&roycd.
The drawing of her head shows great skill; the featll rcs also channing, although Ihe
figure ,hO\'lo'5 a touch of plumpness: but thit atti5t to be fond of,touti5n figures, nonc:: of
Ill! creations being slencle.r. The treatment of the fingen of the daurT-be.arrr iI also c.nluely
artistic: they are drawn with meticulous care as regarda their curves. The manner in whieh
is holding the hamJle of the (llllltr; and, ag;lin, Ihat in which.he the index finger of
her I ... fl hand below Iter chin lITe tn06t clunning. Indian women, while talking,ofteD pb.C"C
the forefinger on thdr lips or chin to exprcs wonder or 1llitonishmenl . On the little linger
of the righl hanJ a upphire ring is prominent.
ClO5C to Ihe h a bead, the face of whieh i5. completely dC!;Ltoyc:d. but the
elabor:l.le oo.iffure And the conventional linet of the neck rnlly be "otie!. At the extreme
righl corn ... r of the pavilion ii. another rm,ltri-bearei. whor.e bust 15 intact. The exprcMion of
her face IiWcel innocence. HeT complexion U: air, silver-grey. She i. drem;ed in a
j acket wilh a floral dCl'ign, the pantrn being in the lexlUn:: of the cloth. The gold
:lIld &ih'er brocadl$ of Paithan,. .like th06C of BenarCli, have been famous frOI1\ a very e;J. rly
lime. Below this (here is another maid of :I. pale-brown complexion, who is
looking at Ihe pdnca!t (figure det.troyed) with r.lpt attention. She alg() hllt her
....:etic:), Mah4janm mealy.and: .lmc
door uf pabc.<, OM. IOr h. tommancltt;....mic(
a.iJ '0 him, '"0 (rom w. d., (<><Ill .... 1IOn< ....
ltIl ba: ""c:tpc ..... iCrntI. 10 blint"'y
'0 gi _ .... .,. m. rnr !IOIth vd 1OCIIh-bru&h, uoI
do )'011 lake rn, <lid chid jud;et .. Id with dw:i, help
jp'Cm my king<lam; I will h....,f<>tth Ji>t IM life: of.
lIu<l<fh$ prieo: DtI eow.,Jl,op.ck.
wi. 19'
' 0
, Ife h ... hi. heod,..,d. mlluor
peal" &1Id o.t.pphlm and. pd dWn rvunoJ hio IIk. He
It.a.q weann, FkI bongIn{I"Y.lt) MII ))Qll and appIlin:
armIcto TIlt pM dn:p of <he lauff Ut
all"'ic.
Baiman-e>f.hcGlftk ....... tn(lhtt.l1l:itn.Pr.m,AIU ...
..,d nmdtm I'oim...,) ....... ,ed on Ihe k" loutl of Iht
Godl, .. rt, h.diounce from Aj . ",. being ne;o..l.y. hundml
miln. It .. ,tin noted ror ill Itroada.
PLATES IX & x.
under het ehin. The figure: of chis woman il che among the group, but
uill it nOt approach the proponioDi or the cte:uionl of Rubens. At the wc/.: of thiti maid
is 3nother, whOit' hn betn partially deltro)td. Below IJle tWO figum q hud
nUlY be noriced. but wc frc:sco being danuged the bod)' of the figure h:u been effilccd.
Nr 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 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 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
TM, 11_ if ,..;."',, IN lift ",Ill' '" ,At fr_.mu. TNtm .. if _.\ .-Id. -' 111'1" '"'- -' .... --.,,,_
,.,., ... , n, /_" ,At ..,,!W "tAt ""JII. ,..,"""" ,,., fr_u ..... , kM ".ttI ':1 At" SyttI A/r,uJ ... ;, ,..,.,"'-" Atrt.
TN """In.. Hm., Tt';>'" ,. ,it- tit"""";" of I/o, .-Jlm 11_" /N ,.d IUI/.
O
N the c:.xtr<:tll<: left of the painting is a d.rk-sr.:cn gllte\\'a)'. in which a blurred pale-
btov,'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 Jban
legl, carrying a mly of IWU 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 the artiltic effect by intro-
ducing oollullc!ictory elements ill his compoliition-grouping 11 m05t handsome figun:
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- pit ..... " Wu.: I.,n oomctunoI they ..... _ ......... , w..p.. T'My ..... ',
Yiuiol, """ om." iI ..... dio"... ..........J 10) .... bw ""Ofthr of bcu.t; propirialtd, .".)
__ (pin .. Ih.dlint: in an .am., -110, pooIt. indinatioa io ro. tile _Ir..,., 01 ....... ill
....a1Ua. Ihc Ihti. fOWn 0\'''' tk dnnml of w,*,.
"
AJAl'ITA: r.XPl.AI\'A1OIlY 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 Iu.. 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 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 of .... -uman in KenH when dK
in publie is on tIle contnlry extremely moddl; ror inulIllO; in the ,ubjea, 'Padma-
p3J}i' (PI.te XXIV). the dark prinoe. tu. tumal her (a(lr: to onc ';'de, j\m .. an lJtCIiuI
woman o( the prestnt .... 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 f1 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 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 the:
steps of the danrL To the right of the. muaici:lD holding the c:ymbdr., between the pillan,
Ihree figures truly be seen, the n'IOlI prominent of them being that .hown 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 thedOth of the: bodice of the woman who i.
$landing althe. right hand of tbe ilIncr figure is equally 1ntcrCiting. It U: a thin bmcade.like
Benartl material. The third figure of this group is a WOIrulll "ilh a pale who while
1II":l.lching the dancer tw lwiued her finger in a c:urioU$ 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. the throne jj: a woman of red complezion who hu elaborate Oroll
menu round her wriSl. The manner in whir:h me 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-
In dI.,. ow tie- VOId" tlNii .... $.,.."...1... <)f Mori .... Winw
Hne..cd. andIorittsand k<np, d..-eU""in a WI)Ildtcyled ";h" "" ,;" .JtIrJtIlMr Srlt/-v"."JI,
rho. NIp/.,., whido C'OOIfic-n 10 !be b...... Mitttil. tbr...,.,.. c-JJd.fi;" H'i .... ...... ""il
......w io inyioible. r or r.nlwr .... J. Ph.
"

PLA.TES X,. & XI
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 fuhion of the Indian dancing-girll.. Her com-
plel:ion if and although 5l"oe is .... onring jewellery round ho- waiu and
neck, her rument is of the thinnot the tuturc of whit;h hu been
indicated by fine red btwh-lines. Cbe 10 the 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 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 SERPENT , SANKBAPALA JATAKA
Plate Xl
T_ .. U MM""'" ... ,Iv .1 <f'w "ft 1IiIb, .J.w 1/1, !nt 1111 __ 1,;' U. ""-".
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, impan-
ing 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 further by hi, folded Behind
the N48Q is 11 prinCCSl of gre:1I ekglIRct--alt hough 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"
, The 111 .... ..... '" fallowo, 'Onc:....,.,... n- tb.; nothinc ... doat: .,. ,..... tba. __ ,.. On -idn& doe
IIodlUaurn _!tom. the _ of. "i"l of "rpnl' u..,. said ID tIInNot-, ..,. ...... ,. _ .Irto."'C _
who ",I'" in R.aiof:r.hL Wbon!he iIoJhilaltTfo """" of caupt 00 trtudo ",:a roun& liunl, ..., willlril! and at t ....
... hii Wher,a<\opIi", 'k ... Ii,""" I ..... "'" IWk Thmalin they and
and lino! '" an TM",. 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 i..crvroo.. in lAw. TIle ,;...moy;,. with fin: '" lhat di....m....
rioirinch. fadw:., .. ,.,...,w,..... He __ dwl! by lhe hu.,tu ....:tucwnm, oIWU-
he _ 10 ",ItCh omd: by die of u.., loo';'. plI& and De 0iItn'0d 10 dtaa coirII, will! ......
<hid',""' "" .. noel '" be !:tom in !he Nip world. At lhe '" nch, and bI WhapIl. ... TIle 8cdllioMtn
mol oOu. 1ife tile Bodb .. .n .......... Ioom. mumed to , .... Nip palatt....l, ,..[1"",,,,' an,
J>lla. budn ..... ""'ofti ..... hegrtWPd oflhel .... u'J'olh. delay. fOrTh with ,.eN retinue '" ... deoo", All ...
life in !he: Nip......w.. and by w.yolpmitmat he !or on '" hit abode and DO<Lfcrftd 011 him choiae sin...' eow.u.
,he rupolaa anl-hill_yin&, thew tlw...m "'rlkia up. clt., . ,
and .... Ion Ihaa, I .. r,....u it So _ -r, __ 'flI,m lIaIoofthe a....:.- ofJen:QlklpdllSOO'u hill
So6kbo:p1'o p.ny of hwlccn .bo /ood...:son.! hc:a&L
'3
AJANT", XPLANA,OItY TtxT
Ihe "yle of wearing (6tuJJJn.1 in up 10 the pmertt time. Behind the
princea is of red rompluion. but her ligure hili bc,:n to a co05idet'llblc degrtt
destroyed. 50 that a portion of the buu alone be. traced.
Below the princxu; i$ a dwarf, 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$t In indiating the of
the body can "ill be wruircd. She is wearing a dVdcu,Iow-flWt<d bodioe which loob
cxtrcmdy eifediVl: on her graceful form.
The ROOf is painted dark red and ii bedecked ",i th 80wetl. The design appan at lin.l sight
to a carpet. bUI ItIi al Ajanta Ihe foreground of a'en ph-an M:enes is represented
in this mannc.r, we gather rh:..t the device lud bome conventional,
..ccond episode urlhe 14tnl'II iJ painied 10 the right at the pn:viOll& one. l\ 1o.rge whlte
the 'Serpent. King' of the ,tory. is bcing dnggcd along by a pa.nyof aix tmntCfl who
have put a. rope through iu nO$C, The 6nt hunler. pulling the rope. h:u hi. hand.
",etched forward and hil face turned b3ck; [he la", who it hoMing the wd of the rope. hu
bent down 50 low th:tt he IIppean 10 be. alJOOlt touching the ground, The po&ition of The bodies
aDd the exprcaion ot the rlca. indicating great effOrt, arc reminlitleOl of atug-of-war leeOl:.
Behind the company of huntcn wc ICe two ligura "<Itching nWt.I'(':ltment of KtpcnL
Onc of them KerN to ha\'C been lOuched, U is shown by the gCUUta of hi' hand" The head of
the OIher figure is brokw, and his CJl:prcaiOfl CIInnot be iludled.
JuS!: bdow the 5CJ'pcnt wc ICe a ligure with a hem of O:lW addl'Clling rhc hunten appeal-
ingly, He is prob:lbly AUra, ",hooifer.- the hunlers coint Ilnd oxen, onc to c:ach hunter. 10
induce them to rcleaIC the 5erpcnL The Ottrl ha\'e bttn in '- V'lriety of attitudes, and
!.he ani" h :l,vailcd of Ihe opponunity to uprca hi. knowledge: of anim3\ life. The
white ox 31 the extreme cnd, although ill muxile is dc$t1oye:d , has hi htil raised and twilled
in a. pccuii:l.r m!lnner, and the curve of the neek indiClltes that it i. Inmpling the ground in
fury. Another, below the white one, which i, red. nu ni&ed iD neck lIi if bellowing. '1' .... '0.
one red and the othet while, arc galloping; the uc:unlent of the red One if- partic:ularlywlful,
.howing lh'dy movement, These [WO have bJ3ck lealha colbn and bfUf round their
nccb. Below the red ox we 5: the munle of a pale-brown onc, raised uf' peculiarly, [D fronl
of the two galloping oxen KC Aim going down a vale, IInd ultimately wc him (al
dIe left bonom corner of the piccurc) with the Nt1g4 king, gaQk1upib, who has now _"med
human form a.nd il &bowing ruc:UC' aloturbke.lymboliCIIllr indicating hii pa.iacc, The
features of Sal)khapit., :IJ I Divine Prince (&JAU4fNlrl). arc utrcmcly gr.u:eJul. and &how "
remarkable contr:u;t to the coa.n.c fcat'urCl of the merchant Aim.
'.
A PALACE SCENE, DANCING GIRLS , (I)
PInta XIl tlnJ xrn
Tilt iI ,...1111 .. ,!v l.orl .. :.JI" flu ,.[, . "11,.,...." tA, --<I'''' m-' "d. TN (_11ft;.,., MI M
;,. -""-; .., llu zr-1 <f kmt u. foir 1l1li, .f ". __ . L I'IrrMw.J ;,.
T
o the right of the S.r;tkhap;U;t J4tab thl' whole of the w:all of the left aide ii paiml
wi th soc:na which arc: aualogous to some epiiOdQ of the M.Mp-nab To l'I;t.
the present subject may be identified with the epiiOde in which Sh'lllI, trying 10 di!l8uadc:
Mahajanaka from hit rttol\'( to renounce: the world , invitd WC)CI' a rljl
si!!ing with a princcu of dawing beauty in .. magnifiomt paVIlion where all the IUlfuries of
life b:l.\'c bttn lIrnngcd to aUl'2ct him. The jewellery on the rijl'. oYo'fl body i, of the richeA
and choiccn patlern, the beautiful crown, me exquUite ear*rinv. the lovely
the armten, the wristbandfo, the bangl. all Kl wilh germ of the plical ray and worn in nlOlit
artHtie (nhion. TIle pose. nprusiQn, jeweUery, :md l'lIimcnt of the queen are ab&oIutely
be ..... itehing. She ii attired in the thinllC$C :apparel. to tb:,u the graceful CODrol,l r of her degant
form nn be scen. The jewclltry iJ 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 wbile her
kft lund lOuchct in a graceful manner hiJ; foot. T he lower put of her body il
below Ihe throne, and the .niM hu taken delight in thit posot: to ,how the- long Iweepi of hi.

Dapite Ihi. emrnuing en\'imnmcnt, the fiji" hee- indic;:;ltes a aim, medirath'c mood; fKo
is \In,;haken in hi, Te50lve .nd convinced of the InniJlorinca of the world-the gQ!ura of hi,
right hand cxprcWng 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 a bdy
of rink sitting on a cushion and 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
10 the royal p2\,ilion. Ihe "/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,,,,. .. "l'l>e
'1Il<<0l SI.7JJ .... , .... ...00 ClDnCUII<na, -.I ..... I(>
Ihrm, .. " it. 1on; ttme, four rutl -tbo, tint.: '"' loot
bt-hdd tIw li"ll (Mah:lj ..... Wc oIWl .... him co-do.'i
.... 1'l" .u ..Jom .,.,.rwI .."...J put forth )")'If VJI'f .. K!
bbnlli!.hm .. m. &l1d Irr .0 .... 1&I1&Ic b,,,, j " 11", snaml oi
A.cm.lnl1or them aU .. ra)"<d an4..s....d, "'"
..... .dcd ."" "" ..., the kill!. Io.n oImo..p. oM met
him ('aIIms o4noon.w hi", _, w.hinlinc that it
_& Pxuka-B...scn..O>ftMI"" t-OI('I u... .in&oIIe nwk
& -tun,"", ....! smad ............... ; """ dw: &dhiootm.
camr; ........ 1""" the f-Ioer.' c-dI, op. dt., vi. 30-1
Tile pearl cl..". of ,he ..... " k"'otm the
\a,&\" "'in&t 01 poub { .. Ill) &lod ,he oonall nffillel (u,JM),
Ibo ... inl '1'1'-""" ''''''e",.m, look a,rmwir anittie.

, .
,
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<iucndy
p:WlIcd of a duk.er tint, apparently to indicate die * of hmna (Lmtltllli.a m611) or soUle
Olher pigment,J
In contrut 10 the beaUlifui fdllurtl of tM dwuf, thole of the other arc IOrnCWhlt irregular
lllld betny perplerity of mind; blt e10 are wide open, to:cth expot.cd, and finlen into
a curve. It is interniting 10 note how the arti61$ of Ajant3 the grcalO!$t care in painting
even minor figures, giving each a dininctke chancter in the general Kheme of the fraco.
The HOOf' of the pavilion bean the conventional carpet dcaign, and the dwarfs an
urn-dtapcd fruit-didl U) i, placed.>
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 a
greyish complexion. it. tolllewhar '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 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 pro-
ceeding. The principal d:tncer is most artinically Ittired. She ii "''CarInB a 1000g jWtcI .... ith
full ll'Velj but for freedom or 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 and
look very elrk. The of the jaektt is alio happy-che s1ecvtl 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<Hiay could "'1 thlU vuy linle ehinge ha taken pllcc in Ihii
arl &inee the fresco ....... painted, almoIt fifleen hundred rem _go.
, I noIian ...,... 10 u._ <la, ...... tlIdr '*"" and ....
..i!h toau. r.nd other pipnmlllO aobano: tbtir ... "'.
[);ohos of.hit IOrm m.qumtly \I> bot r(Nnd in .ht
painun&' or
J Tbe
.6
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
PLATES Xft &; XIII
At wc right hznd of the chid danr there arc two more of a coppery oomplcrion. playing
on RUIn. The ordlntra compri5el five .riliI:Clj t wo of them are playing cymbab. one. pair
of dnllftl; (!..w), anmha .,iriJlll8 (. double drum with a narrow ring in the middle) 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
of !hi, woman is like the modem 6r'lIliJrt of Europe, :and it u, 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 Ne:u the tlute-rbycr
arc t",-o dwariL The Face of one has betn damaged; lhe other u looking up ",;th intercU al
the dancing girk.
