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G 01/RNMENT OF INDIA
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Central Archaeological Library fl
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Archaeological Survey of India
J ANPATH, NEW DELHI.
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Acce$SiOn No. i 3 ~ ' 1
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Call No. }S \. "l ~ o 9 3 4
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AJANTA FRESCOES
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AJANTA FRESCOES
BY
LADY HERRINGHAM
WITH INTRODUCTORY ESSAYS BY
VARIOUS MEMBERS OF THE
INDIAN SOCIETY
<?l1
ARYAN BOOKS INTERNATIONAL
NEW DELHI
AJANTA FRESCOES
"l,. 11\
ACUW&11<<1 !'! ...... :. .. I 1Uod . 6.. \oli 9 1
c-...rt No._J.S .. l . ~ J ~ I 2-,}i
l l ~
First Aryan Impression 1998
PubliShed in 1998 by:
ARYAN BOOKS INTERNATIONAL
4378/ 48, Pooja Apartments
4, Ansari Road, Darya Ganj
New Delhi-110002 (lndla)
ISBN-81-7305-124-0
Printed in India at Print Perfect, New Delhi.
PREFACE
Il'< this volume Lady Herringham's copies of l>Ome of the paintings in the caves of Ajanta,
situated on the northern border of Hyderabad, Deccan. are reproduced on behalf of the India Society,
whose property they are. The pictures, wltich are in. full scale, are at presenL exhibited at the l ndian
Section of the Victorin and Albert Museum, South Kensington. They were presented to the Society in
1912, and were first shown at the Fcstiml of Empire Exhibition held at the Crystal Palace in that year.
For that occasion Lady Hcrringham compiled the account which now appears below her name, and to
which is added a note by Miss Larcher, who worked with her.
The story of the successive attempts to bring these famous pictures within reach of the public. their
place in the art of the East and of the world generally, and various other points of interest connected
with painted cave-temples of India, are discussed below in a series of short essays by members of the
Society.
The reproductions in colour nre the work of Mr. Emery Walker and the monochromes of the Oxford
University Press. The methods ol reproduction to be applied to each subject have been chosen by
Mr. W.Rothenstein and Prof. \V. R. Lethaby. Mr. F. \V. Thomas and .Mr. T. W. Rolleston have arranged
the Table of Plates and corrected the proofs of the letterpress, and Mr. L Binyon the proofs of the plates.
Mr. A H. Fox-Sbangways has acted as general editor.
While thanking those who have gi.,.en time and trouble to this work, the Committee think it right
to say that such a publication would have been tmpossil>le without very generous donations. The names
of Lhe donors are: His I [ighness the Maharaja of Mysorc. Sir \\'ilmot and Lady Herringham, Dr. Victor
de Goloubew, Mrs. Sophie CunlifTe Jay, and l\lr. C. L. Ruthcrston. No extensive appeal has been
made, since certain friends and relatives of Lady I Ierringham have taken upon theml>elves the greater
portion of the expense::., in order that the undertaking might be worthily executed as a memorial of her
work for lndia. The Committee have also to acknowledge the support of the Governments of India and
Ceylon, which have been good enough to take a large number of copies.
His Highness the Nizam of Hydcrabad has been plcasen to accept the dedication, ofiered in token of
a sincere appreciation of the kmdly protectiOn and substanti.'\l aid \\hich Lady I lerringham's expedition
received from his illustrious predcces.<;Or.
The volume is presented to members of the Society as a publication for the years 1914, 1915-
By order of the Committee of the India Society,
ro8 LEXIIAII GARDtss,
Lo!f DOll, W.,
JOHN DE LA VALETTE,
Ho110rary Secrelary.

'
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.s
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, ..
TABLE OF CONTENTS
TABLE OF PLATES
THE j ,.fTAKAS REFERRED TO IN Tile TABLE OF PLATES
NOTE PREVIOUS COPYll':GS OF THE FRESCOES B' Tit eDITOR
THE F.XPED!TION. Bv Stll HF.RIItNCt lA)t
NOTE TilE IIISTORY A.'IID CHARACTER OF 1 HE PAINTIKGS. Bv L.wv Ht:JtKt:<cuAw
NOTe ON THE MET HOD oF coPYING. Eh LARcHsR

THE PLACE OF THE AJANTA PAINTINGS f:'l J::ASTERN ART. B'
nu;: IMPORT OF THE AJANTA PAINTINGS IN THE HISTORY OF ART. Bv WtLLuw
PAOL
9
lJ
15
16
17
20
21
ROTiiE::<ST11'<
Zl
BUDDHI ST CAVE-TEMPLES AND T HEI R PAINTINGS. Bv F. \V.
24
SHORT BiBLIOGRAPHY OF WORKS TREATI :\G OF ANCIENT 1:\DIAN PAINTING (SCULPTURE
NOT EXPRESSLY EXCLUDED), OR OF BUDDHIST ICO'WGRAI'HY OR MYTHOLOGY AS
REPRESENTED tN ART. Bv F. W. TuowAs
27
TABLE OF PLAT ES
REPRODUCTIONS IN COLOUR
{
(t)
11
(3)
Sl/ljtrl.
KING Bf/IIBISARA, QUEEN, AND AT
TENDANTS SEATED WITRlN A
PALACE PA VIUON. (From the IIOr7 o(
the ungo ckplun1 Nll0, wncd by
Buddha.)
GROUP OF I'LYL'<G FlCURES(Ai>'"'""'
wi1b C,...,._).
AMornu caoop- .
ltl. () ROYAL LOVE SCENE a pav!Uon
wilb prlnc., and -odinu.
IV, (5) DETAIL fROll S/81/ATAKA (No. 99
oee XVI and XXXIX (H)}
V, {6) THE TOILET: o rlehly ptlnr.,.
,..;th he.r mldoJJo.
{
(7) ADORATION CROUP: """""' and dilld
bdoro Buddha.
Vl
(8) SCENE WITH BORSE:M.. .. N,
YOGI, At. (no< ol<ntlficd).
vu. (9) ROV AL SWORD BESTOWAl: probablr
portion. of tbc cntmOny att<llding a klug'o
r.cognitlon or bit hdr. (Detail of ., .....
chrome XX.\'1, V"""""'a-jl!J.UD.)
Pin#.
Caw XVfl. back wall, rightead.
filhs, H; llurgcao, p. 6, n.
Orlf
c-xn1. Vcnndah, bat.t ....u. rishl or door.
Bursas. p. 6 .. ..
c.._ X VII. Righl ofprec<dlng. Gri.lllthl, 0, 6g. 18,
and p. 36; Burgc, p. ' x, !lnd pi. a-ne,
Cart XVO. Vennd&h, 0\'tr left tidc doot lOd
window. Orillitha, sa, C. and pp. u-6
Bargds, p. 6s, ....
c- xvn. JUalu lido otlull.righl..-r. Gut-
filht, Q'; Burseao, pp. w.
er.. }{V fl. Rlgln side or btll, upper po<1lon or
pllmcr. Oriffitht, vt. 66' , r, and p. JG; Bura<U,
p. H , u
Caw XVII. Alllbambot wall, ldi or &brine iloal.