I1cl0w the royal pavi lion 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 the (!QIC of the woman rtmind onc of the: Indim habit5 of t!HIay. By tilt sidt of
the 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 pavilion 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 wob
of IQmC one who $peaking 10 'flIt gesture j5 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 1'101 readily work on imaginllry tltel1lCL
, ,Mk i .. lighl bo<Iice ... ilb hal r-slon""1 ,Ite t.ck 1Iuop:.! in """I as 10 ""1'1'<'" tM braors, bul 01, IlK bod It
;'1;00' ... <1 ...J IIInnp ""' n.d it! fiun" TII< _tilJ i. 110 it..,...! tt.""ly "rinp /Of adjlMlMl'U.
,
'7
--
RAJA GOING OUT TO ATTEND THE SERMON OFTHE HERMIT,
MAHAJANAKA JATAKA (I)
Plaits XIV.,IIJ XV
TAt ....,i. ,.uUtJ_,1tt "'1/ ,/011", .,u, fit'" ,ma/ .,u,J,.rJ.,u,. 1/ is"f' ' u;"rJ_ .u
/",.".,., 4 'ft'" hw 1t.J1I'''/If ex",,-, XI' fJ.,-. """';., ....... .n-.
T
HE subject it a continuation of the previous onc, :tnd may be identified wilh t:M
visit of Mahilijanaka to Non.hem flimav:u, wbt.'- the N"irnla :lOd Migi1j im
appeared. one the other, 10 oonttnn the king in hi'great rnoln.' The y.1I41o \'eroOD.
howe\'er, varirt from the $tory as painttd on the rock-w:lll, for here ..... c do not &CC the II$CCtic
(Nirada or ddivuing the ICnnon from the air; jlllitcad , he i. i hown in a with
beautiful tree. and /toweR, perhaps the deer-puk of 1k1Ulfel. u may be: liunniKd from the
figure5 of two antelopes to be .cell just below the 5C:I1 of the hermit. Although the subjeCt is
extremely rcligiou!i-thc Rcnullciation'-yO!l the anUI hu paimed it with cltnominary , kill
and imagination-dle magnificent elephAnt-ride or the Iiji. the Ixautiful dfUfCS, jewelkry,
:and fcafUfU of Ihe oongreption. Ind the charm of Ihe nttun.1 &eenery. 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. in the last lCCtion
(pp. ' 5-17) ...... e sce I pteW:lY om of which a riding on 11 gn.nd c1eph:mt. i. coming. The
fi gure and tr:Jppings or the c1ephalll haw; been painted with the utnlO5t car(; even the 5lI\all
belli h:lllging below the .addle an: not rorgotten. while t he limbl of the animal sbow life and
Inovement. The fi gure of the riljl alto is ingenioWily dnwll: ..... ith all tbe equipment of
royalcy. the tallOpy. the crown and the rich je ..... ellery. he look! cxtremely and
in deep thought . as indicated by the gC51:un:: of hili hand.' In froM of the royal
, The ....>on it. foIlowo: 'At ,I!.u *(whao TIw!e..,., ,tilIllWly '-in fmnt.,-tbuu hat _ won rn1
!o labi,;...b ....... ,hoe raoI", to _) an nm..r 1"'-
-"'" r-,'Jrada, dweI, m ,be (;olden ea ... in H",_-.
_ho P I thodi' U"pm>lntral f.alhirt.. After
..... en <lap in an _y, "" hMl ""'" r""" .... 1Iot>et ....d
_w...tin& lri.....p.mly. "Oh, ,hot Ill;., Ob, <be ..... r
""" wbik pzinJ wi.h tu< dil'iroe eye 10 _ if thtn: _
My onc in India who _ /of Ihit hi;" hot .kld
M ..... janah 11 .. potcIIIiaI o..6dha. 11. ''-giII, -rho
ki"l ........... ;be ....... .a....;on, 1001 be annoc Ibm
d,,, pmpIc Iwk who I'dlo ... , headed by Slvab,-
,""'y .... y ""I _ hiDol"""" in It_ ...... ,. anoI I wiU li .. : him
&rI to.....finD ... P""" odU oolly
hit "'.,;"., polWl:f noocIln tho: air in (tOn\ of .1Ie ki"l mI
Ih ... 10 """"then his raoI ... ,
..... .fin,aoh . ifbpholi<l&yl
V.'h,. t!tlo crowd ....... bIod """,1 Will me -.ctK lindI,
T'
Think _ d_ baot oIrcadl .. bi .. .nth thM body
.illl"""
"
Hip tJIou&hto of to:lf, Iowthougllll of tdI...-llUt._
lira!. bclilf dIoo...-1
Ik nrnoe, k, ... Up anoI the bw the pardlant of 1117
MriI'lUF'. M
N ..... ,1Im -..mord rh"""h .he Iky to hilt _II.hook,
Mm be _ p>ne.&loochcr-, n&rnrd Mi#jin&, who
had ju .. ..;..... from an lOOIZtic . ranQo, bch.c:1d. Ill<' Gmu
Iki",and 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-Iwt left rIwm..u, 0 Jomb: M eanhcn bowI_-
....... 1M:e well" ,
Coordl, lip. cil., n. J"J .
The polJIoo of doe djl, Io!ing p:al=d '" _ cIa,kQ' rilll.
__ the _ of M:nna (Ill""" p . 6).
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 p3S6erby hu been Wed \\ilh fright.
The figure: of tllis 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 The attendant wilh the locks if anned \\ith a dtield, the hidc of which
hu. check pauern.
We nolice anothcr 5hiddbcuer 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
hue ICe"" to Mve been upon the skin and is not indkacive of 1C:I1es. This weld-
bearer is a K:1rf or a ,hawl. the top comen: of whidi arc tied .bove hU chest. Above
him there are two the nearer, who iJ looking up. being a (em.lt (?) 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 and lhe 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 visit to HimaV'1t, if painted on the upper
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<r1Zl iI in
charge of the: elephant, ii 'till $e:ltal on Ihe neck of the animal, while rharlala iJ perched
on iu hind-quutcrL A tigtT" hide dlo\\'J the vacant seAl occupied by the rijJ.
To the left of thck anjnuls is the royal enloun.ge. The raja himself, in a pose of profound
r"pect. with folded hand" ia futening 10 the sennOD of the hemlit. The lalfer i, dad in a
striped Ioindoth ('hod) , and a belt of black Ie:llher ( .. ilh patterna emtx:.cd or painted on it)
p:iiRI round hi, Yo-ain IU1d legs by way of juppon. The Hindu Sall1l1411 and the M05lem
DanNJh often UIlC IUch girdles for ,uppert when crouching-long in meditation. 11le h ... nd.
of the hermil :Ire in the UQdill! attitude, but the tr(':lUl1enl of Ihe fingelli and the
manner in which the I'05ary iJ held an: moventional.
The hnd, of antelopes below the bemllt'j are, as suggCQ.cd above, c:on"ention:ll,
referring 10 the termon of the Buddha in the deerpuk of Ben:uCl.
Below the rij1i we notice a boy of grey complexion, who il kneeling before: the hermit;
hi, lefl hand i5 on Ihe ground Ind with the right he jl saluring. The ueau:nent of
hi, hair is conventional, but m05t plc:as.ing. I-le is prob:ibly the IOn of the riji. Behind
, It if''''. me d>OI'1 Nllf&'-iword, known .. Idp. .....lIer KnpI round me 0/1I'0I.l and:ac ... the ("""'-I,ond
f( lhc identilia.tic>n of "'" ... bjt ..,'" "'" MoohI. nnhrt.ld<nod ...... mund !he ..... an4 .m:. the- .....w...
janab}1t&b;. tha1 the prillCl: Ilm iJ DI&hJ.... 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.
' .

I
AJANTA: EXPLANATOR.Y , 'EXT
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:ololl f, 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 fi ngers 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 other 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 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 Il.irtl.u/_IA uJh, Till nrbNfr ... ;,
.. .... ). ,MJ IIot (-/ ..... , " IN ... i'lIllt,..,(It if,n,ud" "'_. MIIftrt'" /tIIII.I" t/illlil
IN"_ of ,lt '1)111 .. ,. " ..... '-tor '"" ... It,.... tJ41.,
T
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
of after hiving heard the .sermon or the hermit, The r;ubject, although
III enV1TOllment from the nn.ion of the 1iIlllla. fit, in wilh it" main theme., fOf
MahaJanab. after the uhonation of Migajina, counsell Siw.lT Ihll!
'I've behind mr subju all. kinll1Wl, home, and nallK land;
BUI th nobk-s of Viddu. OIghlYU trained 10 bear comnu.nd-
, Fear not, 0 Qun of Mithill, they ... iII be near 10 uphold thy h.nd.
And ag':llll.
,.
If wou,ld' lIt 1II11On 10 !'\lIe, ainning in tRought and word 'nd deed,
An",,' =i'ng "'IU be tbine-chii i. the
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 hit clupcd tDc folded
lWlIh of the r-1n1 in onkr to coMOle her. The of the qutal-mlHher betrayt sadness,
3ppll.f1:ntly in c:olliideration of youth of the r-Int The d.rea of both these ladiC$ i& imert6t-
ing; 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 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 of the
mother there i. another mlIid, who is looking up in an uated mood; W lA wearing a bodice.
of duk..grey bJ'OCllde.
In front of the pavilion of the qucen-mocher b the _partment of the in which he is
dlOwn deeply occupied in 11. religioul diso:;llU$C with h.is wife. The conventionalue:ument of
hi, lingeR indiotal Ihat he is explaining iOme inlriene problem. The attitude of the rij5.
CXpres6al eamCWlall mixed with tenderfeding,lnd in drawing his portrait theartisc hu mown
much poelic "nlle. The face of the queen has been spoiled by the peding of a piece of the
fl'C5CO. but ha poiC i5 quite gnccfu! and "'OWl ,hat dIe il listening with M.tenfion to the
counr.d of the taj5. The tr'IlJllp-Jretlt cloth of her bodia: an be disc:emed with gr ....
ccrtainty here., for the white dotl and lines showing the lexture of the gauze arc dear. Behind
the ajl is a th.,lIrfbeam- of fair COI:nplcxton. the Ad upttUion of whose face is very .coking.
Behind the rinI I.liO is a ,A<tllfl-beara. the colour of who.e wn ilver-grey, il du.nniog.
She is wearing I blue bodia:. Her fc:atuft$ ue beautiful and resemble 10 .ame utent tho&c of
the 'Mother' in the 'Mother and Child' group in Owe ;{VII. Tbe dntwing of her right
ann and the beautiful fingeR &how c.xquWle llWe.
Behind the cllihion of the tinT another female figure is to be ileCn. The cxprcuion of her
flce dJo ...... utoniihmenl; perhaps "'-=- does not undentand the e.oterie leaching of the
1nc 'W1Jy in which 'he iI clinging to the cUlhion is very effective. 1hc.re are twO more female
auendauu behind the'-rinl. who look rather pumed about the future life. Onc of lhem
is holdiag " bunch of Iotus--ftowcn in ber right hand; but the prospect of life kCllli 10 di$m:a1
Ib:at in her melancholy mood she i, about to drop them.
A dwarf i. lilting below the rij5.'. I1llOne, looking up 11.1 him.
The pl.lm. of the and riDI, u wcll uef fIe\'er:U m1idi of honour, are p1inted wilh henna
and the lip' are Itained either by 14" (bctd leaf) juice e r by Milll. The h1ir hll been
drcaed in variOUl fuhiolU, aud in IIOme caiaI" bedecked with fIowen and jeweb.
I '0.: .,.Ic vi the: prmotI! indiaca tIuoc if ., """ I """" '" oohi<,q for """ ti...... h _Id IIfP<U' that
I.' . In BcnpJ ",nil quire rcu"dy me -'1.!re. me d .. or rh_ C::Ir1r ;nbr.bilants 01 India _ 01 the
of woman _. ,;ng\t- sit..,. (of lbaut S Of 6 yds. In .m.pI_ c:huac:te likc tIw of "'" 8.npll nu of to-
put of "hicb _ Md I'OUtIOI m.. day, and dw: the d_ .. bid! __ at: Aj.ma weft
IInIIlhtt pon -.. om- the hao! &lid. b.t. In llijpatl<la, Mopc..1 wben r.:mg..:,.(r __ .w..)orttkdclown
Of! the: contrary, tIw .,W (mwrine ror die be.d), tIw in ... 1 aWe ruunIIon in the ..... nny_
.,.,. (ohon baoIiao) aM the: Wwitti Df p.,n (Jl<in)
"

AJANTA: EXPLASATORY T[ XT
In the 5W)(Id pan: of the story the rijl i5 represented as coming OUt of his palace riding on
a white and neck of the hone being drawn with tcal.iuk (ffeCl. The cxpra-
sion of the fiji" face and the g($lure of hil right h:lJid 5how that, al though riding, he i.
duplyab60rbW in some rcligioUlthought . The prince i5 riding on a ba), hone, ami between
hinl and the rijltherc: is anothn prominent figure draped in a blue coat widl tight dtevtl>.
He b:;u made a. loop .. i th the fingat of hi. right hand and he i, looking up. In front of the
r.i.jl' hone il a rh411ri"-bearer wearing a long coot I of white silk, into which figures of
ducU have been woven.
Behind the rh_ri"-lxaru there arc three figures; onc a.t the C.ltrctne right rorntr. with a
btanI, has a ... ery peculiar exprtaion. The uptumed tyebr"OW"i .nd wild loob indicue 50me
or t:llamity looming over the
Alongside the njl" horse:, in the lower put of the painting, we first notice a dute-player,
then a dnlmmer, and a Iittlt higher up a conch-blower, wllOiC cheek. :ue puffed and eyes
bulging out in the exercise of hi. c:alling. Above the: figul"\:: of the: conch-blower i. anOther
mu9cian, who is playing /)11 cymbal!. Below him and to the right of the toncb-blowu il
perhap' the royal herald, the quiekne. of movement may be: judged by hi. "retehed_
out hand. Thil i. pcrhap; the earliat Itnov."fI ddineation of the hand c:&"prC'Ming npidi ly of
-action. I n Iller Hindu 5CI11pturt Ilnd iUch a position of Ihe lund i. quite common,
becorrung -almQe;! conventionll.
The lower part of the fre$CO i. daJll3ged, but we sce a pavilion of the ratn (chariot) mood,
-and near it the head of the njt can be traced among liCVerlll figurc:a. He is
apparently bidding adieu 10 the deniuTII of the r\ linle fanm-r to the right we set
him again with tOme In.ale attendanu: he if; pc:rhapluying good-bye to the 6e:rwnl .. of
the court. In the extreme right corner wc $CC the rinI 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.
SHlPWRECK
MAHAJANAKA JATAKA (I)
Plau XIX
TItU i, .,.,.,d .. ,,l, '*.l wJJ of tit. lift ';1/,. lM __ of tu 1-'" uIJ. TM fmn it '-It.
",.. ,
1w
4 .. ". ... .,. ... -----..I].
T
HE idenlifiCltion of thi. 5ubjea i. iOmtwhat unccnain, for occurring on the: rock-w.al[
immediately after the of it nlight&ec:nl unlikely Ihal it alludes
to the n,il.hap of the prince in the $C3 voyage which he undenook in Cllrlier c1;!'yl 10 acquire
wealth in order to regain hi, father', kingdom. J But -as the 'l..u5tration and 'Renunciation' fOenC5
I ""otm. to be dif=m Iium w InJian..,...!U, J 1 ... '] .. ,. ftJIiou ""'" ,hili: MahljaNb
whldt ""' ... apmi", add bo:s on tho: ....... ... ,-.- old K bel [.QmaI,br: lh_ ...,.. and &I.
o c....,.n, So.nlllndi&n t.ronzc. and oa&lpao .... ,hoe .o.'iIQtOland hr dlcu- "" ... Iiazem Iwhad bocomo
..ntin&wD.anorofS; .... . -r Ioondoorne Ib ........... 'fhm be IJoou&bI ID
PLATE. XIX
of thi, 141d4 (Plates XX-XXn) 1 are alia not shown iD proptt Kquence .. e may :IIC(lOunt for
the anomaly by.uppo.ing that the p:Unting of the Jillolo VI"lIIi on the rock.-.... '211 without
any preconceivlKhenll: all to the order CIf evenl$, 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 or the
$hrine.
The subjco:, u painted on the rock-wall, may be dcsailxd thu.. We see a chief (rnerd=lt-
prinod) a.iJ.ing in :11 ban .... ilh k\'tt;tl allendanrs. The gc:uurc of his hanm, which nthCT
.. 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
i. lmOleking the boat near the Rern; :.tnd a uilor bu climbed up the ladder placed again" the
malt m. and he iI ileering 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
\iibll', 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 both hi5 in abrm. Another pc:non;, dlOwn
being carried off by an alligator or wrk, while to get of ill 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 resembles a beaver. while another, ""hich is 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
t WO figures, but their hClUU being delilroyed thei r action nnMI be delennilled. The
dra ..... ing of the i .... er)' poor ,and,ueepl for the imerest ofthe '.1I1IJa alld the reprenta
tion of a fifth-ttntury bo:I.r, the fra;m dOQ nOI poI'C$i utistic merit.
Below the dlipwreck :tn<Khtr iubj1 wu depicrtd. representing lCIme N4gllRory. but the
(ro::iC.'O if compll'1c1y dt51royed, and only a few heads can be traced.
" .;u .mc-lbekinpom dial bckc I '10 11>1 '"
'"'.n.J !u. aIOIIho:r , " H .. o: J'I;III ... ,"""'"1 in I....d. . I
will ,"h'nlr tuIf cfiu..d I w;11jGIOSu-waW,lImi and
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'r-
dw,,, bound fOr Sufa99lbh1lmi .,.d iIoode Ilio II'I!Kbor
r--n. .. It! _ ... ,. ,lie oh;, ..... _ hllndtfd
!at-. .... , ""rin& IIDfIC lOO -.ioIcntIr ill i" eau_If _101
_ hold OUI I ill p/atIb IP"'t wa,. 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..
..u: rbc .. ",*,..,.;pt. The CJV>nl _ bo.nt
bowno fOod ..... w..,. ..... ""Ni",.wm. W&I..-all"",""
_mod Iho: Ct\Ioa. c>fltlood. . Now ... tIw. run.
the ... "" .. of the pit nallled MIi9irnillWllwl b..m
appoiMol ,twdL... of the .... "" tbo ro.u tX
wotld.. "'w.wthcG .... , Bd .. "", ,h""WII.., Mndr,
,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. CIf'- ri. 'IrS.
I I-frw, pp. 14-6.
PIao 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 ___ -' /. " ,.. ",. fr, ... i, ,,!,....
., ""-,ut, .. /;p "M,.
T
HE iubject of ullllnci.,;o". being the rn:tin doctrine of the Buddhiu rdigion, i, fre-
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'painttdherc 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 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: 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 tht high tight on rht eyes and chin of tht middle onc,
who i5 of a rcddilh complCJwn, is eJ:lremely anigic.
To 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 the 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 aaunt 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 pavi lion. 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 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. fIi" (lore, which 01 the WI......., cl
J s..ch r-..m &bow ch&e 8..ddh .... lit chio u- (aid the mner &ith.
'4
PLATES XX-XXII
The I(JwCit figure is clad in a '/'I)fi wilh red wlpct, and round waist he 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 5n, 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
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 evidclllly carved of the same 1lI21erill.I.
J
The dcsign il
fantastic, but al ElIot:t, in Ihe: ClIrving of tile gre<at Kailba,. simi lar design hal been followed
and the I'ntire building reses on the hacks of elephants. tigers, and fabwous anltll:lk.
rn the conidor to the left of the riji's apmmc:nt ll. rolled- up curlain 0( gras. and leave!' may
be noticed below the lintel, along the tapiub of Ihe back columll$. The of tlm
curtain, coupled ..... ith the matting referred to alx,,'e, al!hough for royal uS.!: wooden
halls conllructed, the dwellings of the FMP1c:. in gc:ner:tl were plain and made of grass and
wnllitr perishable matcrial, just as hues in the prestnt-dtty villages of India are made.
Although the liubjcCf rcpraet111i an occasion of great jubilation-thc ceremonial \\'1IIihing
of a prin beforc hit ;U$lImlng the royal dl>1tge, the wearing of $laiC rOM and jew&, alld
the giving of :tlms--yet through Buddhl5l. teaching it is pervaded by a spirit of indiffm:nce to
worldly pomp and glory, and result wc sce that in the !Gnd Kene, the' Renunciation', the
prince hu donned the robe of ucttit". I le d()('s nOt 10 have left the yel, for the
ap'4rtmen[l; are: Ihe umc:'; bm his belongings arc very simple: n begging bowl is in his ll1lnd ,
while II few ''eiSCI" evidendy earthen, are placed in the .... "OO(icn frame .00\'e his llcad.' The
&hafK'$ of these vcac1, arc 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 com-
plexion. holds a bowl, wherein &he has brought either food or lIowel1l for the hmit. The
t\\'O arc of a dark-red complexion, and one of them, who is behind the kncC'iing
, 8 ... cwomofthil WpUIl! ,rill found in BengoJ.
In die MIhI,u,,1MfP JI...b.mcfllliW'oarpontl'f it
bymeGnaI IQ build aball,
OS>- at.,";. 158.
I The Ioca<I of. hyena _ ro bo. r..YOIIrire
_'/21 mil Urn., for wc....ac., t:.ndo ofhyena hea<B C>II
lho ."d main ""1.1_ ollhil ca .....
to the 141."', Prinee l\bh!jamb ... .roJ

hio: pdKe for MU ..-lh!. afu, !le IwI Ih"
MCC!ic life-. CowdI, "Po cil..';. J<>.
I l\bbljanab M:Cfttl1 inuructal. his ancn,wu t\>
_ rdlo'" and an <altbc! ...... 1 broIIpt 10 hilD
from the awkct.' Cowdl, (>po 0 1.,';. J O.
\' c.dI of mil kind ha,,, beo:n found in put.bun-
dana: in ,be cai .... of lloe Derom.
"
AJANT.A: EXPL .... l-lATOltY 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 Kriownea of the iUbje bYlhac delightful fi gurea.
Of the tWO children, one i. l!etwn 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 dfeaive, the bright red and blue of the pilla"
enlinning Ihe ile green of the background 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 pleuing. '
To the left of the hemul', apanmenl the ,ubject il continued up 10 the extreme 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 figures can 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 fling of homelinc", for onc of kg' is stretched on the ground while tIle otha it
bent and placed 2CJ'Q65 it. There are also three women in this apartment; one of them Ioi tting
near the feet of the and two .anding behind her. The fe:lllutcs of all thrte a.re l"1'l(I61;
belluliful, showing freedom and play of fancy. in contrut to the figure of the hCTmit in the
'Renunciation' or dun of Ihe prince in the ' Lulitntioo', where the anin io/!emt to have bn
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.
FOUR HEADS ON A SALVER, STORY OF AMARA-DEVI (I)
Plate xxm"
r ..... 1jm it ''''tt' "1 ... /11'" 'L..tr.ti.I ."', -' Jr...,. it it itot4Jd;. ,''''''' jJIt. xX.1"fir,...,...,-I
JtI,.jJ it i,.J.. "/1*'-1' U,....,.IJ;if _"'_.
T
HE fresco is much damaged. hmce the identification of the liubjec! with the ,tory of
AmarjDcvt in tile r.lahi. ummagga J li tab made hy liGene ironologiUl mu!it be aecepu:d
with $Oll\C [($CrYe.' In the lubject as painted. we 6Ce white W'Uctun: on the lOp of which
knob5 with finiab IUggcst wooden archi tecture. To the right of this building there are
50me apartmentl, 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 henoil (Mahosadhd) holding 11 roury
in his right hand looks at !he head. with an e:rpreuion of dp 'ympathy. the
, 0 .. dw ro.tt-I of this .......... an ... hitiolo arab man. M&hooo4ba (dw Grru NII1I>tTVUI
vmilar !\Ilh. --.on ... .... ," .... cI b)o Hind.... p<rsm, .... ",hidlthc four all 10 doe, lout tIM: Gmt
"I'he does ..., clcar.r i .. !be lllaoad!_ pI.wl Bdas .....-- jlllllU& ..... inglbcm. Thtrtl",,"bu ..
{XXI."
-"" lltemptII I" dcwror the B.:inc.loul...b .i ......
J A llooy o( .be (Q<J' I""" d'" ,..;,. .,..." SrNb, he __ ... -.0&11' tbci ....... and _ .. u .ri .... pb&ot.
P"U __ " ... i .... and De.inda,....J dw: _ ral wfte F""a;mpInt.omioIL,_eo...U,op..cit.,oi.
,6
PLA,'ES XXIIIII & XXIV_XXVII
hennit, on the other 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 ( Pl aIn 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 rreatmenl of the hair in bOIh tllne ht'ads is identir..':ll. and hence Ihii conjecture.
BODHlSATTVA
Plaus XlQ'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, uJtJt" IN "'n .... ,Io"'M ,it Ma., tAt "';""Nwt. PM .,If;, Fr I"'ff'''
of Ut"" .... jI., .. ,;.- ;. _,,_ itIu ......, ,J., &IN_ .. ,_.,IIH ...
T
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
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 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$1 gel""
and the dQign of the longer ittinV of pearl13nd the uyle of wearing them acroll the chcu. and
I n... frame "'"1" .... rinf-I-
1 TIte tmn IIooIhiaIn,. ill the lqinnirlc _ arpIkd to
<m"tt1bn of ,"" 8..,M U0I1 o.o.la, ,",e t.<cr
(,110: period of"'" Gandhln. ,e w. _ricud 10
m... 0lIl1 .. bo P I M-. Amonr;
,_ diohnplOhed cb., i .. .., -. U) were
CUlID,d",,", ... be and ,&ili'" 10 DIt,aI B...idhaI
and UJtiI. P.dmaplrft,
it """ of the di,;1IC BoolII"' ... ., and lie io alfdi .. ",d ' 0
the lMJhf &ddha AmillWA. t.nd "'" I'lWu1.
AcmnIiI" 10 S,""'biof JCipNI'I$ P.dm,p'oi .. -..
pc<1Oi,1iin, of .. Buo.idbI; NIK'l" the '"
Gaucama,wllcwi1l O3fIlirnoo 10 dolOliU who
it '-in lhe TIIfia 1Iea.m, dnccndIlO ftO'lh.
I (mm d&maJod, the I", of Iho/iguft from
.linlc me b_ I.I'II! oniIIIIing. TM maoun:m(;llJ '"
/hoe Ji&uft in ito ..,., _ ""-s:
HnsN "Il"'i: r- crown 10 .. little below /hoe
S ft. 91 ill.
HT/MtI/: (ram w...Jiler '0 "'-Idt:r (.aa.. die cbeotJ,
, ri. si ;<1.
1I''';,,: .aw., , ft .
,A ... : 6 in.
FMi: ID thin, , ft., ja .. 10 ja .. , 9 in.
'7
AJ Ar-: Tt\: EXI'LAN:\T ORY T EXT
round the ;ll'1ll are highly artistic. The SColnty drcu perhaps sugge&ts an ascetic life, but
of h:\\'e genenlly been painlcd at t\jam3 without . any g:.:ment.
clothing round the 10;n5 in this subject i.& apparendy a Jhofi of stnptd silk worn Ul an :utli llC
style. . .
T he pose: wi th a ..... ing lit the "':lin-line, although $(Ime ..... hat IS yet
pleaung, producing a lh-dy idea of movement in till: figure.
'
In the TIght hand the Sodhl-
1S-llII\"3 is holding :I blue [OI\IS, of his tillc and also emblemati c of purity
of charocter.' 11le of the left $Cem to be l"OlItorUd in :I con"ent ional u yle; but
3S lhe fresco is there damaged it is difficult 10 criticize: them properly.
The light and have been carefully mukcd,' and a life-like eiTect has been produced
by 1111: lICCcJ1IU:ltion of the dark-brown outline.
Ap:l.rt fwnl the merits of the principal fi gure, the composition of !.lIe subject ti regards
dcliuo;"":Ltion of minor ch:mlcterS and beaUt)' of environment exhibits a high i nt d leclll ality and
gre:lt mi,;t;c fancy. For eX:L!l1ple, Ihe dark princess; to the lert of the Bodhisalt\"3, pai med
:lImon Iife-si1-e,J by itM' lf :l Mu,. dr T he artiil h:15 painted her a5 '""l1Tt hy l impl y for
10\'<.' of contrast 10 the pearl-grey complexion of the Bodhiutw:t, but the ttc:l tm(' nt of the
limb. e;o; qui,; te, unu::h f<:rninine charm. The loCrenity of her fate :I mply :uoncs fo r
her \C;Lnty clothing, which l."<lmprikS onl y :t bodice of fi ne gaU2te,o :tnd :t ski rt of &lTiped
silk. The irregul:l/" lines of the upper part of Ihe lalter garment show Ihe c:tprice of the
:\rtiM'S im:tgination. To brighten up lhe ol her" .. ise dark complexion he has thrown :I. high light
on the noo,c and !illS Ind Ilbcc-d. p.earl Clmamcms uQl.lnd the body. The ribbons
from her right shoulder are also atl istic. Ht!" general apreS!;ion , however, e xhi bi ts restrai nt
and rnodrny combined with air of meditati\'tneu, which, by mcans of special
of the: eyes, is:L generJ! of all the figures at Ajanta.
She aliO is holding a IOIUJi in he!" hand, apparently 10 indicate tII31 shc is the COlliCrt of the
Bodhi.&aIlV"3, T he aniu has :l.ttcmJ' lcd 10 indicate the groce of a Illatron instead of or \I
young and her in being Iolightl)" turned from Ihe 13odhii:lllv:l. to wholll the publk
, JIO'C origilllllr""'" UI hon bt<-n from
the dmdn;: lttilude.
h!TU)' be: 1" lIOIe lho. in ,be Mup.;.l
pi(rur.,.,;,( I"Jia f .. "".in: poot: !Or . kIng .... q_n ;.
",lb A",,"Cr in ,he h""d,
111" tin, of .he n""k bc:\o", ,t.., riglll do.ker,"'"
pin the I.ft ,it!.: "r dle t:r..;.:- is htownOl"Uwt 1110 poll of .he
f.ace ihown in .Ioe li", ..
A, 1/"" .n:mo ,,, 1 .. ,"<: bow 1>0 ilil'i",,-
u<)!1! &;, 'lja. ami <4.k quto:nS,.,.d .,<"<: ........ h"e bt.:n
p;>int...! wiTltout "'If i<ka of >kn:.prion. 'n..:
got"""" ruluuT uf Ihe uin ;., hown-.r, d.tk b""", .. wh;'b
;" (ojtlr ret',""",l2Ii."C ,;,f I ndi ... T .. ,I,i,
&<">....:U mI""" _1'mt> 1 b'<lldo:" bue, Of pjnkioh
Iw boffi gi.< ..... owucndr'o Ut_ ,lit .... "f heallh or
,b. "..,.,.j. Then: an: alsu iij!"U'''' of bt;ci-.cd and t4,k_
"
gncn Oi.ld) <:<>mp/ox!""" The rOm><1" """r..!!y
inS farm .... .. . "d poople of lowo::' eta-., wt." ""
acrum ol ,1>.:1, prnI"-":>or " 11> ,he .un, oM ,lie
b" .. usnl ,i.het-ligt."",,"CIr for p>pIu living in ........!s, 0'
foe ,,,,- who li .. ...! mnnlly a ... ilJ lif., whnoe
Iu. .... OCf...Jly 'Ulned gl"ffn
, 'flIc Icpof. h;' figurt:lkodoo m;'ing. res nn:alu_
mtIIlJ in ilJ p.--nl (" .. dill"" a,. &$ 1<,11,;,..,:
ll.i:ltt: from ......... n to a li"l. abo.e Ibe kn"", 4 fl. si in.
acrOOl ' he>hnuW ...... I f,. fill.
1I"_isl: acnw, '" "'.
Bd_ ,'" ac."., , rt. t ....
F",,, r."glh, 9 In.: br ... ,hb, 6 in.
h i, di/Jicul! to lbe gwu (If Ihe Oodi ill ' he
l<'pnICiuaion, but \Ill .M origin&! r.eoco it co.n be dito:et""",
in 6 ... bnr.h li._
PLATES XX I V_XXVII
gne nalunll y will be di rected, is very chuacteristic of the habi t of Indian women when
appearing in publ ic with thc:ir hUlbandl or relati ve$.
Behind the llodhil;:l tl va and the black princew i5 a cAaurj-bearer of rather unusual
features. Her long bl ue 002.t and peculiar head-gear, with four upturned embroidered Rapl
and a conical tOp ill the middle, luggest that Ihe is a foreigner,' perh3pc onc of the Scythianl
woo had embraced Buddhism in conr.iderabIe numbc:r$.u this time and "tlkd in the Dettan.
At the right of the Bodhisattv:l il a dar k mace-beam who hat rai5Cd his finger, p<"rhapi
to indicate that he is in watchful attention to the commandi of hi. lord. 111<: figure is burly
and the fenures rough, appropri ate for :a guard. He is a long white coat, apparently
his uniforn} when on dut y. Betwc:en the Bodhisattn and the dark In3cc_bearer Ihere :If(: tWO
other fi gures, one mQte :lnd the Other female, both of a d3rk complexion. TIleir fe3ll1res,
howe ver, are obl iter:1ted, :u; thc fresco il much dan.aged :u lhis pbce. To bring the ligllre of
the Bodhisauva into prominence these tWO liguru have been painted .rum, their headl
re:aching only 10 his waist.
The background of the piClllTe also much vinoty. Upon conventional hills, which
arc luggwed by red bands,J we 5. monkep frolicking :about, and h.igher up a pair of pea_
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.
To the right of the pcaooch is a grove, whence a hum:1.II pair arC' w:!lching the
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 The features of these IWO arc 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, but 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 the lefl was perhaps a tr umpet, but thili ili not dear now. The female figure h:as
clasped thc , hou[.IC'r of her mate and, ,upported thereby, is drifting in the air. Below the. Sitll.
JllarvllJ arc twO lillNllrOJ (heavenly musieians) wi th hUm:l1l buslI:lnd birds' legl and ebws.
T he long dark lines of JUrmOl (eyc-powder) :tre very prominent in the of thei r
eyes. One of them is rilying on :I harp, the form of which will intele5t the of the
early musiCl I 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 and a queen, in
I II :tI1\OrOU5 atti tude and watching the 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 couple, ::md higher up wc sce 50mc 1Il0nk(YI and also a lion .
AcconIinS .0 ....... scJ.oW.J. "'" Vlkl,ab Iti..,., the- """nlry ..0- eaIJ<d the- Cmlr:ol p...mn< ...
....&. "' ...... 'f"t'''' _ of tII< _me. 01 "pm> C. "r dlio ."n t .. "'P" in Turkioun.
ttCln...!, luoI ..... rip bIo>nd;".Mm. ..... nhtr. _ J I IiIlt Ajanta Ju,'f oPtn "'_h
find ;""'JjIIicn; aI NJoik arMI KJrti mcmianing .M....... bondo, .hicII in ___ ha .... 0lio Iottn .-J. pu.;.iof,o
01 CC"";n 1 .......... 1. A h'" 10.tut one ... bjcn r,_ another.
'9
AJAl'TA' EXPLANATORY TEXT
The reur.Unl :lnd :lI!Slerity u pr65Cd in ute figure of Ihe Bod hii:lun Ihal of hil royal
COnSOrt are delightfully by Ihe mirth ud glee of the world :md the heavenly
bdngs; and the rhythm of this 'piri!LI:U theme addition .. 1 gnacc by a tu teful contr.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 delight 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 the pcnpcetive effeet.