Crillilhs, Oand fir, 16; BiUJ<OS, p. 6p, llUil.
Ctrt X V 11. Back ,..aJI or ball, righl am>er. 0 rim tb'
K ; Burgeu. p. J 1, ZU't'lll..
C..t X VII. Left wall or hall, left corntr. Grlftltbs,
pl 64 , s. and p. u; llurg-. p. 6s, JmJI,
Vlll. (ro) DEPARTURE OP THE BODFIISATI'VA C.UXVf/. Froolwallofbal.ldiC1>111tr. Cnl!lho.
AS A OUR ill a cbarioL (Probobly &orn pi. 83' , T, and p. sg; Jlwatsa, pp. 76-7, u .
tbc RtmJ-fili.U, No. ')
IX. (11) THE CHAUlllD'EARY.R: girlwitba fty
ftappcr.
X, (u) OFFERING LOTUS.I'LOI\'EJlS TO THE
BODHlSA ITV A (A..Iokitdnu-1: clcWIJ
m XXX (JJ) and X'x.:o b))
XI, ( 1 J) THE GREAT OUDDBA (or ratbcr tbc
Bodbisatlvo Avaloklldvna; !he maj<ttlu
figan: hu alto bctn ldenti6<d wilb lndra).
XlL () I.USTRATION OF A PRINCE in a ro11l
...,_min,.ball (AUujJ . W.).
Xnt. (IS) WOMEN WORSIIlPPI.NC B!JDDRA: a
group of fipM "hhln a poi1Joo,IJI<I
devot ...
XIV. (16) A PALACE SCEN (not ldenlilicd)
XV. (17) KI!>G, QUT.E.N, \NO ATT.EI\'DM'TS IN
A PALACE PA \'I LION.
CllfV AcVJI. Plllulnt.fcorner. Criffii.N,pL 5,6.
c .... 1. 1laclt wall ol ball, ngbt or aultclwobtr.
Cril!itbo, pi. 16, M, p. I aod fig. 53; B4q-.
p. 18
0
I.
c.w I. Back ....u or ball, ldi of antcclumbft.
Grillit.hs, J ; Burg<tt, p. I a ....
c.,., I. &ck nU ol hall, i<fl """"' Orlllilho,
pi. 7. I, and p. ; pp. ...... J,
Cn< I. Btck wall or haU,IcfiofNo. XIL Ori!lthl,
pi. 7, J {par1). and p. ; Bursai, pp. UIJ,
C.rrt I. tell wall ol hall, httwttn IWO t<U doott.
Crillithc, pi. 13- A', an.! pp. o.,._,
p. u . ..
c- 1. Left or prtehag. CritliW, L; a .. ,_ I
p. u, at.
Water colour.
Water eolour,
Water colour.
TBIIJX".
T<mpcra.
Wac.:rc:ol.our.
TnapetL
\Voter tololll.
Temper>.
Water colo1ll.
colour.
Tcmptn..
C.f>Yiil.
l.adt Htmngkm
N1so Dorodttlarob<t
Larcllu.
Nand& t.l s-.
Lady Hmiaglwa and
MiiiDorolliy Ludott,
Lad" Hcrdl)8bam and
N Dorocliyl..arcbcr.
Nanda lal llosc.
Lady Rmiagham.
A.o11 Kunw Haldu.
l.ody HmiQgbom.
S'l':.d Ahrnad aod hlu
mmad Fu! ud Dh1.
Alii K..,....Haldu.
Lody Rningbam.
s.nu .. ntJranotb
I;Upl&.

Gupu.
10
TABLE OF PLATES
REPRODUCTIONS IN MONOCHROME
Pla.k. s.ljttt.
XVI. (oB) SCEN fROM THE STBlJ.'lTAKA
(ror dd.oil ate colour plate IV).
Platt. I
CaoXVII. Rigluwallofhaltright<Om<r. Gtillitba,
Q' ; Butgcu, pp. 15-6, uv.
....
Tempera.
C#fYill.
Lady Rttringltlm and
Mill Dorntbr Ludlcr.
X\TIL (
9
) TfiE m"LON BATTLE:._., .. ...,. fro111
\ 'ipp'o or C.yloo w.th ....,..
ho...,m.., and arcbm. (Detaih
In XXXVU (H))
xvm. () MATJ!IPOSHAKA JATAKA: na POUST
I&'J .UOtT.
XIX (u) MXTtUPOSHAXA JATAKA: -rtc <r- 1
T\' 11.0 llUUS.U JOOU.
XX. (u) MXTJl.IPOSHAKA JATAKA Till aP11!D
.. nu .........,.,. (below) """ 1111 Ul.&loSII

XXL {3) M}.TJ:t!POSHAKA J}.TAKA: rut .JU
fli.t.KT U JOlHS KIS W.OTRU UD IJ:JDUD at
TMI JVlliGLL
XXII. {4) THE QUESTIONS OF MluPUTRA
Cotrt .Y VII. llaU nll or ball, r!pt halt Bms-,
p. to. unu.
Crt X YU. Et tension to right or pr<ding.
Griffiths, K; p. 7 xnm.
c..-. xvn. u..r.r No. X\' ut Cntliths, fis. ;
Burc-, p. 1 >Dft.
c.,..xvll. Eatention torightofNo.XX. BurgH&.
p. 70, uxn.
c- KVTI. WaU of antochamber, Id\ oorner.
Grlllltho, pi. 54' , L, lll1d pp. 34-5; Burg..,.,
p. 69, xxr.
c-X VJJ. Le1t nU or ball, bet-n cell door1.
Gnlfith>, pi. 65' , R,aad p. 31, BufJ<U, pp.66-?,
'""
Cllt K V JI. AI Grillltho, R; Bargcu,
p. 66, XIJL
c- XVII. Lelt wadorball,"'ht of fin< cen door.
Gnlfidu, pL 64' , S (rifht). and p. 37;
pp. 6s-6. =
XXVI. (8) ROYAL SWOIU) BESTOWAL (aec co!oar C XVII. Sec colour p!a!e \'11
plate

f(9) THE:BODfllSATTVA ASA SLX-TUSK.I!D
l LEPRANT (SAjdMia;ilJdg, No. 5<4).
XXVII.
l(Jo) THE QGE.'1 OF BEXAR5 IU:CEI\'!NG
THE TUSKS {-
c-.. X V li. wall o( ball, rlgbt And left or
enuanoc. Grimlha, pL 63, w, n,. 73, and
pp. 36-7; Bwauo. pp. i7-8, LYUI and UX.