The name and history of the :mist who painted this wonderful , ubjcet will never be known.
but the fading fr<KO, 1S long as il wiU lell the itory of the genius and .kill of iu
author in n)()l;l doquem lemu.
TEMPTATION OF THE BUDDHA
PlaItS XXVIU Old xxrx
ni, it .. IN "11 ,.'IIl1 of IN ... ltlIt.",..,... I f i, .,p.",,,,,,1 1.111 i. ,.In<>" .... _,.,.."". TM fmn i"
IlUltA ....,tJ. ''''1' I", .... f/ it ... "'h If' ."J km"" /wti"l ,,,/uJ if.
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 not 10 be found in the Plli Canon '; but in laler commenrJ.riet lIld worlu il it; namllcd
with nUlch play of f;l ncy, and it if also referred 10 in the AI t\janl:J. the is
lKulptuTt;d in Cave XXVI. but it u delineate<:! wi th far grc;l\er \'iwcily in Ihi, fTC$CO.
To dc&crilx: Ihe lubjeel; if wc tOmmencc at the top left oorner we notice a witch with
crooked and r rCIlruding eye-Inlls. The CIost of her otJ,eT features i, equ:lily hideoul and
her bream are 100IiC and hanging low. She holds a poniard with a ('Uned blue blade J in her
right hand, while me hu metched 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 ogre, only the leg
of .... hom an now Ix lraced, and further on another with the head and fin of a 1C1l1.
4
Commencing again al the left lidc, wc liCe bclow Ihe figure of the witch a $Ialwart ..... :urior
holding I ' ... ord in hll right hand. lie hu tumcd his face a5ide in anger, \\ hich is further
c:rpteued by hi. contorlcd fenures. the dnwing of thCiC Ixing ,cry realiuic. Below this
, "".,... . !if'/ R"""",", pp. i' It in IUIJ of T,..t1t an.! 01 boor 01
. l ]n PaJicftagu,,, Jll:Ih (Ko. 'll) the ""'" ..... ill all d .. if "",iad dwtm )'ft fMl<d to
b, ,he "I..u:,. &no ood .. "" ,be AU-EnIwumcd 0 .... ,,'" did toOl 00 much
In.ll ,t..if d...u.Ji", ba,", .... ....,. """". M opm h;'tyb 10 look .. """ ,'''''''' 00 ..... .....,,]""'" .. hel'
-C""lIIg &nd lIa,o and r-.. Ukc .... """"""" eo-Il, top. 01., i. :!.lIB.
tM wind, ,Tt.: M"tt. made th .... ft,: The bI ..... CO>Iou, CIOO ..... uonall, rtp.eICI'lIKCd.
.: _"h .. , do ... n we .....t, 'A fio. he IlK ,CCttc<l ,ho: '''',. TJu:..: .. are no< tI .. , Jr, ,b"
th"""gh w the ...... doe b,nb .,. mer logt:thn XXVIII), bo., "'" be: 111 ,he: otiii.w (,..co.
JO
PLA,'ES XXVIII & XX I X
WlllTior are figura; one of than u of a monster v.ich a hud and hum.an body, ""00
i5 armed "ith a mace which h.u a cireular top. The other figure reprQenrs 3 dwarf with a
round face, bulging eye+balb, and wide mouth: the cxprewon of hi, face i$ one of anger
combined with despair. Farther 10 thc righc i5 a prominent figure of darkbrowII 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, a Krio-ct)mie dft 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 grn 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 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 cnt11IJlnion. 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 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 right 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:lcc-
fully 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$)Iutely :1mning.
The damsel on the Itft side of Ihe throne is also painted wilb great care and thought, but
in the delinealion of her fealure, the .cnK of proportion is not iD refined :Ill in Ihe previoui
figure. The eyel 5m to he nluch 100 huge, iD perhaps the 00601', but the dTll\\ing of lhe
fingcn and n:till is nquis.ile, ihO\\ing great elegance of form and luggetling t1131 ClrC {or
their beauty "hieh charactcrized the: women of that time. With her lefl hand 6he, in a
con,'erJlion;1 m:lnner, ili suggcsting iDlIlcthing 10 the Buddha, but the uprr:55ion of her
fllce il rather liJod, :1pparently at the failure of heT miilion.
The in front of the Buddha'llICat are much damaged, 50 Ihat their uprclo5ion, cannOt
be nudied with ecru.irlty. One of them al the ClIlreme left cnd, below the righl hand of the
!:luddha, holds:1 white pot. containing 50me intoxicating juice. She may reprCfiCnt
the Indian goddcu('pirit)of wine. The pair jll&! in front of the are caning ogling Sl.nces:
3 '
AJANTA: r XPLAKATOR V TEXT
illeY'lre in a dO5/: cmbm:e, am! rhe wai st or onc is expotrcd to the hip!. T he of the
pair to the nsht of thctc is ,,,nibr; onc of them is apparenuy the charm of her
bml hr t:.Ut hy hulding it in onc of her hands, while a finger of Ihe olher 'J pbce:d
mqlleu,.hly on hCl" dun. n Ine enchanuCSSC$ are apparentl y the of :'<o1in,
tlel,ulN by him 10 en.narc the Buddha by their charms.
-\1 Ihe nght side of the frrKO thcff is ananny (If mOlI$lcn, more horriblt Ihan thllM:
,!cliut':l l{tl (HI Ihe left. AI the lOp was an ogre. of a rinkhh-brown complexion, "hOlC form
lInd t"rlNion, nwing III Ihe fn:M'O ptcling off, onn()l: be diKcrned !lOW. Iklow him i,
anocher (If a IIhiti.1! rornplcxion, whoK 6gure il i nt.act, and in him the art;" ha. plintcd
l'elh3f'1' the uglim mOI1.,n of the lroop. He ha. no and Ihe upper lip is CUI in a trio
form. thu! expoling !l,e ICclh. A lllue vifX:T i, looming out of hi, mouth. while Ihe
h:ut {I f hOd is crCCI and the exprn&:ion of his eye is mOljI unCilnny. Next 10 him is a
dwuf .","",ing mud! lie hold, a spiked wc:tpon in hi' Idt hand. and wilh
righl i. (I').umuniQling IIiOOlel hing to Ih .. Buddha. To the righl of the d wuf i, :lnodler
mon"et. wll h the lIIuule of a bo.ar. lIe a blue sword in hil right hand.
Iklow tire: "hile monller Ihe painter! :l wmit figure with a luge head and short
1I111bJ. Il i, .. yebrow5. luge rol ling cy .. baIl" dumpy nOle, anr! ugly mouth :m: repul -
t.i,c 10 a degrce, bUI his action. In cxpoling hi, tlh by wide hii moulh .... ith his
Itn)' lmle fingctl in ordn to frighten the Buddha. hu impuled conlidenble humour 10 the
To the ngln figule i, a in an excited mood, flourishing a club or mat ...
Th .. kilO! of IoCIrf;, .... -oI' h1 (If notIce.
Coming ranher do ..... n ..... e lIotke a green patth. m:trking the po$ilion of anolher moo"er,
,h .. figuTC of whith i, now obli ter.uC'd. Tu Ihe righl of the greCl\ patch i, pt"rll3pt Man
in I 'laIC of UITem .. desp.ur. His h:lndr; :Ire placed on ..... ais, :lnd hip. and
lu> face Il 1I1111C"d 100llC lidt to $how hi. humiliation and dej .. cti<)n of spirits. T ..... o tilildlCn,
onc on UTh lid .. , looki nS at hi, face: in a mock-sur pri,;c fashion.
!kIn"" Ihe ligure of \Ik.i the U. bILt farther dQwn il is in placn inIaC!, ami
four IiguR"l nuy IntYCi .I" oof them being of a dark-gre), complexion, and IWO {;ur, Thd r
F.acu and J"*ng indicalc Cllh('f resrntmell l or despair.
The figure of IheBu\ldha, ",hid, in Ihe middle, i, con\'entional. He i, tilling c:rm __
!tJ:!!cJ In I 11>(,I
,
lat,,'e "'000, "il h Ihe right lowCTed down ovcr the knte and Il,e j'i lm
the Idl haml rbo;rJ in hi. lap in dIe. /'ltis/,drldmNJr,r (eanh.tO\lthing attitude),
k " In ,1 hAbit.' bUI Ihe right ulI1llOd h2lf of Ihe eh<$l art The
tOl uln /'If the folCt', on ao:count "r the da,nage 10 the fraCQ, arc K1.llCwhal bUI the
e,Y", Are .!"ocU, thl" I"bn uf Ihe (,"Ar in ' he yle, and the ha;r curly and
"cd In .i knob nil the ..:ro,,", ",hieh is either 3 gold orngment or [.he con\'CI\tional
effulgence from the hiir.
The tfOll1lerll of lhe entire figure dCArly indial ... thatlhc anin h:u had K111lC prescribcJ
(omml.i IQ fullo\<., to " I,,ch "Quid hne bten a lino The ani,, ' , fancy and of
hll'll<mr. (Ifl the OIher hand, :lIe amply dcmoM{J'3ted in the delineation of the army of
I A oi''''', It t1la "'" "f'!'('U to be a...t..-.
1'1,.n r!'i XXVIII. XXIX, XXX
;J. mOlle)" erowd varying from 111051 ht'lUti f ul 10 I he iunninl an.! rn<1I.I ho"",nJblt
.pri tes. Tht of CJch of thnc- figura i, m:lrked I'ollh dWrlC1<"f. ,1ml Ihfil ddUlUli(l1l
reflcct. deep obkn'1llion and $tudy of nnurr. The )!(nnal dTen .... t the Ir..-__ ,"
I'. hOllO'er, somewhat groteSlluc, und like many ;J. rie1uro: of Ui III "Ih..-r e"umrin. il ",11
IppColIIO rciigiou,-minded peol'k onl)'.
A BODlII SAr l VA
Phut "XX
TA " .. , II ,...., .... ,ill /wrf ouII '" ,ill .. "' .... ""'. I. ,'" "lilt of'Jo, hv t/ IIv ./w-._ TI.. ",. .. .. J-,N
.-I" Ikif ... rlY".,UJ i" _"'"- .. ","
T
il E an iu h:as dcricl((j rolO!<tOlI fignre "r II,e lloo:lh",,'II'-I uti!
$ide of Ihe door of dl;C .ftilrlltJ!.tr, The..: figufQi ne hut the
thc", which arc inlaCI ,how gre:u paeti. Of the figure un thr ril'1lu-hJIllI<idc
oflhe door .,onions uf Ihe held, riglu .hnulJeT, ho,I. :an.1lcfl arc l'fT"""'""', Ihe 1.1>'
being in Ihc condition. The Illoodhng',( lhe elbow mm! Ihe finllrro.. \1111, ,hr:it ,ldij:htlul
elllTCI and d(:cl'-'Ct nrub, i. abt.olu,d y ch:!rmi ut:. Inu I hc Iype "r bcaUI Y j. 11H,re " .. -c,,, ..... t 11.11'
',gorom, Thc muml, "'rl'le dbow. the t1dica.le. 1<,,<il1\t 'ht' (')fqUhllr i("VI dirT)", anti
Ihe drtighliul ImuJ-f!o\\"tT. IQ ,ldic:nd), held, ron, cv a K" .... (.r IrmU'lIul r htt
imrrc:uion of robu.1 n.anh-ooJ.
The hc:aJ of Ihc figure i& much bu, Ihe bet';, "u,rc or I,," inull. ! .... IIS ,",unu
wening medi lath'C exprCi5.ioll, the dfecl of \lhid, i. IIr ,lie
coils of .. :k hai r 'rre:!d l'Cf rhe- shouldcrs., Ihc prince-I)' eTQwn. the tTrh Jcwclkrv,ll1.1 r.thu
omalllenr:.ll fQlurcs.
The dclinc;lI.ion of the minor figurt'S 11\ ,hI, ."bjccl (')fht hili. lille ",n.c: j)1 III
lhe top left-hand corncr \It n(}fice- a hal'!'Y couple w:lt(hing till' BOOhi<..lmJ ,mm ,,,11 . '
n,l' rteKO 1CJ\\"t'f d(l'o\"n 011 side it complelely dQIwyed. ,\1 ,he righl.hJn.! ((.mer nf Ihr
frcSQ) Ihere i. anOlhrr I';lir ,i!ling: in:l mtW"l.' flelo" Ihr lu]],. lIe A HilI!
Ind hi. wife, Ihe {om,et look;", \';Ih r:l11-I I!lelllion al Ihe lIo.llriv"'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 . "I 11,( \'-"!lWI
I"olr.ing to .... ";!rds het htbb;, nil li if to .mmuni.'JI( ",.l11e, hill;,t. y,. hi le I,.,k(, ,,1 111.11-". ,rlr. (
IlIng' bcil.w het \\"riM.
Coming 11 .. " n wc KC pair "f rlo\"n 1"()I)ing wi,h jny .n Ihe "I ,he HoJI" ....
11tc), l!retched Ihetr neclr.< r(\ ,hf.t fecling'. I""'(r .1 .. ,,"" ,. .. I>
offering noWC" to th( The rlclinol;on "f lhe llf" "t" lK'r tin,!,cr> "-ut ...
U".remtly Al,he r.ght hand ,,(,he I.uly, neJf Ihe fet! of Ihe jJ,,,lhi .... mJ." Ihe'
of anotllu woman. The upr(><,ion <>1 her cv .... JnJ Ihe "i<lt ore" "",,,,/! tlcarlv
indit'"Jto: that Ihe glory of the Divine fin" .. hu llllu ... 1 hrr.
I , .... .,( lbe bilk .. ... "",."...,j 1 he
ur "", on n... XXX .
,
JJ
AJANTA: EXPLANATOR"t' TEXT
The ,ubje(t if more or lew repeated on the left side of,rhe door of the tJl ccpting
figure of Ihe BodhU:inVll. whieh "diffuent, Ihe faee ralher p! ump and, complcXlon
golden-brown instead of the sill-er-grey of the ,former pLd,lITe, 1 he repculJo,n apparently
indieatn Ihat the ani" had to r:linl Ihe subJcct accordLng 10 prCKnbed Khellle,
without Iny choin: on his put.
The painter of two and the of the Huddha' . :15 ahown by the
uyk and t('('hniquc of thriC: appc::ltJ 10 be the 5:lLme :lrtisl. v.hose c.nrcme of
elegant\" and ddiC!lcy uf feding in the of female figures be:
but hi, ut in Ihe delinealion of lIuk figures. ",-eh U Ihal of Ihe 'Hodhl5aUY'3 wnb Ihe Beaullful
I l and', if frelkish and SlIlac.k.$ of Ihe of mally:m lruli an p<lCt in ils e,reC! of o\'er-fWtclne5S.
11i5 genius fkin mu)t h:a\"( won Ihe highnt Ipprob:uion 31 the lillle, for the painting of
the anteehan,brr would nOf h3\'e bn 10;111 of ordi nary merit.
BUDDII A IN VARIOUS ATTITUDES , MIRACLE OF$RAVASTT(?)
Plau XXIII b
TIt" "',,,It,..,,,., l/It .. 1W. of IN ''IN u:.Ji .1'" _"Jw. .... ; .., ., IN {NM'O 11.1 'Hq" ,. on:or./ FtKn.Iy. ,.-".
"il ;, NprUwd Nrt;' .. ",.w-t.
T
I' E :artU;1 hu painted tht fi gure of the Buddha in accordance ""ilh ,be rdigiou,canonJ, in
differenl attiludes (",UJ""I).' The Great Being il drKd in rooo of varioui OO[OUT'5,
grey .nd green, hi, right . houldu il in tome figure:i coveTed and in lOI1Ie C'Xpostd. T he
trnunent of the hair. the loba of the ear, and the hands if coo\'entional: Ihe exprosion' of ,he
fact are SlcteOlYped. while the bend given tQ the neek, of 'Omc !':I,her inarti&tic. He
is dd,nCJted bolh 5Ianding and $C'ated, his head encircled by :I halo, and cherub6 are bringing
olferinp. The figures of the btter ue delightful, bUI the really channing of the
5ubjecI i5 the deiign of Ihe IOluHt:a lks which enlwine the Divine ' n le flncy
and of Ihe ani" in dCI,icting the different vuieliet of the 1olu .. "o .... '(r in 5ucct55i--e A"ges
, gnwpi." oi the tip .... in do;' (,.,.;:0 .... 1"0110 .. :
At t ho;"", kf,.bandcnmer e. mok and f"",,", fir ..... ,
ling il1"'"""""",,1'O'e- ""Iow ,hem io &t)I)lhcr p;li >ra,"',
ing ... ,he: hil!., the woman h.adMpN Ihe .t.ou!du (>(Ioer
F.nho;. 05" ..... 'u ",It c>f ..... cooi", ..... io'r.
M on lite, righl ohk of ,"" door of.M ohri"", Ik'- In ....
io. .... 1It> ;. tm"l;'ng. ,I>., 0( ... R(IW'" I<>
.".,.. thrm In the Bo.lhi.In"L .. of
....,.b", '"(!nW, .... , loo; ohc ;'10"1,,,,& up.. In 'he
""''''''''' right ... "" _. oi ,he '''''' io .... 1 doe
hcood 0( doe .... io .".., /u ........ while ,he p"""
of No PU' '''' lndkale> oh,.......
The: pl"incipol f l ) , be DIttIr..Ir_ or
in .... bid> .;,11 th.:!in,... o(tIK dw
li .. vl_ of .... linlUJ oi dw Idi I....! ... bdoL h,
lite V .. ,mrm. c ...... EI!ono the ,,( Ih .. Build'" ;,
.,..,...n..n, Q"od in .hi, lie ")oolding tit .. tip of
".., little Iin;c' of hilld', ........ "'"" of hit "&,u,
g;yu. .. dwJO< 10 .be unrnitiatrd ""Hi<: '" ..... 4 'h<
.....u.inK remark Ill>': the gOllIw CUI h,.lInl. MKC'.&nd
i< hoWi", It to rtlkoc tbc plin. (1) Dlty ... or
;n .... It"'" bocb the Iw>do a'" pbood in .he bp, """ abon:
,"" 01""" with , he palnll "I""'- (l) AM-tpr Of A""taI'IDI",
In wbidI .he right h&ncI it rsi.c.I .... ith the cvrrrd
ondpolmuF d,andtholdip..:e.lil'llhel&p. AnoI (4)
nk;,,..n_ or t:anh.,U\,d!lng, iot which , h iV' ........
......... ith.he ..... m and k(, ;" pbad in
, .. .....
PLAT ES XXII" &. XXX\.XXX II'
of bloom, wi th 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
in which Ihe l\ laliter, to outwil Ihe iix wise heretics of R:ljagriha, rote inlo the air Illd caused
flames of fire 111l d itrtalll5 of water 10 issue forth :llternardy from his body. l\flerwards, he
before the asstmhly scated in the att itude of mditalioll on :\ lotll.-ilowcr,
:lnd to spring from his body a multi tude of Buddha figures ill a variety of POleS,
lying down, and w:llking.'
OFFERING OF LOTUS- FLOWERS TO THE BODHISArrVA
(VAJRAPAJ:l II)
Pltlter XXXl-XXXlIl
T/J, /M IwJ wrJl-J ,A. ,,;,1,.,. ,A, ';IM of'M i. i. ,hr" rJ...r
,ld"I, ... , -J IMo. r,p"'l ... ",1Nl, .f 11r, fr'''' fir. oIhn- ru"/M ""U of IM B<4/1i""tw ..,.J of W.d
r[HE identification of the principal figure of Ihis iubj:1 with by
iOme ichobrs, i5 not very convincing, for the symbol held in right more
like Inlus-flowcr with:l delicate projel;ting tQ the right uf his.
thumb J than tIle tlld of It wjra. the iymool for:t thunderbolt. The
is ;tpparelllly based on the analogy of of the Ruddhin ClV at Ellor.J,. \\"herc
of the Bodhi:luvas :lilt! Vaj rapih.li ar.:! carv..-d in antechamber
of i/v;1r"f<1/'u, but the symbolic lotusi1ower and t"jr" are absolutely di,tiru.'!
Ihere and do nOI lea,'e room for rl ollbl a5 ill the C;i.sc. The may with
greater CC"rtai nty u.c wi th of Ihe Uodhisattu Avalokitdvara,' for we
nmice the of:t .catcti deilY, who nlay be in the (TOWn
of rhe 1l0dhu.attv:I, th 'alokitdv:tr.t h:ls frequently been sculpluud as a Jwlr4-
/,il/tl in Buddhi.t .hrinCii, the image of Amiliibha being the fPr his idcnti-
/ic:uiCl!l. lit it; the 111061 c>leemed BodhiiOlt!v:l of the pantheon, being ' 1)'11
Sllighn:l.lna, or the J ewel of the Order.
Though Ihe idcl1liliClcioll of the 511bject 1113Y be frolll an iconogr:tphic poilll of
, So.: XII, lrutd. by Bu,nolUr, Inm"!'.
PI'- IblJ. R"dhiU'. l'M Lif, If' IN p. i9.
: it ono 6f th.: Ji .. ine lIodhiA", ... Jw. it
a;li .. td Ohr1nJ RlIdJha Abhobhyund "'" Rud.lh>-
ilktj 1.<X:lo<I.L (unh ... l"'",cub.tI _ A. G""F. Tit.
00./, -J ,\ 'mlrn. HJdJJr;,,,, (t .. od.), 1'1'.
(j l\J""..,.jcl. n"JJJ.;.I;'M ,;""" CU<trJi<l'
p. go.
l with ,he btliuli(ul Iland 01.., IloMs 2
Aow ... "f fnctly samt (n,m.
1'ju, 00 ThlI ami ,11<- Tin ll>iL
s Aooording 1<1 ,Jw. M:Jt.ip". ",,"'Mon, A';Jukil ....
{,"', ... 'OPNN a'I ('TIW",,.,.j from Ihc
lJuddha Ami,::;bIu. and paQ,.t...-J. '-or (u<lll ...
p"';rub ..... " eM'r, op. ci", W' 5:-4>6
r or tn 11 .. Ellen.
J5
,
I
A/AI"I'\< , ' .: >':T
view, to the ' Iudent of art the fresco Is a dear rCpftK"ntltion of a prince of the: Eanh :and the
SpirilulIl World. The rdined features, pointffi nose, large c:y,' firm li pt. beautiful
round and graC1:ful limbs :ill i/ldiont high binh, while the uprcsion of peaet and
Ilcn':lding the figure u, luggclitivc of the majC1iIY of the ,pinl. The dcli notion of the
jewellery, C$pc:cially of the p<"arl.d rops of the diadem and armlel$,lhnwl much dcliC2CY Q( fl
ing and artistic l:lite.. The po&c;$ equ:dly graCtful. Ind the (2U$C of the bending in this t'tiC
ha, bn cxplQincd by the Imnd of the Ilodhi..attl'll being placed for Support on an adjoining
figure.
11lc complexion is goldcn.brown,1 the body in Ihe royal f:l$h.ion i. cxpoKd 10 Ihe .....aUt,
:md a mipcd silk JI!1Jfi coven the T he p1ing 3w:1y of luyeJ"i nC1l T the neck and
shoulders h:ls Inllch di,figllred Ihe general effect of the pictllre, bll l it aill abundantly iUus--
lratCS poetic ooncrl,uon and cxceptional lkill of the an;$t.
T he genius of lhe ut;,t "ill, howe\'er, be beu cr on ,wdyi ng Ihe mi nor
charlCtcn; in thi'illbjeL't. For e:uOIple, the figure of the old miniUer, below Ihe right hand
of the Bodhium"ll, a m:lr\'clIoll5 piccc of an, so vigoroll' :md perfce! in ledlnique :l nd 50
redolenl of iagacilY in Trn: finely modelled head. "ith grey hai r and i harp
features, the L-hin rtiling on the batk of Ihe hand in a tllouglllful 0I00d, the ii h'er brocade
g:mnent. all ,how eXlraordin:uy power in oonccplion :lnd 'kill in execution.
Ikhind the minister ii a riijl offering IOllll-itowtn; 10 Iht HodhisIHva. t-l e;5 lall eDollgh,
but quile .mal! in the prt$Cnce of Ihe Great Being, whO$(: glory h:u It rutk him with awe.
The featuu', of Ihe raja arc wcll elll, and hi. and drcss lII05t beooming, but the
contrau bttwccn him and the ii "ery greal, and by it the :lnist haa aimed to .how
Ihe inferiority of worldly pomp and authoril Y. T he dCloign of the of the COil -
liRing of Ihree drop' of pearl IIlld iaprhire (?) from a unall link, is interesting.
the check 3nd mipe pauernG of Ihe d uth in which the fluwer. ttay il ..... rapped and the
of Ihe robe uf the riji arc: nOle ..... on h)'. T he in IXllh caSCI to be: oi lk.
T he palm' of the alliO are which 6llOws that il W:&s customary to uain them
in lho!.e day"
Below the figure of the to the riglll of the Bodhi5a!lVll, is a prinCUli IQ whom another
lady of swarlhy conlplcxion i.otrering 10tuaHl)wtN. 01\ aeCQunt of Ihis fe:.uure we gather
that the prino:c.;. U Ihe con,"n of the llodhigtfVJ. T he arl iM hu ddincateJ tht figure wi lh
eXIT:lordinat') skill, nOt only:l' regards exquisilenCll6 or fonll and of detai l, but
aho Il reprds life-like o: tfel't and inlltT
T be COntour Oflhe fll is IlIOit gnCC:lul and Ihe featur highly refined, "hil t Ihe delin0:3
tion of the eyes is ("xtremdy the hazel-brown uflhe pupil5 and the red uf Ihe corDers
making them ahllO'llifclike. The nO$(: warp :lnd the lo\\er lip a little thick. The tre:l1l11ttll
of the hair al thelo:mplu and the nape uf the neck in fine curls i. m<Nit chuming. The jewellery
6dinc.o,jon of Ibt"'1D...d ",..""-' is, .. It io..., ,he: ",.....Jen,anci d..-
a,'I\'UItioNI..
d!o<h cIoIqn poi"n:d on il .
The n>IoIt. of .he ...... er lir I.>.s fo4c.1 alld .he ",hi,.. , 'J1o.e oI"".<>"hhr: .ob< of' .... r:ljlano Ii&/l'. thawr
hot .......... Iw nwrN ..... of ,I,c r>ee. rne .... zr.HtJ, "", d\e1'e .re 110 I..,." (tI' <IpC1\i", In f .... tt,
J The pal .... >bow ,he rif. o( point
"
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 away of the fresco in 50me places hat robbed the pitture of a grat daJ of itf
charm: but itli fine lIIode\lin8, c:tqui.i te alld chasl<' , restful ezpremon un-
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 world: but it would be more
'lppropriate if Klme onc 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, but :lmong hcr ornaments the large ear-rings' and the Kt of ivory
b:Ulgles. $uch :If arc 5till used by some of the primi tive uf Tndia,' arc promincllI. lllc.re
is:l lady, al the Icft-Iland iide of the Bodhill:lllva, who also is wearing large car-ringg; the pink-
striped design of her &kin (f) is al'O intcresting, A luge portion o( the hC3d of 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 has
pbeed his lefl hand on hi& ,houlder for 8l1PP{IfI. -n lis intilllilcy i ugge/;\S thal he is an important
person, 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!; The tIlcral buckle
to be secn on OIlC of these ill intercr.rillg;!iO is Ihc simple daigo of Ihe gold rOlllld
the neck or the genenl He ..... earing a 10llg coat,. aod a gold b:lI1d head.'
High up 011 the hills, at the top lefthwd 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; lopie is
religious. ;u indicated by the conl'eotionll.l loop of Ihe fingers of the male figure. T he
fea tures of the woman ?ore somewhat obli tCf1lted, but Iler pose is diSlillC\ 3/Id lIl()$t charming.
The fe:lIun:s of [he male figure. except the eyes. lre well prl!SCr'\ted, alld reprcscUll handsome
face. nle beaul y of thc chin and nG6C is by throwing a Iligh Jiglu 011 it_ This
figure also has a black "np with a buckle 011 the &hou,lder.
Above tile hilla, high up in the clouds, were IIpillrlll (flying figures), but they are dcstroyed
lIOW, dlough L1le sn ir ed bluC"-II;i lk 10""cr ganntnt of onc of them /I1ay itill be seell.
The colour-scnsc of tile anist s.ccms to be highly refined. ,."d th<: idcll of wllilt ilowcrs Oil
a I,ale-green background is uTremc!y happy. The blUe of the garulCnl$ and OOIl\'clllioIl BI
hills is also most eh9rllling, while the "ariou. tint. of browu, gold en, c!l\'itllut. ami clay-colour
h:we becn judiciously 3d9plcd (0 reprctiCn! the complexions. .
11tc creations of this lInist, from their wdl-defincd ft:l tures, poMC.$6 a CCrt911l robU5l-
llCRS, which lIIakes them striking, r:speei9lly so in 1\ ilb lhe dclialle and supple figures of
the majority of the otJler artim of
, ' Tht "nl!: in tht . i&h' "'" of the .... i ... lso <)I'
oi",ib. ')-pe, and the blue coIO<t' of in ,nne, .",(_
ind"", .,. a knowiNg" o(
Like Ihe 1." ,.,I>4', of the!
J In 11.;' ",bj1 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<llo ,ke Bodhi..n .... The poin';' inlernfing, fOr
Wc "'""e in ,,,he, CtlUtI .......... , ha' in Ih" p,dft"'"
ot.h< Ion! minor arc 0.1_,.
.1,1>ough he hiabdfit...." r"llr d,.."..J.
Ahho"l!h crow.,. of n..,.t beautif,,' 'Yi'" """ e in
.<>gut, ,Il< we or """"'8 (1'.)"""1 ptnom ha.!
no! <"Om<: into f:t!h,on. The ngu''''' w<a''''JO COp! inn",.blr
"l"elem i" ,h. f, ......
37
STORY OF A SERPENT KI NG, CAMPEYA JATAKA
PltlUJ XXXIV-XXXrI "
" fM""I ... lA. Mi' ",.JJ "'N i."", ";'/" .... w tlv -. .f Ilw "lit. 11;, ,,,,.,, ,"'" "
11v", NUtl'. <6/_ ... ",. _lvMti.
T
'I E mist dd inented the Slory in four Wenei. following the \'cn.ion of the y ,ttdll in
the main,' bUI from it now :l.IId lhen in order 10 add :1 (Ouch of romance. In
the fi rst Kent y, c a in low 5pirits; he has pl!1ccd hi, ri ght hand for ;,upport on the knee
L -0..1,11.' .,. ... on in ... alIridP Ii>rm i ....
A rimE w""" ,k II<.odhi.trn. ........ of a pocI'I family,
hor uocd 10", la m. ri .... Campa whomt, IIw:n )im 2.
Snpct.1 Ki", """"" Cl'''''"'''' W"- P>rT ,""
Bodhi<;a", ... i'" ... 'I!uij he ,,",",red '" 10. . C'hato .. ,hoo
King. I .. """to< of.lInt ,k iL>J1Ua.rn _ ""
rtbum, but ..... " ,11. his h .... w .. f.JW wid!
Id' .... and """,,,.-..I, ."' of my gCIOd
dte<IJ, I Lo.id up hi <i. c"irf ",OriJO of
.. _ _ . here AnI I bc>r" ill rhi. rq>Iilo- "'op<;
"' .... , cart r for lird' The Ko>dh''''I1 ... tllwR/!' ,,( puui.og
In moJ , .. hi. b", a r ..... l. Ie.".,n., N mcU
Sunun1, k1m ., c:ame Iu a.n ..... him
. nd "'" 'lit kW ' 0 OIhm of lit. kin.l. wh .. ,J1 come anJ
I'I'IIIIk '0 him. ... nh all manner of muoi<::al i_ru_
men ... " ,hc;r IwwIs. 'Tha. "'P""'" a n I;' b.c:Lme
.. " poIa 01 SUb, .h .. tIoo<.&I* ' ,,( ckarlo Id.
himj M "".!lIt h .. WTpt' ''' ohapc and w 01\ the C'O>ad! in
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.,.,. ht,....... ,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 of
wh" h.J 1 ... ,,1tIl .he ch.'n' fOr .. ....... .
Iuoppt,,",,, 10 p""'.J""1!- ,11 .. ,0&\1 .)w "'j, and ".. k ll<!hl,nK
on" s...p"'" K;"IIo he ..o.t<! , I>c dlll1l' andll'PraodIN '0
cud! I.bc s...n lM s.-rprnl. " il" .h""Ch' Ihu hi.
pu;-. ..... powo:</UI ....... ,h to kill "" H.&h-, but if
b".Jj,J .jw hK .m ... _1.1 be .1aI.ueoI, .......... bmi...,j
"" !be K, ....... " . 1 .... bum ocotcU , .... 5Ivh!or
, M tail anoI ........... tcd him in.vioIu. IU""' ..... hi.
,eeth ...... oq ...... w.g him in onIrr ... weol ... b ....
.... rm-....... Ludlll<" In :on ....... kc,
h!ln 10 Kin;; '" lk ......... T1M: " 'ilK ......
,he <lance of die Snok .... Id , U""' 01
f""'>I'Ic . ... ho _ NO .u .. n.oI:k by bti and
... him.
l"_ , he ' ",...1 s.....O&t\I, not ba"inc on:n O mpep for
mmeri""', ...... ' '" the .... -hafo,and no< Iindi", him nm
..... dtouj4h. mat m .... Iu. .... boat cu"', by
du ...... ,. SM rhcm""' ........ i"'t"i ricf" ..... I .... ni.., tha.
,he !inpen' Kin" Md t....n CI,,;eo! by. 8 .......... 100 "'nB
UW""I>& or Bc" ..... VIe ,....,...,.,.J It) hi> cou." and hdJ
.... no:l( i" ,lie Ai., T he Se.,...,!! "'" he .....
Sumolt) in r ..... ,' and beinll of hi. feol ... lk!enly
" <{I' ,1110 ,he !.,Jto:t. T'M Kinl .. f lknaru. "..utin,
.m.,n <)( Iooknl . ",unJ . and beOOWi,,& Sumanl
ji...! in dI. ";, l,"l""cJ whQ "'" wu. Sumanl:
' No I, '''' li .. ,-., hOI' hu",,,", "",,,'r
A f ..... le of ,he ",,,,,,"I Ct>mI' ("'. crmoill . hing.'
'On the knpl So .....
.......... f, .......... Y' -.l1O .. k
If.oIr ...... , j"iW"" all"'. 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 bur .It. Strp"".li be..y
Wi.h g"Id " .. Mrnl .ilL.gt:,
1l ... .. IU me.;. "'" fur "lO:
-, .... .. ,. Irot ."i,,, .1re "i nl"" of .h. ....
in rh". h",,,iliad,,, hin ... Jf. ab.crwd:
'I .,,,, '" gir..,)"'II' ....
K .. ' .... ,he Sr1pC'I'It "' .... J<' fn,."