XXVIII (31) A ROYAL C0loll"ERNC: two klnp-ono
a N4.p---.od ln the ba.tkground a Ti!irtar'
oobk.
c- .n'll. ,... pr<Clcd"'lt.
C4w I. lbdt wall of ball, right of anteclwllber.
Griftillu. pl. 16, N. andp. :tl ; Bur1tu, pp.9-o,
and pL UL
XXIX. (3>) ro LIFT or htfCI:llDN; C.rr I. A>!'fec.cdinJ
XXX.. (33) Dnu. (tDIUo ...,) from colour pl.,e X. C.r:t I. Sec colour plate X
XXXI. (J,) [)n.IL "' nro ...... (ram the aamc c- I. Sec colour plale X
XXXU. (35) Otruu. "'nro " "uns from colour plate XI. I I. Sec colour plate X1 aod Orillltho, fig. ''
XXXJU. (36) A LOTt:S LAKE WITII HUNTERS M.; D Cm 11 l.cft Wllll or ball, ldt tamtr. Gntliths, F;
\1 ll.D GEESE 4t<.: ... Buf&"11, I' 3 YUf.
11 ... XXV and Xtl (5<)
XXXI\'. (37) MO;o;K AND DJSCIJ'LE b<fotc Jlllla l C ,'I{VJ. left wall of !all, middle. Ooitlitht, A' ;
jiiVIIJon.
8Uf11!11. p. 1i9 \'1.
lnpal--lolk_l( __
T<mpmo. Lady Bcmllafwn.
Te-mpera. Ladr lferringltlnt.
Lady Herr!nglwn.
Watu colour. Spd Ahmlld.
Tcmpen..
Carbon trs<:ing. Miss Dorotby Lorcb<r.
TempttL
} Wat<r colour. Mlu Donxhy Latcbtr.
Water colour Syad Ahmad.
coloar. Spd Al>maJ.
colour.
Tempera.
Syad Alunad nd Mo
h.unmad JluJ ud Din.
Lady Herrin&lwn.
TABLE OF PLATES
Pk.tt. S.sjt.
XXXV.
{
(38) Tllf. DYING PRINCRSS' ' .
(J
9
) TWO WOMEN, ANIMALS, A.'iD mRDS
IN A PALACE GAilDf..'i,
{
(o) CROUP OP CELESTIA.L MUSICIANS
(Gilii<IJJno. and A1S"ruu wilh Eo._rw).
X:XX\'L
;o(,XVI.I
(41) SCf..'iE FR0111 TFIE VI$V..ANTAJU-
j-ITAKA (- Noo. VU, XXIII, XXIV,
XXVI, XXXV (39\1, XXXVII (41),
XXXV Ill (46),111aXltiux (48)).
(11) lUNG, QUEEN, AND CHILDREN IN A
CHARIOT. (From w Vilrtmhft,.iJki.U:
of Nos. VII, XXUt
1
XXIV, XXVI, XXX\'
(39)1. XXXVI (41 XXXVW (46), and
XXXIX (48>}
Pkn.
CaOt X .,..u, ltfi end, riJhl o( pllaoter.
c.1mu.., fig. u ; Bwgeu, p. ss. v.
c- KPJ/. Left ....U ot Ull, lmmedk""t below
XXXVI (41). of wbich u -to form a put.
CIIIV ,y V 11. V trandah Wllll,lcft or door. GrlJI!Ilu,
pl 6o, n-' and p s6; a....-. p. 63, ,.,_
c ... XVII. l.eft tide of ball, riJ!bt eomot
c- XL. Left wall at baD, ll1lddlc. Included in
llorg<os, pp. 66-7, XW-X&JY,
(H) ELPHANT-DRIVER FROM 'THE C.WXP1. Stt No. XVU .
BA 'l'TI..E OF CEYLON' (No. XVII),
I 1
"'"';,.. I
Carbon cradnc. Ootolbr Latdttt.
Cat'-tnoc:!ng. M;. Dorodtyl.art:bc<.
Carboouruing. l Mlu Dorochy Lartbtr.
(44) GIRL'S I!EAD C<rrt XYII. 1!.\glu cl No.ltVll (ddxbod &p.). Cat'- tzxil>s. At;. Oorolbyl..ardotT.
XXXVIll a rcent.)
{
(45) BACK VIEW OltSATED GIRL. (From c.,._ f. CriJiliiii,!IJ. 6
Carboo tntinr. Mill Dorotby Lan:ber.
(46) SPEA R-BEARF. R, bone, >.lld fipns.
(From the d. 1\oa. VU,
XXIIT, XXI\', XXVI, li.'XXV (39)1,
XXXVI (4), XXXVJT (4). and XXXix
(<K).)
(47) TfU: AGONY Of' PRlNC $181 aft iomg
bio t yn to (I ndt1l) in lilt guise oJ
Cc"' X VII. lli&h< ....U ol ball. ri;bt bait Grillitho, Carbon trUmg. Mlao Oorvchy Lan:!tct.
pi. h ' , Q', and p. 39; Bllf&..,PP.Jf-6,uv.
vv )( a bllnd begpr. (Frnm tbe .rt'h'-jltdll:
""XI . e(. N.,._ IV ond XVI.
(48) lill\G, QL"EEN, AND BEGGAR CROUP.
(From the l'ln/,rra.jJ/da: er. !'loo. Vll,
XXUI, XXIV,XXV1,}0CXV(39)1, XXXVI I
(41). XXli.'VIII (46))
c- x 'fll. t.en c1 ball, bttwtea t.U below
No. xxm to tcn.
(49) A j A TAX A SCRNE (omldenufiecl)
. c- 11. Rlahl woll, middle. Grillltba, pi. 33, D, and
I
p. "30; Bu....-, p. 39, sn.
XL.
(so} TWO SF.A TED ATTENDA.1.15.
a Snske,;"Jta.t.r.)
(From c...., f. Front blsidt, right. CriJ!lthl, pi. t8,
P, &Dd pp. 78; .... pp. 11--9. u.
(51) LOTUS-FLOWERS
XLI. (54) HUNTER AND WILD GEESE. (From a
H-iM..t: d. Noo. XXV &Dd XXXID.)
(55) ATTt:I'DANT HOLDING A f'LOWER
1
(56) .Po-u .......... ot No. xxn <tkto
aboac the rear r'9olor the
XLIJ.
(57) Dmo ol No. l'-"'11. ttkto foe the ...,..,
c- xrt u. Left ....u at hall. '"h' ot lirM ..a ,__
a.._ pp. 6G-6. xa.
Rlaht..-aUofiWI,lcftptl1mr. Grllllths,
pl sa, p. 39: .S..rgeoo, p. n. =
c- XPU. Stt No. XXJI
c..., X.YU. Set XVU
Orfclaal CO!'TI........S la tb IIILao Sooto KtM!o-
Rdncingot
earbon QOPf
Mlto Dorotbyl.&lthtr.
Rtrocinr ot
...-eopy
Allll Donxb7 l.arcber.
Jlttraclng of
CIU'bon copy.
Mla Iloroth,- Lat<b<t.

earbon copy.
Mllo Lardwt.
Recradng ol
carbon C<>py.
l.li Dorotby Lardltr.
Ttmpca. lAdy Rmi"'Jiwn
RttraeiQJof
earboft topy.
)f .. Dorothy Lll<her
l'hotognpb
I IUJipii..S by 1.1 .
r a. Hndtcr.
1.-1..
l'bocoppll
I IVppbtd br LL
T. EL He11dle7,
C. LP..
THE :JA-TAKAS REFERRED TO JN T HE TA BLE OF PLATES
Tll following are the j41ahu, or Birth-Stories of the
Buddha, referred to in the Table of Plates.'
Mi.T(UJ'Ol;IIARAjATI\ItA, No. 455 (se" plates X V I 11- X X J).
Once upon a time, when Br.ilimadatl;} reigned in Benares,
the Bodhisattlld was horn as a.n elephant in the H irnalaya
region, a wlutt beast: but his mother was blind,
and the other elephants did not give her the sweet food
sent; so he took her away 10 )fount Clu.l)llorana, .-md there he
cherished her. One day he saved a fo=ter. who for seven
days had lost his w:ay, and carried him out of the forest on
his back. The man, however, marked the trees and hills, and
then made his way to Bc.nares. At tuat time the King's
State Elephant had uicd, there w:L' g proclamation
for another lit for the King's riding. The forester betrayed
the friendly elephant, and the Kong's hunters the way.
The BodhisattYa, in spite of his great strength, to
destroy them, lest his virtue should be marred ; so he "'aS
caught in the loUts-lake and taken tO the King's decked
with festOons and garlands. The King took all manner of
fine food and gave it horn; but not a bit would he eat:
Without my mother I will eat nothing,' he said. When the
King heard tbe stnry, he gave him freedom; and ihe elephant
IVent b."U:k to the hills and to his mother, and, drawing water
from a limpid pool, sprinkled it over her, and at last she knew
him and blessed the King', f,'OO<iness,and tbe King did contin1L11
honour to the Bodh.isattva, and made a stone image of him.
There tlie inhabitn.nts of all lndia, year by year, 1,tathered
to perform what"'"' called the Elephant Festival.
VLWA.'ITARA-j.\TAKA, No. 547 (set plates \Ill , XX I 11, XXIV,
XXVI, XXXV (39)?, XXXVI (4t), XXXVl l (42),
XXXVIII (46)
1
XXXI X (48)).
To Klllg Sibi was born a son named SaiiJa}':l, whose
Queen Phusati had a son Before his birth the
fortune-tellers said thJt he would be devote<! to alms-ghoing.
never satisfied with givin,;. As soon as he "'3.5 born, he
held out his hand 10 hi!l mother 3Jld said, ' Mother, I wish to
make some gift, is there anything?'; and she gave him a purse
of money. Wl1en he was eight years old, he to give
away something of his own-his heart. his Oesh, or his eyes.
As he grew up, he gnve great alms, at II\St even his magical
clephru\t with its costly jewelled trappings, "hich could bring
rain to the droughtstricken kingdom of The people
were so angry with Vimntam thdr elephant away,
that tO savt: his life his father banished him . his wife Madri
and children accompanied him. He gave everything away.
eve11 sUlTelldering to four Brahmins \\ho had not shared in the
other gifts the horses of the chariot in whieh he wu driving
' See nt /Jia}a INIUinlt.f jffll< ''- Pali ""; .. , A .. J, tltr IlK
milr<lli} q{ i'r<Jfmor , 11. C-11, Cambridg, oS95"'9'J '11oe proper
nmes are ror t.be ukc or comit<nry, and also in vie" ur the place and dlltr
or the .. ..., givm In thclr Santlrrit rorms.
a"'"Y \vith his wife and children, boy and girl : so they had to
go on foot. To prove his virtue, the gods allow.ed hi' children
to be taken by a Brahmin jojakot. who was crtlel to tbc:m, and
bound and beat them. At night, as the)' trnvdled, he left the
cltildren lring on tht ground, while he climbed into a tree for
fear of the wild beasts. But the gods pitied the childrc:n, nnd
in the guise of their father and molht'r came every night
and tended and fed thl!tn, but in the morning put them in
their bonds ag.tin. In the t.lte) reached their grandfather's
court, where they were rec:ognital. Then the great God
Sakra, feeling sure thu the Great !king would give a\\'ll)' even
his own wife, decided himself to ak for her, so as to en.\ blc:
him to attain the: supreme height of perfection, and, having
t.hus mude it impossible that she should be given to any one
else, then to give her back. At last Vi5vantara and Madn
are summoned by Saiijaya and l'ht1$4ti from their hermitage
life and restored to their chilliren and ropl honours.
CL n. e..tt.J.o..m. . 9 .IIJ'II ""'"'.unt. .IJ J. s. s,.,.r.
19s. rP- 7'-93-
Su.u7DA>ITA-j ATA.K.A, No. 5 4 (,;cc plate XXVII).
Once the Bodhisattva came to life as the son of the chief
elephant of a great herd of 8,000 in the 11 imiilaya. They
dwelt near Lnke Shal;ldanta in a golden cave, amid poolll of
white lilies, bl111:, and red loruscs, and thickets of n:d
paddy gourds and of 1113ny other plants. The elephant
g, cubits high and 120 cubits long. and had a trunk a sihe.r
rope. 11 e had two queens, and 0\cciucntally he offended one of
them. She prayed tlut she might be reborn as a beautiful
maiden and become the ehief wife of the King of Ben.1tes:
' Then I shall be deat and channing !n his eyes. and in
the position to do what I please. So I will speak to tl1e
King and send a hunter wit.l1 a poisoned arrow to wound IWd
slay the elephant, and thus 1 ma) he nble to have brought to
me :o pair of his tusks which emit six-coloured Ta)'S.' Thence-
forth she took no foo<l ; nnd. away, she died.
She was reborn, and became the Queen of Bcnar-es. and
carried out her wicked intention. When the hunter whom she
sent, t:rn\elling seven years, bad shot the ro)-al elephant \\ith
the pOi'!Oned arrow, he 'V311 unable 10 cut off the 11Jska,
although the elephant lay down and let him c:limb up his
trunk ; so t.lte elephant with his trunk pulled them out llnd
!,l'llve them to the hunter, oot as hnving no value, but M
leas than the tusks of omniscienao.. and may this meritoriou
act be to me the cause of attaining omnl.scicnce' When the
tusb were brought to the Queen, he bid them in her lap on
her jewellw fan, and then, at the remembrance of one who
in her former existence h:ad been ht>r desa.r lord, she wu filled
with so great a sorrow that she could not endure it, but her
heart then and there was and that very day she died.