110 .... I ,.,., .. ",In>. .. d .. Se ....... .
on,.. ...... willlflml .... , ....... :
Scrprnl " ,"" ...... 'f. ,.kate4 by ..... 8..Junan,
hilt). 1Inw., ..... I'Of'PCIIml ... 1""' 'f. ..- "'"G",fotmdy
..... ....t. Sutll;lJlJ. """""11 do ... " fmo" the "; ' , jnintrl him,
and rh.,. bodt ' .... "k,.j U .... , .. fa, his COlI"'''''' lbc
PI.ATS XXXIV-X-XXVI.
of hi. oonM)rf and with tilt left 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 serpent shnpe Ind in the enjoymcnt uf:l life violatet the rule of vinue
then !lter1y regrets hi, conduct. T he exprcaion of the face is ..lull, which, !tuwc\'cr, fi t, in
with tll!: remoTlCful 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 bn delineated in a resembling thu of the prOlilnting
himself before the: Paccck:i Buddh .. in the ClU'lier subject, 'A R!j5 going out to attend the
Sermon 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'er thrud, on a dull ydlo ..... Wt texturC', which
itself il either of gold or tllver
At the right hand of ClmpeYJ is hi, oonM)n (N4gi1l1) IOitting on IJKIthu which, full
and round in iu map<:. it 5imilar to nljA'l, but the daign of the cloth is 51ightly diifuent,
the$tJtf being four.pointN and worked out on a duk background, The poK of Ihe N"8;'"
ia aniotic: 5I1t: has plao:d hand below her chin :lnd i.IOQk.ing up lovingly:ll the Serpent
King, The featuro of the figure ue, however, obliterated, and the merits of the dnl'o'ing
Cllnnot be i tudied widt sautio)"
On the left hand of the r-5j:l is Ihe IXImic figure of a dwarf. who i. presenting iOmething to
hi' lord on I tn.y, ThC' mllnner in which he if looking :11 the rilji show. deep concern, Behind
the dwarf, hetwetn the pilbn. i. a feRl:lle figure, a N4plli U); bUI the frQCO here ill 10 much
dam3ged thlt her fClllUto C'milOl be out.
Behind the are two (.fill/ri-bearers, one of J darey compluion and the other reddilh.
The figures of both thCR attendantli aiM) arc much damaged, anu their outlinC$ can be traced
with difficulty,
In the rorridor 10 Ihe Idl of the r.1j:l'. pavilion ue a mother :lnd child, whom the 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 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 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 of

mnp may
lIanUy WIn 'beI"f, doq 11,..
If)'9U the IMh. 0 Seqocal,
Wilfre'. ycut Sbqw '",.:
The Bodl!i.." ... byhifgra. fOW'CI' mackof_ ...
Ihi"" an m<1ooi"l ..... U _"" hit po!Kc- and IlMI 11, ..
..... 1fI'''' glol'i<.oldl,.ldomod,.,.et .htn he (On
duct"! '" tM.bode oI,.,rpcnlS. On ..,";ng
,"" 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.,
21h--qo.
, S.."., P. '9'
39
AJANTA- EX J>LANA1' ORY TEXT
wild do appear in Ihe \'en;ion of Ihe ]4talQ quoted , bUt l he 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 Ajlnla, ha\'e I
f.tded linl, but their ani'tic chum iJ nOl lost when 5hawing the autumn effect in the leaves of
the tree behind Iho: and child,
T he IoeCOnd of walching the pt'rforlllanc:<: of the
Snake amidst a great concoune of people. 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 tormenled by
Ihe 5nllko:-eh:mner. apparently to avoid repetition, a episode hon'ing already
becn ddioe,ued on Ihe b.,ck. 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., reprCKnting
conventionally either hill, or roWI of buildingl. T he figllre of Uggcna i6 damagc:d, Ihe head
!King IOlal1y mi56tng and byen hlt\'ing peeled off from K'\'eru paTU of hi. body. His amuc-
ment at Ihe perfonnance of the Sn3ke is, ho ..... ever. cleu from the gesl ure of his righl hand ,
and the aniS( will be intereued aho in the beautiful foldl of hii JI!n11 (Ioin-<loth) and the
design of Ihe back of hili In fronl of Ihe is a reddish figlU'e, probably
Ihe chief He is on Ihe Roor. with both kg. o-OS6Cd. and whi le
10 tht riij;; he i.looking 5ideway' at Ihe Snake and nrrcuing wondu by hi, T he pose
and of this figure gro:al ingen uily on the paT! of Ihe nliu. ,' I the left-Jl:llld side
of the minister is another courlier. whose fea l Urct; abo hll\'e bo:cn with great clever
lies:<. He is lookinl; with rapt attention at lht r:ij3, and sitting in l different from t hat of
Ihe miniuer; hi. right leg i5 reiling, folded UP. on Ihe ground. while Ihe left is doubled up.
the foot being placed Rat on the ground and Ihe knee raised. T he frilleo.l cnds of the loin-
of both thCK arc intcreuing.
Bchind the mini5ler arc t<\'O one of a oLddy coLllpluion J .. nd rhe Other dark
greyish. ThC5t 6gurct arc much but the portion, which ate intact ,how skill.
To the right of these: auend"nli then: arc two guards. in long );Its; one of uLem it
armed \\;Ih a 5\\'OrJ and the other wit h an inL'Uryed dagger. T hn;c figurH an: much
datn3ged.
Bdow. near the righl corner, we sce the with a bUket and a while !i<:rpenl in
frolll of him. pose i, mtller whilt sluing Oil hi. haunches hislc:ft leg is Ix:rn and
he kneeling on il. The artist 81 showing Ihe different pOLlCiL adopted by Indians
whcn silting 011 the ground, The $nake-charmer to be a young man. his del ineation
agreeing wilh Ihe delCl'iptioll of the young Brahman snakc-c.harmtr of the ]i1fala. but, the
head of the figure being IOmewhat funher rClllarki on dUi poinl cannol be hazarded.
!kID\\' Ihe Ihronc of Ihe king Ire IWD figurei v.ho6e and drmi 3re \'o:ry Ch:I.I'l1C1CI-
i$tic. The fe .. turai of ono: of ,bem, the nOS<':. thc eyes. the moU1l2che. llnd the tuft of hai r on
, S." pp. IJ-t ..
The anitric full 01 11 .. "Mlr will ... ap-
IIr kdi", ... u.. _",do"""" rq>md"rn".,
(PLale XXXVI.).
,0
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.ini5nl of the drCSlllnd 5pecial brocade of Ihe platt. The of the other
figure are. like those of 1. Bmhman of The uylc of his hair and the manner in whim he
hM thrown a p:l.N ofh!s ""lIfl Q\'er hi.lhouldcr arc a1110 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 " .. c nouce 1. group oftadi!$, among whom a mother and child ue prominent.
According 10 Ihe ].TII/i., Sumanl, the timrorite 000,.;0" of Cimpey;a., appear5;1.1 the make-
dan(% which is pcrformc-d before Uggu<'na. King of Benates. but me hoIda hcrsdf in the air
like a divine being. Here the arti,' liu painted Sumanfi like a hutll3n being, walking on the
ground with her child and talking to the ladies of the pabo:: about the release of her hUlband.
The heaJ of the mother is damaged, but the manner in whieh lihe i, looking up and in whieh
dle hold, the child clearly shows tJm &he i$ apptaling 10 the rajl in a human vein, 5aying
IOffiething like trn.; 'If for no other tonuden.tion the Bodhi$lIICVlt can be he lhould
be rcleased al lea$! 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$;. ue interwoven in it.' The tre:llmcnt of her hands 6CCml lOmewhat crude, but
by her gwure the UtiSl hu designed to show the commotion of her feelingl. The coil. of her
hair are very artistic,:u is the hair of the mother, who&c blue bodice is abo \'u)' effective. 11le
child is W'Clring a pair of lOCk, or long boots. the upper ends of which :ue m;arked by dark
line.'
The third ,;cene of the Ilory i5 p:t.inted below the 6m and 5oecond. Commencing i1t the left
\ide \Io'e notice a grove of beautiful trecs, among which the banana, ueca-nul, and a/ola arc
prominent. A pink tlephant \1150 is to be seen here, the mgltw.lt, holding a goad, itill perched
on ilt head, but and hi, royal gue" Uggai.CnQ have dc:scc:nded from the animal
and they :lfC to be:. 6CCn a white doot\\""y of DraviJian style. The fresco being
damaged, the figure of Ugg:ucna is indiuinct, but C;lmpcya nn be rc:lgnizc:d by the halo of
"ilg" hood$.
To the right of the doorway is the royal 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
example, lhe figure of a young bdy ... e the right ' 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
The ,.....,.,. of Uw do<h 0IItft0( he ......,..j In !he
..",.oJ-iGn, I., .. d>q &K w.nna .... m.. fmao.
1'M ...., of oocb w lone booo ipko". m.. , .....
I""""" oIlhc linix ...... t-...-. ar.I i. ....

1loc of thD. '*'"""r -t 01 It.. IuJI
i...o.k io mm",""",,, 01 \he -t IlnIctIOraI
lompko of It.. Don nm 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 complesion,
..... ho is with 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 dwarf 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
10 be prC$CntcU to Uggascna. The fcalUrCII of thii lady arc IIOllIewh:u oblilel1lted,
but her head-ornament UMmllr')' iJ clear, and will inlerC5t :I nudei'll of Indbn je ..... ellery.
On Ihe left-hand side of Ihi. bdy. behind King Ugg:ISCna. is a guard; although hi, fealurn
an: IOme ..... hat indislinct, hii (:lP, with a round brim and pcakcU tOp. indicata thal he
is a forcigner. He ii dreMCd in a long CQ:It willl lighl .tee,,",' and anned ",ith 'word. the
jewelled handle of which is; prominent.
Ikbind Ugga&cna, al the right-Iu.nd !.ide of the frCK'O, is a group of five women, two of
whom are lilling and !.hree '1.lIIlding. Of those who are .itting one is of a bit cornplexion, and
i, U"ening wilh 10 Ihe conversalion going on between and his royal
guat. T he other .... ,omall i. of a pale-brown coml'luion, and her featufU arc c::orquis.itdy
drawn, Ihe lItltl1lo;nt of the: fingeor being panicul:l.1ly charming.
Among the women who ate nanding,II,!) arc carrying Irays, and Iheir f'O'C1Iare e:nremely
gr.leeful. The figure of the third "anding I'Oman ili iOmewhat obliler.lled, iO that it ii difficult
to judge her bearing lit.h cerlainty, but one of her hand. 10 be clOiC'd, while Ihe other
ii "retched out in an ,ppc-a1ing f"hion.
Behind the IWO women who arc carrying Irays there is a male SCT\':lnt, whOle fClllures and
head-gcar and tire Ihree pailll.-5treak, on Iris forehead are intcretting. I lis face i.
l,!piCll of the Brahmans of KiU, and iUch cars (Inn/ol) :lTe Mill in U$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 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 the fulfilment
or Cimpeya', wish :lfler hili UlTifice in the N4g;t world 10 be reborn U 11131'1:
'l\'OI (or !ife Or ton. or pelf
Do I wre<otle wilh myu.lf;
'Ti. mr cDving, if Inn.
To be born .gain Il$ Man.
1 Tbn _ "'"y lie. 10,.1 dw io
_no Ioy IMP
",., dotb 01 the a.. ICmIS 11> with
..
PLATES XXXIV_XXXVU
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 of great merit.
For example, the p:l.lc-brown lady at the righl hand of Campey:a in the third KCne
(Plate 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 XXXIV6 and XXXVI a) is very succeil&ful, :lnd
6ho\\'5 d()St: st udy of their ethnogrnphic fe:lll\rcs.
FRESCO IN THE RIGHT AISLE, NOT IDENTI FlED
Plate XXXVI"
T
HI S frC$(:Q does not seem to have beeo completed, for m:lny of the figures show ooly
the reddish oUllinc:s or the fint light w:uJu::s of colour. Again, as it is badly damaged it
ii difficuh 10 interpret properly the:story delineated tlie:rcin. Commencing from the Icftside, we
notice a N4gil king with two he:rmits, one of whom is reiving II gifl from the king. The
df',I.wing of the figure of Iltis htmut greal A Jiltle: to the: right of this is another
Kenc fcpra;cnting a king tii tting on a throne:. Thert are: also two fourele:phaOls
Wilh pink 'kin" 111e: trC-June:nt of the he:td5 and trunk!> of the:. elephant s j, very realistic, and
the different of thei r bodies show pl:ty of fancy. Below these four ele:phanlS twO young
ones :lTe: painu:d, the: skin! of which are white. Farther 10 the: right wc IlOticc a big cavalcade,
incl uding infantry, hOf$emc:n, and like: 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 outer COUrt of :1 p:lhce:, with a
lllrge as&emblage: wherein the of IIOmc horoc:.a 1113Y also be traced. The: freiCO is
much hcre, but ",me: human figures are:. inf:lct, and the high tight on their
forthcads, 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 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, representing :l rajl :and
rillI in the interior of a p:llace. The figure of the 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 oohr.I it tho: dntinguilhing .l" fo< l The lieu'" bdow .he bnd of the: ........ !he rigll
gip. lid.. ofthc rqorWlICIi"" (Plate XXXVI_,.
AjANTA; EXPLANATORY TEXT
of c;:urvu, al l having a dlec::t and adding to the:: lup!'le c::le::ganc::c:: of the
figure ( Plate X ,), The ram is looking up at her husband, who is up13ining to ber
iQme:: principle. There ne:: a few other ill this scene, but all of them tOO fr:!g-
mentary 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,
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, NOT IDENTIFIED
Plate XXXVU
TA, ,.iJuti .. ,A, ri:Iu ""'" "'N {rw "'/', -' i, r,!"'i"". u. "' __ .
T
HE story depicted in this freo hu nOI been identified, but ils reJigioL1i nature:: 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 which ue
preserved show thoughtful mood, which i! further demonsmned by the getitUr<:b of his
fingers; the right hand, partly closed, sugge.m a mystery, and Ihe finge,", of Ihe lef!
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 exhibi t 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 $Ome enggel1l tion, in the ca5e of the ey<:1i,
and toes. The Ireallnelll of die b;lck 9nd u)e '-"'liSt 111ay appear somewhat voluptu(ILl5,
n also the dllrk roil' of hair 'pre:ld on the shoulde::rs, and the g:tuze.like material of the loill -
cloth; but the calm rClilraint of tht: face counter!>-J!antclthat feeling. 111t: position of the left
arm may a European as unusual, but tho$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 decorate her hair; but her comple:cion
is d:lrk brown and her f.:aturd suggesting :In inferior position. The eyes of this
figuJ"C aloo afe Jl\uch 100 large for the facc.
Behi nd the maid there are two nlOfe female altelldants, the features of both being roariO!".
Onc of them is holding a fan; bUI, instead of holding it by the lower end of its Jlandle,
she it near the middle, and has also bent her ann in an wrve. The Olher
maid is looking "I' some object.
CJose: to Ihese: maid, ij a male $en'am, in a while:: robt and carrying a met:!1 (1)
...
PLATE XXXYl I
bu with a fluted lid.
1
His head-gear if intereuing: it it either a pan of his C'llpe:...Jike cloak
or, ICp;or:tte long eap "yled in India the la",a/. His oompluion is f.Ut, and he may be: 3
(ortigner.
At the left band of this servant, behind th.e rinI. il a female (,faun-bearer: though
is gnceful, her features do not luggen a tound &mIC of proportion. and her eltrrnsion lIso is
dull: is lIaring in a stolid lIIanner. Below the throne of the rinlare tWO female one
of them, of Iiill colllpluion> is carrying 3 bukef or box of:l fluted dooign Ill) hn left tihouJd<:r
and hu a blue lotus-Hower in her right hand. The fC:lI urcsof both figures ue crude, and they
are 1I00I' 'plmeru of art.
TIlere is a cAllllrT-bc:ue.r behind the throne of the riji u well, but it; the hod of the figure
is dmroyed her upression cannot be 5tudied. The JXlK is graceful, and the proportions of
the limbs arc beUef than thok of the other figures in lhi$ The drawing of lhe waist is,
howevct, of the ""me style as that of the qU1l and of the behind her, which
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 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, fhat it is
of (Onliderahle weight , the ring' being meant for lifting it lip. There j, abo a tumbler,
probably of meul, pla<l by Ihi. vcssd.
The frCK'O i, lI$ showing a $lage in the hiscory of an when progrca5 h;tll ea5ed,
and the :utiil, inilead of uhibiling lily originality, endeavours to produce: 3 plasing drea
in his work by copying the dCligra of pre\;OU5 muters. The "ivid imagination and force of
tltprea.ion which are 50 di5tiocdy ptTceplibJe in the frescoes near the . hrine ( Pbtcs XX1V-
XXXUI) vc miS&ing here, and the an iIi rather mechanical than spontaneous.
On the rigbt lide of wc wall , separaled from the 1:151 5ubjea by a grilled window of con-
ventional design .. a p3storalsccnc i. painted in which we sec twelve oxen of different colou!'$-
red, green, and white.' 11,o: re are also tWO cowherds. onc of ruddy complexion and the
other l:reenitJ,. The dl1lwing of the subject ii !,oor, and it i. aprarently A cominllMion of the
frCS(X) by the Ame arti5l.
I MtuI boxa of.tu. 'YJ'<' will IOund in Inoli ..
a 11.
) Tbit.,...,., it not ...,....,..1OIl<'d in 1'1.&,,, X X.X \' 11
t ... r..t:llld pt;ct' mmp...iI __ p.18
+5
A COURT SCENE, PERSIAN EMBASSY(1)
Plait XXXVUI
rh. ;, ,..,;81, ,A, ,00sl1 ofd. Jr ' "M. , ... th. n:"'"""/ ,i4, of'),' .."it! .It' MWZ ,.lIth """'C,i
it is "pod"",;., _An"" ... 1],
T
' lIS KeM' has 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 Khusr3.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 of the ddine'.I.tion of any event on the of
Ajantll, and are Anguinc that the scene reprC$Cllts a JrIldo which may $()ffiC day be identified.