The sixrayed, or six-coloured, tusks are ge.nemlly taken to
meotn six tusks.


TliE yATAKAS REFERRED TO )'!'{ .mE TABLE OF PLATES
RoRu-J i.TAK.I, No. 482 \See plate V I ll ).
A merchant's sou, brought up 10 pleasure by hJs rich
parents, wasted his possessions and was dunned by his
creditors: pretending that he'd show them buried treasure.
he then threw himself into the Ganges to drown, but, bcing
frighten<:<! he cried out pitifully. The Great llcing bad been
born as a golden deer. He had forsaken the herd and was
dwelling alone. He savL-d the drowning man, and rhcn ex-
tracted a promise that he shoultl not be betrayed. But when
Queen Kshema tlreamecl of a golden deer who preached to her,
ant.! inq 11iry was made, the man broke !he promise, and guided
the King to the deer's ha.unts. The King, enchanted by his
bonoyed voice, let bis bow fall, and stood still in reverence;
and be took the Great Being to Beuares and appeased the
Queen's desire b)' his dl.o;rourse, and, as a boon, U1e King
proclaimed ' I t,oive prorection tO nil cre<tturcs '. From that
time onwards no one durst so much as raise a hand against
bl!<tSt or bird.
SmtRAJA-jATAKA, No. 499 (see plates IV, XVl.
XXXIX (47)).
Prince Sib[, son of lht: King of Arishtapma, was the
Great Bcing. !le gave much in alms; but one day he
desired to give something that truly himself-his heart,
his flesh. or his eye.r-<>r to work as a slave. Sa km, the god,
resolved to try him and he came as a blind beggar and asked
for first one eye, then the other; and rhe prmce gave them,
sufferiug great agony, anti b) his and
wailing ministers :rnd women. Having received both eyes,
Sakra returned tO the abode of the gods. The end of the
story is mystic; for Sak.r.l came again and gave the blind
King tlte eyes of Truth, absolute anti perfect, which were
'neither natural nor divine'. V et we are left thinking that
the King received both natural sight and spiritual.
cr. 111< GJtdm.tld, o-r., PP
No. 534 (cf. Nos. 502,
(see plates XXV, XXXIH, XLI (54)).
Oncc upon a time there reigned in Benares a King called
the Father of Many Sons, and bis Queen's name was Kshcma.
At that time Great Deing was a golden goose, the chief
of ninety thousand geese. The Queeo;r dreamed dtat a golden
preached to her ; and, waking, she desired oo find him.
Persuaded by her and advised by his hunter, the King matle
his lakes a great sru>ctuary, and proclaimed this afar. llut,
when tbe golden geese: came, !he hunter snared the Great
Being and his captain, Sumukha, and brought them to UH!
King, by the Great Being's free will, for the hunter would
have set him free, recognizing his virtue. The King was
delighted and did them honour, feeding them with honey and
fried grain ; aud, holding out his hands in supplication, lte
pm}cd them to spealr of the Law .... Thus did the Great
Being discourse to the King the livelong night, and the Queen's
craving was appeased.
Ttn: QuESTIOl<$ TO Si\RIPUTJ<A (see Plate xxn).
When the Master stood at the foot of the staircase [by
which he descended from heaven after preaching to the
thirty-three Gods], first E lder gave him greeting.
afterwards the rest of the company.
A miJst this assembly, the Mnster thought. "Moggallana
has been shown 10 possess supernatural power, U pali a.s one
vP.rsed in the sacred law, but the quality of high wisdom
possessed by S:irip'utra JtaS not been shown. Save and
except me, no other possesses wisdom so ful l and complete
as his; I will make known the quality of his wisdom," ' (This
he does by putting successively more difficult questions, which
S:iriputra answers.}-jATAKA, No. 483, Introduction.
NOTE ON PREVIOUS COPYI NGS OF TilE FRESCOES
Bv THE EDITOR
Tm; Caves of Ajanta first becnrne known to Europeans
in r8tg. Descriptions of them appeared in the Transartions
of lite Royal Asiatic Sodcly in pp. 362-370, and
the D11m6ay Couritr in 1839 Mr. (afterwards Sir james)
Fergusson laid before the Royal Asiatic Society in 1843
his paper on the Rock-cut Temples of India, a dozen pages
of are devoted to AjnHL In the ne."<t year that
Society addressed the Directors of the East India Company
with a plea for the preservation of the eaves and the extt11tion
of copies of the frescoes; and, as a result of their of
May 29, MaJOr (then Captain) Robert Gill of the l\ladras
Army was engaged to make facsimile copies of all the picwres
and wns allowed adequ:tte assis111nce.
i\'lajor Gill worked with devotion .u Ajant:l until the llfntiny,
and sent from time to tame about thirty copies, many of them
of very large size, to London, where they were kept in the
Mu!IC'um of the East 1 ndia Compan)' In Leadenhall Street.
These were painted in oil and were, ucept for the \'l!hicle,
facsimiles. The work proceeded through twelve years under
difficulties and disappointrnenb, and it constitutes a remarkable
feat of endurance. In 1852 a large pi!!tt of p3inting was
stolen, and repeated requests for a guard resulted in a 114i!'and
eight n'jxflrtr being sent in Sept. 1857 Next year fever and
dySCJltery appeared in the camp, and 'lajor Gill reported him-
self as having been far from well during the last fifteen months.
About 1862 Gill's stereoscopic photographs of the Rod
Tcmplu of Ajattfa aNti EIIDIJ were published, and he was still
sending home p;lintings and drawings in 1863, in which )'ear
also he drew up n memorandum of his work at the caves
(Madras Government, Public Department, Nov. 27). His
One Ster(f)sropit ll!JtStrations of and
N aiMrat History appeared in 1864. The paintings, except
the five last executed, were sent to the Crystal Palace at
Sydcnham for exhibition, and they nil perished there by fire in
December 1866. No photographs of them had been taken.
fn 868 Major Gill disposed of his negatives and two
books of plans, sketches, nnd notes to Govemrncnl for the
sum of 200. The photographs were m ken by the light of
n magnesium lamp, and for these A list of lht pltoiOfraplrzi
ntg'alit"a of flulian attti9uilits ... in lltt pbssmillli of 1/u
f11tiia OjJiu, 1900, may be Not long after the lire
GiU went again to AJant!l to repon on the state of the eaves
with a view to further copies : and his letter of J uoe 21, 1868,
after enumerating several inst.wces where the painting had
disappeared in the course of the last ten years. closes somc-
wh:u sadly : 'Reduced as the paintings now are and in their
present condition I should think ordinary tracings of what
could be made out and only one or tYo'O small pieces finished
up, merely to show st) le of colouring and the light and
shade of the originals, would be all that is needed.'