The glorious period of the Aj:!nl:!. frncoes in general, and of the paintings in C:;l.VC I ill JIrti-
ooinddcs with the rule of the: :md e,'ell if the date o f Ihil fresco,
judging fronl iu uyle, may be 6xed at 3 later period (A,D, 6(0), therl; is [itt[e chance of
the portrnit of Pulilkdin, who ..... as a Hindu by religion, having bten painted in a Buddhist
rnonntery :1.1 AI the same time r.hel'l: i, no doubl mat the 6gucu of fon:igneNi
represented in the SCClle bc:u a very uriking resemblance to the peop[e of Turkistan :md
some other oounlrks 10 the north-west of India, and as in the frCSCOC'S the artiuf hnvc
invariably delineated Buddhifit adopting chal'1ll.,cf$ from umtcmporary life, the pre-
IiCncc (If these forcignefl! seems 10 n,ark a period wben the peop[e of the DecC3ll Ilad acqui red
f:lnulbriry with Ihe oT the countries nonhwl:lit of India, SLl ch 3. 5L1l'position gains
strength 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 mLl${ have knovm intim:ttcJy foreignellii of the type repn:gentcd in thcfrtscXJC5.1
To describe the &eene: if we commence from t he right.h:tnd 5.ide, we 6fit notice. a part)' of
foreignersounide the gale of acoun-hall, among whom two are prominent by t heir peaked C:ipio
'Illcir )mplexion$ ace fair, Iheir features iLlch thtlllhey appear 10 be of ooun-
tries to the norlh,wc5t of .India. Twoof thc p:u1)' h3ve entered themurt through theg:! te: eneof
them nrmed with:t long ,word from his bdt, and llle other, following him, is ".Irry-
ing a tray of presents.. The coun is full of diguit3riei lInd :l ttcndaIll6, 3nd at the 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 front, i5 presenting a pe3rl om:llllent 10 Ihe He is wearing a cap
of miped or broad doll), 'Uld his long COOl (1jIlIUI) al60 it. of the sarll!: III;l.tcrial, il& Stril'd of
blue "nd black occurring 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 more prominent on the
, flU,
11". point if {"nht. on P. 4'.1.
+'
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, but 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 is $il ting at case, KJllatling on the throne with
hi. leg' ct'o55ed, and leaning on :a pillow which is behind his back; hil rigll! hand a[so restl on
the lame pillow. The ruffle of the lower cnd ofh;. d/wo is aniruc, but it appean that thi$ treat-
ment had become conventional, for il i. to be K<n in JC\'ml frCSCOCl.
The dimenlion5 of the throne, calculating from Ihe ID.lure of the rlji and Ihat (If the
fAlIlI'ri'-bearer 6itting immediately belcw it, &cem 10 be about 5 ft. in length, 3i fl. in breadth.
and aboul 'I ft. in height. The black and white "rlpes along the edge luggest tlle decoration
of the throne with ebony and ivory p[aqueJ. while it_ m:un body may h:aVC" been built of sandal-
wood. The Inck: of the throne i, r:alh(r ebboratc: the oval (rAnelal the top i$ gill and Kt with
jeweb, while the li!fle figurq of dw1ll'& on etch side of il 10 have been carved in ebony.
The throne has no carpet or oovering.like the mAl"ad of later times; there is placed
in the middle only mipcd silk cmhion {4111,,),on ..... hich the i$ lining.
Br-hind the throne of the raj! arc two 311endllJJU, onc of them is holding a rApuri and the
Olher a .quare fan which has:a long green handle. Their arc lOO llIuch obliterated
to allow m to judge of the skill of the :artiil in their ddinc.alion. On the left iide of Ibe
fan-holder there is aDotbC'r (Aall'ri_beucr of fair compkllion. and dO$!: to her, on the "'lIIe
aide, i. another wnring a long blue co:at with :a red girdle. To right of these
6gurcs, alll105t in front of the throne, i. an imporunr offici.al. citller the body-guard of the
r.1jil or the court chamberlain. holding a long green staff in hi. hand. At hit; Itft hand we
notice lil' mon: attcnd:l.llt$, onc of whom hu folded hit; aCJ'05l his chcst. Hit; compkxion
b dlllk. ,nd for contrast the arci" hu oovercd hi, head wilh a red larf and al!;() given a red
tinl to hinecklacc and :armlcu. AnlXhcr of these :attendant$, "'nding n(':lt Ihe door, i$ holding
a b:lnner, the Itrcamera of whicli arc flying out.
Bclowthc throne' of we KC 3 cA""ri-bcarer.sqUlllting on the floor and looking
sideWlly5 at the audience. She :aI'pe31'l 10 be in a i4rl (1) the upper of which the
Ims rolled and thrown aCfOSi her back and &houldel'll in the form of a b(lt. Ncor her an urn-
Iih:Lpcd VCiSCl with an orn:amt'nml bmcket-lik:c projection at il. base. Bl:hind U1C thllurl-bcarer,
near Ille: fOOl of the throne, j5 another allend:anl holding a circular v('f,$(1 on which 6gurc. of
clcph:anu arc 10 be ittn. The $mJ to be of metal , Ihe 6gurC'5 being $Tamped in relief
on ir. The lid of the \'CfiKI i5 conicsl, and il hu flutings on iu wrfacc. Behind Ihi5 attendant
thcrc arc three more, 5itling on the ground, but their fcaturc5 arc 100 indiirinct to
muie skill. To the right of thC6e nelll thc door, i5 a "lnding 6gure holding
"5I:lft'. He i. looking up at Ihe foreigner who is entmng Ihrough the gale, :and the gC5turc of
hi. right hand luggeru hc iJ insirung on JOme point Qf court eliquelle.
On the lefl lide. the throne of the is a figure holding " tray in her
AJANTA! EXPLANATORY TEX T
lar, By her .ide placed :another tray on ..... hich tome &mall caskets, ' probably containing
je .... may Ix SCal. 11.e breast band (b,.illl;}rt) of Ihil woman iJ interesting. Ikhind her
is v .. but the: frC1i<."O is here 50 much dam.1gcd Ihat her fCllllJ rc:s cannol lx lIudied
for of
The uit from the court i& pcrhllPS on the left .ide of the (rnco, where wc notke a forei gner
going OUl of:l door,' The: pillan of the courthalllCem to be: of bbck ... 'nOd the
:anist in their delinClltion, in5lead of giling:lll inkwuh. has indicated the colour by a 5CriC:f of
dark linc:s which "cry cffeai,e. Si mibrly he has ihown tile: blue colour o( the capitals of
the pillan by im:dJ dots. Although fine brush,,"Ork i5 visible here ilnd Ihere, yet the drawing,
'peaking generally. is 5Ome"hat tbt and d()e$ not any gre;1.I uti5{ie skill. The ,itcs of the
personae and their pMi liOllf in the pil.'tUre, on the ()ther hand, u hibi t con5iduable
thought ond care, and the subjeel may be admined for ils ensemble.'
A BACCHANALIAN SCENE (KHUSRAU AND SHIRINI)
AND DECORATI VE MOTIFS
Plau XXXIX
rIM" ,Itnu,., ,.;0., ........... '" """"",HI;,,, rJ_;" ha It.if1I.w.
I
T i! interesting to nole the arti,"s of Ajanl'a. unli ke thei r riwls in Europe, 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<lct reasons for this
may be difficult 10 advance. bUI on ........ U'"'-urfaec:s it would certainly haY(" been eaier for the
pilgrims to notice the vanolll K'Cncs depicting the life of the Mauer or the "ones of hit pre
,ious hirllll (.74Ittlill) . and 10 wow thcir reverencc 10 them in ccremoni .. I5IYIc as they weTt
conducted from aisle to ai,le, Ihan to do 60 if the lubjeal had been painted on the ttiling.
Again. the gods of the Buddhiu pantheon. U obICrved elsc:where, being easentially human in
their charaacr, the wall-iurfaccs. being near Ihe ground, nne, for the deJillClUioll of their
dwellings and environment. more suitable Ihan Ihe ,ublime spaces of a ccil ing, which would
be luitable only for the abode of ctherul beings.
The of the ceiling. 1.1 Ai"n!a hne therefore been execuled in a purely deco!".ltivt
uylc,and IheartiM, having no rcligioUi restrictton \0 obKrve. has gi"cn r lay to hi s f:lncy in Itn
cndlbfo variet )'offoml and colour. WC KC human beingf of f .. ntulie m051 quaint! ydrcas.ed.
dancing or clapping, Or $lrping wine from Juge cup' in which their aquiline n()6Q lecrn 10 be
dipped; and animals of cx'luilile design in froliaome altitudes, ne,ding. spon ing.
and dallying; floweT5 and fruib of the choicest form and colour with alllhe IiClting of thei r
and laSt, but lIot Icm. jewellery digns and gc()nletric p;mernf ;Jnd
.. levices, ,,:crying froll) the limplC51 10 the m051 c1AOOl'1lle, among whith Ihe key.pattern m:ly
mike one u bearing to i15 protolype in Greek art.
, One .. r.hart lu.udomieallid with. knctb:u doe '01"
it '-..... dle JIo4rt/4. 0( die p ...... cia!.
nit door", _ "","",..ad in PIac XXXVIIL
,8
J Bdow thd .. bJ<.:t ....... a buoar _. wlticll it *"
1I"tW. mo..;h a 1* of.nop. .... ,"" mad.. "11w:
buaar f('ttle it indlMitd in I'lue XXXVII I.
PLATE XXXIX
Mr. Griffith5 in hi! monumental work, Till djlllftll P"illtilll/ ha devoted a complete
\'ollllne 10 reproductioJu of this decontive detail. and lIS the: plato thuc:in arc: quite failhful,
a$ rc:gar<h bothdr:lwing aod colour, .... e have from feat of repetition refrained from reproducing
the v. hok of me criling of Ca\'e I in thit. 1\1>rk, but to gi"e our readen IOme idea ofi15 general
chan.cter we lihow two pane:k.
One of thek represents a Bacchanalian scene, which. like the: 'Court Scene' previously dis-
CUSKU (Plate XXXVIU).' has betn the .ubjtcl of great difference of opi nion among uci1ae6-
logiMI. 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) Ipread beyond the limits of
India and reached the t:lT5 of KhuJnl.u n. 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$J_
l ubic:quently rc:ciproouc:d by a return embassy lent from Persia, which wu reodvc:d v.i th due
honour at the lndian Coun.' The enct year of Ihil return emlnSliY is nOI given, bul il mUM
have taken riace two or three yean arter Ihe Indian embauy allended the Persian Court. 'D
Ihat thec-vefll may beZ5Sigoc:d roughly IOA.D. 630, and Ihe painting IhelO'lIlb .nd
cciling of C:l.\'e I to :I rull later dale. This view bc:romcto practically when we com-
pare the 51yles of lite archileCtUre, Kulplure. and painting Qf this (a\'e with tilO5C of othet$
which bc-ar inllCriplions; or, :l8lIin. if we lake into consider:llion Ihe fatt th:lt during thereignsof
Ihe early ChGlukyu ( ..... 0. 55G-'J50) Buddhism, although by a con&idef'J.ble senion of
the population. gradu:tl.ly declined and Hinduilm grew popular. Magllificcnltemplcs were
at that time CTected and dedicuc:d 10 VidlQu, Siva, andothermembc:n of the Pur!nie
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
diftanl counuies began 10 \;&I t the ucrcd &It Cl of India as, pilgrimi. Again, the Cllablish-
ment orSab 5:ltnpi<::!i in Surishtra and Milwi in the early centuries of the Christian era, and
the domination of Ihe Hun& 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 Pubkdin in Ihe &e\'emh century ..... 0.
Todt$Cribc Ihe JCCIlC as p.aimed: we nndee.a ehief " tting on a wcll-p:tdded CUllhion or divan.
6
and holding a cup. 3pparently of winc, in hi, righT h.and. Hi, i. f:()lIIewha t Rat and hi$
cheeks $unken, and allhough the bc:ud is full, tlte gencr:ll COlllour of the face provo hilT! to be
I $..,.. ... 1'_ ,.6-
Smitb. &rt, u;,,., -t r .... (ru..ro. .... ), pp. H:lo-l'
J . R.AS .. April18191and .. _'N &.JJJo.
R. f T,.,t"'f Aj.,. (As'W.I .. No. 90 Ibnboy, 1879),
"", ....
J The p. of B1<l.im;' """otatoJ 10
_ hewn _ ... u,., i ... w.o: of cl", CIIlJllkl'
Lna M.oIpmI 500 ( ...... Si9), /t.I. ..
01. iii , pp. JOS /1".
"
AcoxW"110 Fur->" '/oq rtpI_ s-.m.....
while Ra}mdnlal Mm:. ... ppooeoI tbmo 10 _ Iboti&na.
"f'I" ... ,., lU...uIt. R.I T-,JII.] Ain,...
pp.1.
, 11"-1( no'" of MlIwJ a.
.he mIIlJf .he iif." -'1"
TMdo<d;-pauem dcoign ofdoclidco """,,11 thac ;,
i cuWlion 0'< .... n,.... notloa than. di ......
AJANTA: EXPLANATOIlY TEXT
of Turanian racc ralher Ihan Pendn. The: cxprcaion of Ihe race" i510tnewhn dull, pcrhaf'l
luggC$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 and 5imilu to the iulilh of the CDuntriel
uf and on hi, leg, theTe:lTC cilher itockingloT toft leather long bootl, which
al&O ue sugge"ive of the habit of the people of the ume countries. He 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 tling by this chief and looking ,lInorously into his hec. She has
her right hand on hili ,houlder and I.he left lihe i, suggesting 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 $Cen the embroidered cnd of the bouler, against which 6he: and the chief are
leaning.
At her left hand, below the diVlln, ili a female :ltIendant of graceful features, who i, holding
a "'i ne-ilagon and stooping forward u if to replenish the: cup of Ihe chief as 500n as it i5 empty,
Thc drew of this attcndant is interesting. She ilo wC9ring a round ClIp of red (broad.
clolh or velvet) wilh a white border, which eithcr of fur or tome woollen m:lIerial. A white
plume: spring, from Ihe top of the cap. Hcr uppcr i. a long coat with tighl
,leel/es; it i$ embroidcred the collar, ,houldeno. and cuff . The lower garmem i& a long white
skirt with a. frilled border of colour. TIle uyle of the: !.kitt may .uggen Greek.
influence, but il i. diffif."Uit to affirm thi5 with any authority, for no are: 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 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 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 who is 3100
holding a wine-Ibgon, but of a different shape from that held by the allend\1nt standi'lg nC"JT
the lady. The fe:llurC6 of thi. Y';oman arc ralher CO".In;c:, but her i5 ,imilar tQ that of hfT
rival, that the akirt has a double frill ne3T the
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"
I BurgeiO .. ri.", IhoI the I.w.,...w-.wpod .. rnrncno or
bandr""""-apparingon rtm. cci .... well, ...... du=tn_
..., of JrartWs:&nl boil the device, like.he k"M*'W"n
-'f of (;",11I:':&n .. hich aloo to Co..nd at Aj&=,.
..... , ha,.., bctn inTfd.-.l in.o tndia the embooly
of Kh ... 11 in lire cm""1 .... 11.
50
, n. IICCtIC ";111 oIi,11< n.rwiono if pURled AI Ill,"
",he. p/ao!t on rite Mlins of thlo """" S ......
other -if- ha.., bctn in doe (dllng, tire _
crttC'DOO ino1icar.. O<Il, .IIe: fund ..... I'or lit;.
, ......
PLATES XXXIX", XL.
looking ';I.t ooe ';loot her 1111norou51y, ue c:xlfenldy effective; iO are the bunehes of IllangOC$,
pomegran:Itt5, :lnd pine-apples amid foliage of great beauty.
The dCl;igns in the other pant! (Pl:ue XXXIX 6) are still more varied and grafut, fn the
middle wc I.CC IWO paiN of animals- ..... ith onc anotllC!"; their hews ue like
those of oxen, but lower down the bodies terminate in a foliated devite of great delicacy. At
the right acnd left of this theme are tWO jCV\'etJery designs reprcscnting chased gold_work 5<: t
Wi lh and rubies. At the top 2150 be In a rarrot perched 00 a IOIU5-5talk. the
flowers of which ha\'e been dnwn wi th greal skill. Tbe figUf(:l; of [WO little dW\l.rfs, holding
,ht-a-tiu, which llfl: in the lOp IeflCOfner, an: ClIl in the reproduction ( Pl:He lC.XXrX 6), bUI
another of their kin may be noticed, in tbe bouom row, playing with a large lotus-Bower.
The 1IlnIlgerneD[ of die p1neis :1nd the v:uiely of the /l/otifs, ali regardi form and colour.
have an almost kaleidOliOOpic effect, and tlle fancy and skill of the artist cannot be 100 highly
praised. As the ceiling 11 absol ulely ltat, it 5Ceml to follow ineviNbly Ihat he painted the subject
lyi ng Hat on a
A BULL- FIGHT
Plate XLII
Tit , .dj",;, '""'''' IItH_"'''' of'''' '''*'' tin .... I...". ,''' ,.,It/I,,,,,,,.. if ,''' """, . wl it _ ..
, }". ... ".
T
HE artists of Ajanta ha'e ihown gre:!t for painting anim31Hfe, and the prCScnt
wbject is 3 good of their skill in thii line. Wc notice two bulI5 in :1
close fi ght; the po6turC$ of both of them are idcnl iC:.JI , alld the ddineation of their bodiCi is
full of force; the lo ..... ered heads, the ulu5C1cs and raised tails all conveying tense fury.