The five paintings which escaped the fire of 1866 found
their way to South Kensington, where the) were in r8;9,
when Dr. Burgess published his Nolrs rm flu Dnlltldlln R<>e/;
Tt'lll/JIIlS. On pages to-IJ he identifies four of them as belong
ing to Cav, I, and the fifth he mentions on p. 64, and in a recent
letter to the Libl':ll'ian of the I ndln Office, as being a very
long ceiling from the verandah of Cavr X I' /I. The Inner is
now lost ; it may have been burnt in t885.
T he four others are st11l there, aml, though they beru' no
identifying marks, they ue distinguished from the rest of
Griffitbs's collection both on aeeount of their which is
marked by great fidelity to the originnl. and by the fact that
in these alone the backs of the eanvllses have been treated
with oil as a preservative. Two of them 11ere incorporated in
Griffiths's book as plates 6 and 7 of Cmv I (compare with
plate 1 Nos. X 11 and XIII in A third
is in good preservation, and is framed and exhibited. lt is
divided down the middle, and its subjecu are portions of
jataka Sttnes. Tht of the left half is the capture of a great
smke ; and the right half is a palace scene in which fCDQie
musicians are pla) ing before a king and queen (cf. No. XV
( i)). The fourth picture. the Great Buddha. No. XI (13).
i.s in a sad state : it sho10s sign. of h:&ving been tripped in
has1e from Its frame, and the is dulled-the effect,
possibly, of smoke and water. lt is of interest as explaining
some details in the original frescoes which had by 1910 become
obscure and supplying others which ume had obliterated. lt
may later on be repaired and exhibited.
Ln t8;2 lllr. FergullSOn and Dr. Burgess urged upon the
Indian Government tl1c of replacing Major Gill's
copies, and Mr. John Griffiths was asked to visit the eaves
and report. On the strength of this report nn annu11l grant
was sanctioned, and in 1S75 Mr. Cr!fliths, with the help of
students from the Bombay School of Art, began the work.
This lasted, \1-ith three years' intermission, until 18Ss. costing
between 2,000 and J,OOO. The copies were sent to the
South Kensington Museum. Mr. Griffiths's proposal that
duplicate copies should bt: made was negatived, though photo-
graphs were taken (see 'Short Bibliography ' , No. 6). On
June 12, 1885. out or 1:5 canvases, containing in some cases
several pictures, which had been sent to South Kensington,
87 d.,.rroyed, or tbmaged, by fire . from the .residue
Mr. Griffiths subsequently edited for Government Tlu Pailll
;,. 1/u Catvs a/ Ajalfld, London, 1896, in No
large f.olio volumes containing 1 56 plates besides illustrations
in the text. A further 56 copies were added by Griffiths ln
1887 and 1892, mostly in onlcr to replace which had
been in existence before the fire. Of some hundred of the
original copies, which remain at present, 56 are exhibited on
the walls of the I ndi.an -lion of the Victoria and Albert

Titles of ,.orks which deal specwly witb Ajanta will be
found in the 'Shon Bibliography', entered under the Nos. s.
6, ], 12, IJ, ;)(), 24. 25, J6, 37 38, 42, 44, 48,49
THE EXPEDITI ON
Bv SIR HERRINGHAM
LAm' HuRJNI':fiA\1 first went to India in the wint of
11)06- ;. At dnt time. on the <ugge:.tion of i\lr. Laurcnce Bin-
yon of the llritish Museum, <he visiletl b9th Ellora and Ajanta,
and tr;welled widely both north and south to see the
archice<:tural monuments in which India, beyond all other
countries, is rich. While at Ajanttl she, hcr.elf a painter.
was deeply interested in the frescoes tltat remain on the walls
of the rock-hewn temples and motusttties 1here, and she
made a rough sketch of a brge Buddha that forms one of the
subjects. The interest of Mr. Binyon in the sketch and in
hrr aa:ount of the still visible on the walls, added to
her own, led her to make a second ..-isitin the winter of 1909-10
and 3 third in 1910- 11. In the course of the fomtcr.she spent
about six weeks, nnd in the latter more than 1hree months, at
Ajant1 in 3 camp <'quipped for her by the generosity of the
;'lliram of Hyderabad, in whose territory Ajanta liel.. On
both she h:ul the help of Indian students. Syad
Ahmad anu Muhnmmntl F;11l ud Din of H ydernb.,d. Nandn L.aJ
Bose. Ash Kumar llaldar and Samarendranath Gupta. frorr.
the Calcutta School of Art. "ere sen1 at 1he of
r.lr. Abanindranath Tagore, and worked with her and unuer
her din:cuon aml in the ot'Cond wint"r she was assit<..l b,.
Ml..s Doro1hy L..rcher, who went out from England with hC::.
The<>e temples are hewn out of the solid hill which forms
ane side of a romaniC "alley dlirt}-four mile$ sc.uth of Jalgaon,
"station about zoo miles frorn llomb.ty on 1he line 10 Calcutta.
The village of where there is a Dtlk 13ungnlow, in
the compounu of which Lady llerriugham's camp w;u pitehetl
is about four miles from the caves b) .1 track over which
only bullocks could 1ull a CML Abou1 n mile uf th1s has tO
be done on foot "J.I ]><'(I of the river, at the end of wh1ch
therr is a le<-[> of stone leading to a rou;:h terraced
path. which connetiS 1he colonnade<! fa"'des of 1he twenty-
seven temples. These are Clll In ll1c wide concave sweep of
precipitous hill,iue, so that the entrance of the first faces the
black mouth of the last, at a distance of some 500 yards.
Between the columns of nt3ny of the temvles are hung grear
nests of wiJJ bees, which must be carefully humoured to
vrevent dangerous hostilities; and in 1he deep recesses
gibbering bats crawl along the rock cornices, unaware
that the concentrated stench of their cemuries of occup:uion
is their most formidable defence against man's intrusion.
Standing on the terrace, you look down upon the river bed
curving away to a waterfall on 1he right. and beyond it rises
a sloping rocky hill covered with scrub. In the rains the
river a mighty torrent. but in winti!T it dwindles to
a stream with a few pool in iL Green parrots lly across it
in the sunshine ; monkeys, boars, and an occasional panther
haunt it ; and black buck feed in the valley. Eve.rywhere on
the banks ate long bottiHhaped Lirds'-nests, something like
those of our longtailed til. l t is a wild and beautiful place.
In addition t() her own :trtistic work and the supervision of
the work of others. Lad) lierringham had on her hands the
management or the camp, the tn:alment of many sick persons
who came 10 her from llte neighbouring villages, anti even of
sick animals, besides the care of gue'>ls who from time to time
visited her. A !most all provi.ions had to be obtained from
Bombay and felched from the nearest station, which was over
tltirt)' miles away. With bullock carts the journey takes
about seventeen hours each way. The eamp was, however,
a great pleasure to her. She loved the freedom and the
simplt- country surroundings of the life, and she much appre-
ciated the open and friendly intercourse with the young
lndiun gentlemen who were her :usistants. She wns, more
over, interested in the work before her ; for she felt
1hat she was fac" to face witb the rem.ains of a great civiliz.t-
tion and a great art, of which little is ld'c but tradition.
NOTES ON T HE HISTORY AND CHARACTER OF T HE
PAI NTI NGS
Bv LA DY HERRI NGHAM (wa1TrEI< 1911)
T 111'.S copies from the Ajantll frescoes wl!tt made by
m)self and one English and Indian painters
winter seasons of 1909-tO and 191o-tt. Previous copies
have shown all the J,lemishes and holes in the plllllter. We
hnve thought ll advisable. for the snke or the be;lllt)' or lhe
composition and of intelligibility, to fill up the smaller holts.
But, though some: people OU) call this restoration,
our work from literal eopies to I tl1ink we may
fairl) claim that 1his omission of damage has been tlone ver)'
Cdulionsly, and the look of the CO[>ies is the con-
sequence n( our restoring so A copy of a <lnmaged
picture must nece,s.uil) look like the copying of a badly
painted or unfinished one. In realit). the techn1que of the
original work is so sure and perfe<:t. that nonr of us Wl!tt
gOQ() execttl,.lllts to re1x:a1 it
lt i< n remarkable f.1ct thU the fines1 1xorind of
literaltlre (\.IJ, 300 to 750) what we may call the Old
Picture Gallery nf Ajanbl are l>ro.1dly comempomry with
one another. Fun her, one centre of this outburst of splendid
romance and playwriring was the l>etutiful and city of
UJjR)inl (now Ujjain), not so \'Cry far away to 1hc nonh, and
it is quite reasQnaLit' 10 conjecture thnt these two plnces 1nay
have belonged to the same region or cultural nncl arristic
development, although the relig1on of the literature is
Brahmanical and that of the Ajanu. painting purely Buddhbt.ic.
In later Mahraua rimes the for1ined 10\ms of Ajanrl and
(where we canped). each four miles from I he Caves
in tliiTerent gunrdet.l a most imp<>rtmlt p.us 1hrouglt
the Vindhya moulll:uns. Aurungtcb was sometlmts at Ajanta.
Later still this pass was the Sttne of much fighting l>euveen
Wellington's troops and the )lahrntt.as. The di!>lrict was
probably always of gr;::u unportanct>. The old fort
and eleph.ultspikcd gares still remain.
The following extract from the romance of the l'rincess
Klldambarl, wriuen about the middle of the seventh century,
indic:ate5 the importance and prevalence of (freseo) painting
at 1his period :-
Then:lsa city named Ujjayinl, the proudcsr gem or the 1hree worlds,
the very blrth- pll\ce or !he Golden .. The painled hall that
deck it ore filled with gods ond demon., Siddhas lattcndAniJ on
Gandhrvu, genii, and nakd. The C11)' strtlcllca like a tuburb
with ils long hoUJeS; lt btlrt in ib pointed lulls rho of all
foniU. (See Tlu KtWaml>ul to/ RiJ!n /Jy C .If. Rultltnr,
London, 18<j6, pp. 210 eqq.)
In nnother passage the reAection of the princess is described
as minj!led with the decorations and the polished
and mirrors of her pavilion. while the universe in the guise or
pic:tures on the wall gazes upon her beauty'. The portnit
of the Princess 5.tkuntal1 is described at length in the very
play of tlut name [in Act Vq
Feq,YUSson considers that it is the Ajaota ravine with its
temples that is referred to by the Chinese pilgrim, the
Auutlhist monk, Hium Tsaug. who travelled in l ndio during
1he lim half of 1he seventh century. He says that no otbet
pot in India would suffidently correspond to the description
preserved by the wbo. however, did 1101 the plate
him<elf -
On the c .. tcrn (totuiers of the kingdom [of Pullkdi, King of
MaMrlish!rn), tlerc a mountain whh oummlu rllnjl one above
Anorher, eh'" or rock .. double puka, and """rpcd cmu.. Formerly
convenl ..... COOlln!Clod there m. cloomy -alley. Its lofty cdilius
and deep balls fom..:d wide opett"'':$ in lhc cliffs. and clun.: on 10 the
Its \'<t:tndllf and ,_,ra ......., backed on lhc
c&\..,11111 >ttd looked the valley. Thit monu1ery w .. bunt by
the 1\rlml Acba ..... 1nr l'llufrn or lhe convent about I OQ n. high
In lhe nliddlc there 11 stone siOIUC or lluddlu about 70 ft. high
fpmb.U>I)tbe rc:cumbcntNirvil\<1 \",\' 1'1,
confu..ed "'tb lD11icr erect f.gure eJ .. whm: J. h ;. by
... ..., ...Wl domct in stone, W!pcn.l"'l in the atr wi1hout any viSible
>UPi"'rl They ""' from ...,h other by apace of about
tluce [Th1s would be thc.acred m.ne umb,.,}l X.]
Accordin:: to the ancient uoounlJ In the country lhcy ate \Upporml
by lhc fon:o or the VOIA'J o( ,.,., Arhal. to oome people
1hi1 prodigy i due to hi power, and ucutding IQ atbets
'" his sc:icntific knu1 ledge. But it it welcu IQ Rek an expl.tn&tian
fom hisiOry of the l"odigy. All around t he l'iw11 rbt aurfucs o(
lhC I'OCk are SCUlptured Wll.h repn:sc:ntatl011S o( lite life Of the
wb<rcvcr 1\ewu o Boclhisauva, llte auguricswhid1
nnounecd his i\rlumhtv. and the divine prodigY, which
entrance into Nirvon>. The cbisc:l of the art6t bas depiocd aU lhcso<
nenu m the 0106t mrnutc detail, \\ilhout forgetti"l: (Th.tte
1 deal of x\llptun: ot AJ=Il. specially in CAaif)a N XX VI,
where there it the Nirvln.t Buddlu; or posoiblythe Chinese tcmu
might include painting.] Ouutde the .:a or the COIIVOnl, "' l.hc
ooulh and to the nollh, lcn and it a tone elcplunt [1he tolep!tanltl
nd the gate exist 1 I ""'"" htoord the people of !he country uy that
from limcln time lhow dcphanlll:lve temblc uta, which malcc lhc
urth lrcmble. FonnCTI)' Jim Bodhi<&lln LDignOeaJ often stayed in
this from M. Stanislti Julien's rranshnon of
Hmen Tbnng's 'Afllflmu nrr ltJ U11frk4 tKNMIIIIllrs,' 2 vo!J.. Puis,
vol. il, pp.
fhe 111onastery halts and the C!tail)'fU which contain the
frescoes. and which are almost enctly like apsed Romanesque
churches -.ith barrel\'aulting for :Usles, are exeavated
in the face of a semicircular cliff, at the foot of which
nows a stream, turbid a.nd S\\irllng in the raill.! like o glacier
torrent. The Buddhist monks loved wfld, mounl.llinous
for and contemplation. but perhaps they ncvc.r made
:'1 beuer choice than this panicular ravine, and no other plate
hu finer 'architecture, excq>t pet"haps Ellora l\ot nearly
18 NOTES ON THE II!STORY AND CHARACTER OF THE PAINTINGS
enough .1ttention has IJe<:o givc:n to the proponions chosen
for the..e halls, and to the rich clecorauons of the columh:u'
'orders' at about the wte of SL Sophia, and before
the birth of the Saracenic and early \\'et European styles.