The cur'ts of neciu, humps, and lire very vigorous, while the finebrush-linC$ indicating
the wrinkles of the. , kin of the new IInd fortleg$ arc extremely pleasing. The tiUhjecl is most
'ririted, ilS technique shows th:!t the anial understood modelling.
T he reprenl!l.tion of two bull s engaged in C(lmbm ;$ alr.o 10 be seen in C:lve at nh:lj:t; bUl
the is not *> realistic 2.Ii here.
J
A bull-fight is also p:tinttd ill tht
Fatchpur Sikri, and although it is a thousand ycar:5lllter rh:1n its prototype at Ajanta il lacks
the forcr of expression of Ihe
, The psincing of. ,...,1""" 11I,{= is "'" ,.. "ifliNI,_
.,,11 il can be done ,..i,,, me .idler tw..Iing 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
XC\ '1.
I In I .... 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;aN ill IighrinJ!', cimibr ro '''e p.ol",io!& al A}anrs,
Grillilh", ..limit. P';,.,i"l"
IMJ., lig. 87.
5'
11365
,
rd;p....uiru.k,;Jf . -
"hrna4. S,tti, Vl1. of .be
paiJ,ringI by'''' [I
"jan.... tM, "" ...... : of
I, 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 4s..s I i
P .......... ", n,:<i. i d.>.rnase.
..... i. :<i[ ....u..:cia,
ruotic in/l ......... l...r..."
....... 1.,;;, JI I materials
uor.!, '--1., method of
1; rtproduaion t.,. phoro-
W"p/lI. . vi, s:i ,;
y.,. Jung il&IIIdur, N.o.nh,
n
AIJI3, painrinr of, 4
Alligator, I'<1'n:.,..,.uio<! of Ill, 13
riP#. bodrn" I] "., 31 .
milT"Ht (:<,aI, 21 . ', 4 '
.... 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, 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
'" m., po.llJli"Pt '7, 15.
"
Al't'a-nll' 1'<1', ... nw;o", ot,
30<,4
1
Anntea., '"l',.....,ta.1Ms <If, 5, 10 ,..',
'5,3
6
b"fl,.humb-ring,16
6';;'. '-, rcp.....wwiMI 0{ ,110:,]",
"
A'o.u ....... Buddlur. in nrious, 34-5
A,..wkitd,';ll':l !I), p.i",in, of, 3J-f
Hacch."&lia,, 4S-S'
WdJtit, If
Ronona-r...,.., l'<1"ctrntlriCIrM of, 7,
15, fl
Raud, sOOl. 'epraoenruiO<! (I{ .. 31
INDEX
" ' '',*Jltlnor..of, ' 0 If. I, 12.,
l.s. 37, 43
Bamen, Dr. L. D., ..r;
lIatktl>, rcp1't'K:flWw. or. 1 i, 33.
"'''
1hPl.ah, .tmI .... lOll. '
IkRs, .tpraonwinno of. 19, 4i, 50
Ilmam "',. d ,10, 11
B!tihJ. at. poba: doo<, .. s...."
Bltll.f""rlit miglout .auinodt, 34 ".-
Bin,....,
!:Iou. ""'P,<terI...uon of .. 3]
liodhiw ....... 33 ......
BotOliun..... oIftring of lows--
It""""", 1<1 ,Ile, 3H
Bodhiwtn Padmap:l:o;, :l.i-JO
14,
11. !l8, 41
BoItKr. rq>"""'w;"" of .. So.
Boon, '<i'T""" .. riotll (If, f r, 50
Bo .... IId.1'1'OWS, "I"'""""wion "r ..
3J
""'P""""ration <l r .. 15
BmI. ""'P,_uwioa OC., ...... J
Dmut-band, I\'pltomtsrion of a,.8
1Irucadts, ' ''' IS. '9. 200 1', 11.'
Elrowne, O. H ...
S""kles, ropr-ctrnwiont or, 37
&.ddh. in .....no... attI'lItlc:o, 34"1
BIIIkllIz, tempta.ion of, 30-3
Bull-Jigh .. 51
Ompcya. painting of,3s-..3
C,,!,itai or. pilGtr. pain""!! on S.
Cap, ,"l' ............. iomo tJi. 37"'" .2.
H 6, i;r, SOl d:uU ..
c...km, ... ri<tno or, 48
Cettttni. Pmf_ Lomr.." l'tlitOI'1Iiun Qr
tht. paiminp b" .'.
Ceiling: palnring>, . 8-.5 1
Choinl,g:oId. '<prelOtll:1tK:on!;(tr, .0 ....
':0., 37
tA41-jo-. saddle. 19 ".'
.114[8". IILOlting, .:15
thor.oM, Ay-whisk, I'<1'rQCntllioo< of
rhe, 5.11. '0, tI, '5,1'. 1:<., J.f.
29,Hdi
Chi_ an, xii, w, m. Zl'i;, niii
(Mh. /1, ' 1".
CbJ:, rcpraenwion "' .. H
c-., <tf" ..... mionl of, 6, 90 19,.:10,
Si, 1Q. Ji, 4' . 41, 50
CoiHure, ucotmmI of tIIo:, on the
pal<o.in",.s,6, 8, 9, 1.0, 16, 19,
3' ,15, 117, 3:<., 330 3f , f'
Colla', ... iun <If.,
' 0 '
c",.mCl<, rq>tQenwiOOD or, I i. 11
CCl<lltW'aWlllll ..... ., on , .... "'"'''''''l!'
... ElIon, n
Coo,netiI,:o, 1Ie<,,,", 6, ,6 . ', ,11 .....
'l.a:",., 11["-'19
CoNu= .orritios 01, "'I'r-> ...........
0/, bd .... 19,41.501 bodi-. 8,.1,
If, 2.', :all. fli boots., f' , 501
bnorol-h>nd, btidIeo:, 371 CIf"',
37. ... :I., .5 6, 41, 501 doaIr.
""a, 6, 9t 9, 10, U, 29, 31,
.'" .' , +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,
f'. 4J; J;#rl, 2.j., 47' 1CItva, '9,
If, 3', 3::11 oki .... 4, jOl
uuU-ap, 16; oocb., 4'1 37'
,1IIl1(", SOl umhmla, 1.s1 tn4t-
strip, I 7
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, of ...
C .......... L<!<d, vi
Cu.h;""" 'op ..... nt:r.ciono of, '3, '5,
1., 3'l> ++. H, 49
Cyml:ah, '<JlT<xntlri""", of, ':<" 'i.
n
represen"ri"" of .. f(l
UIt, aJ-, 3.-f.
paintinllt of, 1:<., 1 S .... , i
53
doMkrptr.l*nli", M
D"rur: .. i." Motif ..
0..." hjH'*'''rariomof, 3. 3'"
Ok ....... a rdi&io- atri,We,
J+ . '
IoW, "",m, '1
dlwti ob"",. & g&nnftI.),
of th., ,8, 'q, 2+0
'5, la. )1, J6. 40."" +3> +1
nJt,hw, rdigio.>ut ."llude, 3+
nWk-m, '''I'I'cl<'ntarion of .. 36
Dlg....l!, "';"'inc of.. '9> ' 9.,'

Di ..... , "1',...,wion of .. +9
Domo,k -. anicle. af, ."I" ..... n-
IIOn& of: IMUctt, '1,33, +Co 'U'
bohl>!f, So; I>owl, 1j' ++-jl
c:uk ..... 48) ,M.ri, S. 8, '0. ". '5,
2,'.11, :1.4.19- H. +]' tOUrn, 11
cupo., 48, 49; curui ... 1S1
' 3.1,5, 11. 390'" H. 49. disha,
16, 16 ', 1 il dinn, ....... "" So
2.SI fhsnn. 50; jM, '15; nu.r . ....
49 .... I pillow.,;. 411 pitck ... 8,
14; poa., 8, '7,)11 alvn, 16-7".
''''JIt 9> 11. 13, 1 So 10, 14t J6, 19.
+:1., 46., +7, +8, SOl uamW H I
", i.
1
S, +S, 47
[)(Iorwar. 8 .
D<wa, .. p'''''''" ......... .." 31
I)"' ...... '''P'amtUionI of, ';, u
Dw.,f., J'I'Oi'lIinlt of, S. 7. , " I J, IS.
6, i. 'le, 3', J9,
.S.47.5'
Eu-.... ,J;'oo N, 9 .", 15,
,6, 3"-17.+3
tltfban ... of, I a. 4'.
.,
fllot&, m.,. ai, x,', 25
Emo-y. Pe..w. (/J,
Etobin ... ttiii
E"" ... S. 25
"l" .... :o,w>nn. of. H, +i
. 'ight,.b..lJ.5
. ""I""""nlo 'cpMmwian of a, 10
.laon. rcpram oo.. of .. 50
repratnllltiono <If, 17. U
f"", b..w. on In 16-1
.'I'0:(0I in Ih. ri;lu...w, 4M
'I\' DEX
Gandhi .... the .... of. nui, "'"
l""iJutrwJ. Bri", &a"m, :1.9
(l:o. .. u, n;p<eoentll;"" of. 9. 11. 11,
"' ..
"""""""';0""'(,
Gror..J .. paintinpnf, 10, 3;
16, .6n.'.17.
GhalOllr.t., a .... at, :I . '
Gill, fol.jor R., ...... of the p.inrinp
br. ,
eirdJa., rcp ...,.,uuiOllt of, 6,.7
Go.ut. nI., + I
G.>ott., 01, '14
'0,41.,'
G<:.uu,oer, n;praml&rinoll of. 9
Griltid.., John, tt>pieo of the
lit,, 49
Grin.wo<k, ",45
Guitar. n;pnsrnu'ioo 01., '7
fbir, tmomomc ni cM. in tM painl'
i"fi'lt 5, 6, 8,9> '0, 16, 19-
2,. 1i. 31, lJ. 3+. i'
Hih',l'od-oui"fi'lt '3
Hup, '''''"'''''utite of .. 19
Hawt aM d, .. piJfOll, doe --r 01 th..
.
rq> .... nwinoOJ nf,
.6, 41
Head., ro..., "". Dll'et,.,
Hoa.!-pr, .......... "wion 01,:1.9
IIdl..,iillC t"A.....a: onu..: paiminp,
............ 8
......... ..... of, I" die 1OI1e" .. , 1 6,
,6,.,' ....... 1.
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 <If,
.,ppon nf the: wo.k on .he PJi",-
"'1'1 br., ,.;
I ........ an, l<i-->ril<, 1
ltolJ." alii">".,. 01 lhe plI""",",
""i-,nii, 31
Joelms, IijHCio.." ... tiano or, 6, 9> 10,
u, ,6, 10, '14
i- .. ...c,o'ld ,h..,..!, ..
a,ii, :n-ii;
J." fqIfaaIW;on of a,:2S
J"WdI .,..,..J (IffiI1tII'fI.., n;p ...... "'-
no- nI: an objn. $ ...,., 5'
- prr.n;d: .nookta, S. ' 0 . ', '5,
36, ...." 371 barlki, 10"'.
' 5. 37, ,.3; rn..;, .... 0 If,; , '1. 31;
coilu, 'elf,', = ...... S. 6, '30 ' 5,
,a. 1;, 330 Jl1 diadm., JOI heod-
nmamtIICS, 16, +:2; --t_, S. &.,
15 2i, +'1. . 3; "nas.-...
9 .... 'S, 16., 36, 3i, +3' -. ...
101 -.Ih ....... , 16, _ri""".s. 8,
11, '3, IS. 11' nu.. . 0 .. " J6:
W>IpOciIi.,d, ... I '1. ' J, 1 So Ill, 1'.
33. : ,,'rilrlttJ, 5. '5
hnod_nt, +1
JDIi-.Jobn.,vi
or oil,.".. broado:.
+:2 . '
IriIN, ...akt, 15'"
hr-.... "w,_rin" .6
1.,1" b:lnglc.l, 10.,', +3
Khut .. u ... d SltIl1n (I), 48-5'
.. oIthe, '3
"u.. MO<)' 01. Sorpcnt, Js.-..J
.a-.. " Iommlly m .... .w-. 29
K;nk, "PICIII:IIUII"" of .. .,
K ,amrilch, Or. Stclla, <Ill l llllian
:no
",,,,,,.-.l, '9.,'
t .. /unrt ... ,kirt, 1 .
Lion, 01 .. 2'9
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,
'J
M ..... janab. painl1np of, ,..,;.
_6oWt.:.t, elepl ... ,,-dnm, +,
....... , W'I", ' S If, '
M .. Itprt:trnla.ion ni,S'
Manhall, Si. J<>hn, vi
oiIk, 41
MUII'<lif, "",_ta""" of a, 49 .,t

Mil ..... , J. A" .ii
!\ liradr: 01 Sri .... l. U-S
1\1;1W1, tlu! ....n"'f'&inrinp . ', ""
..... ' 7
..iJif,. COOI''''';C, 11
rqmwnrarion 01, 29
1\1"","", pMnti.., al, JO-J
__ I,. n:1ipoo. &!Ut...ia, :}4-51
BItddha in If-S
M...iaJ "",nun .... to, "p' ... WOtKNII
<11: mneh ... 'T, 11.J c1"'hoI$, n.
' i. 11; liru .... ' T.:I.1;; 11...." ' 7.
UII"'W, ' 7' Iw1>. a<J
N.d ........ tu m ... ..t. $. 6.,
11, 1 S ,..\ 17 ". tJ
OH";ng of 1oc .... lIowcn '0 ,110:

0Idlwn, C. A. W .. ,.;
"' .... ....-m'" t Ibodl&ll, 11 .,
OflWllftl"- $" un-
- 0""", Q.unt, or lhe
p.;nri"p !or,
o .. n:vmcnta"o" or an, J'
Ox .... , .."...,."tlhtN. of. t ... S.
Mo p'Qi, 2.)'-)0
.... "Utot. 2.
f'aj.ban, broada et, ,0
P>Ilatt ;-1.10 ' 5-' ;.
...-,
1h, beW4eaf,lhcj.ua.of, 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
SI
,;'" ,-, " ..... "12. ,;.,,, 01 ,lit, $, 6
,.,AIo. <tOok, J..f
Pitc""", " ... cw,wioooJ of, " J..f
PoIW ...... n!
,......,.. .. wioo. 01, SI
Pcrur.rd, .."racnwion of "10
p ..... <fpI ...... 1:Irion .... , I, 17.3'
I NDEX
I
Rajl toi"' .... , "" I\ont-.back, 10-2 I SlOt)' of. Se:pem K;"&o 18-4J
JlIjl Pn& 0111 l'O ",""" dIe.,..-, Scorrord>epop., +-7
of tilt- l lmlllo, ,8-10 Scoty .... wtttpm .. I}-I f
hj,.... pointinp,n Sonp, I<p, ............ oI. n
lapn.d, 3' Srriltf;t or ......... It", , .... oi,
Ra""",", tbot .-ia of, nii S. S. 12, 130 S, 27
R""OII>Ciation. 1",,12OOn and, 2.4-6 PnIl., ... il
Rilob;.m, .."reocutaOIOfll of, 21. 18, palnri", cof' , .w, .'
.... So .... 19
Rins, of: ear" 9 . 19, JOo 3',
Ij, 16, J6. 37, 4)' Linger" 101 J7.40.4"'43046,so
-"
R.nton. ..".......rwiono oC, 8. 11, 11.
J6.4',H
RodcI, Sir RtJoneIl, .;
R-.,.. "'I'"",",wion of .. 26
s.ddk, of .. 19, '9.
S.hu, Ii:ov boodo on .. 1(o...ii nopre-
.. ' Don of a, 1.6-?'
Sa.\khaplla. ""'....,81; 13-'" I] ,..'
___ r, 16
,.,. pnnm .. tqt ..... laric>m vi tIIt-,
.... ,
5aIcs, .." ...... nliom or ...,ighint->
'd
.. pt_,,_oI,I90""Jo,
"
!he,. Ajanu, a, l.ndi.uI,
..
01}' 0( 1"",
Sttvcm K;"ilo otory 0I"38--.+-3
Shub, rq>!<RllwionI <>f, 2J
n::pr .... IIl1n.- 01, 190 10
S/lip.1ed:, n -3
Sblrta, Kbuon.u anoI (fJ, 48-5'
Sil!i, PrincE, the """1 cof'.
SignordU, ".1, It';;
Sil_boo ,,-, 10,.2 . '
Srnb, Pri __ , pMn';",. 0 (, ;-3.
'$-17
Ski ..... "p'a>:Il..uo.. 81; ... ,6, '18,
50
Sh!L-ap. or., 26
.... n\J"iof .. +<>
Sock:t. "l'n:omwion of, 4.
Spar. n::pr.-tw;"" of., 3'
StITOoWI, rnil3deor,]4-S
Sccboukinc, Inn, OIl the poiminp,
:D-.,w
Stein, Si. Allrrl . ... n , xilo

T anlct, '"l',..".wion of pIItcnII on,
8.9, " ,11, 5, ,6, 21.J6, J7.
. '
paintinp..r. S, 1$. 'l6,
H.4]
n. ..... Jo.rin&,P' ,10-,01.,,6
T ..... ....... ,QlioNoI, 10 . ,J6
1'lIla nii
T ... ,.. ,cpd<llwiono "f, 'h 11. I],
' S. 10, 46. 47, ....
So
T .. mbior, ......t, rcpreki>n6..n of ..
..
TwrWi ..... : t-aer. from, ",foi,
poilllinp fmm, .u,
... SO
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,
. Sd 1
..... of., '7
W.."... ttpramlMionlol: bow-and
IIlTOWO, 33; d.oger, JO<iI!. 0;
poniud. 30;.hitkII, '90 Sal ""'"".
J"'--' 19o, lOo 30.l;. 40..'"
H. 46, So
Wild pUn1l .. g of .. JO
W,;,,\1cu, tq>r<:IimtationJof, S, '5

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P ~ 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-

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