Copies of det.lched porLioos of these wall-paintings,
of their surrounding,; and frnmed, can give \'Cry
linh: notion of the rt1l effect of the whole. Probably every
of t\ery chamber was originall) painted, or intended to
be Tile principal remuins now are in Vilt1IYns I,
/1, X I 'f. an,! X I'll, and Chatlyas IX, X, X IX. The
firu four may Le imagined as square halls, about 65 feet each
way, with flat ccllings from 12 to 14 feet high, supported by
some twenty massive columrL\, nmldng a recmngle of
app3rcndy six to a side. lu the back w;all there are recessed
shrrnes comuirung colossal figures of the Buddha. In the
front wall there ar" doors and windows. This provides an
immense wall-sfl"lce. The Cllail)a otTer much I CS$ wall-space,
dnd most of thdr painting has perished. There is also, unfor
tunatd), ,-cry Iinle left in .Vo. X/'/ The aisles formed by
the columns are In some extent thrown into sections by
occa.sion;U piers, but exupt this there are no divisions between
the p.>intinf,<s, nor are they surrounded by ornamental borders.
The p:Untings represent the talc or incidents in a son of
continuous manner. The same personages appear two or
more limes, only grouped variously. according to the
are what one might call nuclcu points-points of
interest-in t.hc narration, wllh n cutain number of connecting
llnk.s. The tran>ition from episode to episode is managed
by such a devitt, among many. as that of a man looking
through or guarding a doorway, sometime> Ly the continuous-
ness of the pictorialan:hitectural biltkground. The impression
is not so much that the w.ills were to be decorated,
as that they offered preciow; sp.ce on which the legends
might be depicted for the edification of the de\'out. The
frequent ceU doors and the piers had the effect of causing
\<ariously shape<! often soul!. l t lool-'3 as if these
were sometimes allotted to the anist as the onll
hanging room' availaLle.
The pictures dlostrate events 111 1he lire of dte Prince
Gautama Buddha and in tht more popu lnr of the J ataka
stories, th3.L is, the stories or the Burldha' previous lncarna.
tions, perhaps also some scenes of semi-mythological history.
Incidentally they illuscrate the court life and popular life of
the time, as told in tbe romances and plays
The paintings ce.rtaiuly spr.,;td over 200 years-from 450
to 6so. F ergusson secs a strong re.emblance the
ticturoos and types of Clrail)at IX and X and the Saitchi
t--rclic:b of about AD 100 1.\ itself may be
considernbly older). Dr. V ogd, of the Imperial Archa:ologic:al
!>urvey said positively this !ut wrnter that the inscription
S1hi Rilj!l' cm the lmees of sc:ated king iCI I\' I). X Vl/
is in characters of the: Gupm perioll of about " soo. '1 bis
I bdieve to be one of the lau:st painungs in NiJ . .\'VII.
NIJ, .\'VI has been thought to be rather earlier in
date, and No1. I and.// cerminly much later.
There are at least twenty diffu-cnt kinds of painting. Some
victnrcs recall Greek and Roman composltron and proportions;
:1 few late ones resemble the Chinese manner to a certain
extent ; but the majority belong to a phase of art which one
can call nothrng except Indian, for it is found nowhere else.
In one respect the composition is uolike most Chinese paint-
ing, for there is not much landscape The figures occupy the
field. often grouped in a rrwtDet which recalls the alto-relievo
of sculpture. Some subjects still C'llain very little d:.rkened
by the smoke of pilgrims' fires or th" varnish of cop) ists, and
not much injured by t!te bigo..ry of iconoclasb; and the.e are
of great as>istance in the of the more spoiled
Nearly all the painting has for its
definite outlines, generally first on tlte plaster a vivid or:.nge
rl!d, corrected and emphasized with black or brown as the
painting proceeded. The outline is in its final stntc farm, but
modulated and realistic, and not often like the calligraphic
sweeping curves of the Chinese and Japancs"' The drawrng
is, on the wbolc, like mcdi:.,val Italian drawing.
In the copying our fir.t business was to find and trace these
outlines. and our next not to lose them a. we proctcded with
the subseqllent colouring. However darkened or decayed the
surface may be. they can nearly always be made out. The
composition and incident of many of the pictures could be
recovered in this wa)' where the colour and modelling would
be conjectural. We have attempted to give some
notion of differences of technical style, but it is not ea.y to
do this. The quality of the paintrng varies from sublime
to grotesque, from tendtr and gnceful to quite rough and
coarse. Dut most of it h'!-'1 a kind of emphatic, passionate
fotce, a marked technic:t! skill very difficult tO suggest in
copies done in u slighter medium.
To me the art is of a primitive, not decadent, nature,
struggling hard for fresh exprcssiun. The anists had a com
plete command of posture. Their seated and Ooating
espec:i<ally tre of great cntere>t. Their knowledge of the I) pes
and poSitions. gestures and beauties of bands is amazing.
M.an) rnci;U types are rendered; the features are often
and of high breeding. and ooe might call
it stylistic breeding. The drawing of foliage and Ho"crs is
very beautiful In some pictures cotlSlderablc impetus of
movement of different kinds is well suggested. Some of the
schemes of colour composition are most remarkable and in-
teresting, and there i.\ great variety. There is no other really
fine porLta)"ll of a dark-coloured race by themselves.
The pictures have one great advantage over most
Indian sculpture, which was, it seems, frequently covCied
with a thin white tiiiiiUJTII (plaster), then c<olouml. At
the Kail!Ua of Ellora there ace early unspoiled specimetll>
where the plaster has been c:areCully picked out and
finished with a sharp tool , but. generally speaking, it ha.s
perished. leaving a rather rough foundation, or it hu
bern overlaid and thickened till all ddicacy ;, lost. But the
is, in man) cases, just as the artist left it; at any
rate it IS not re-p3111ted and clogged. Th1s is "hY it
is so much more interesting than Lhe dull, c.lebascd Gandhnl'll
sclllpturc: but because it is full of vigour and \'<lriety
:utd fruhness-rcjuvenesceoce. I tallan m'tllo
full of reminiscence of the classic: but it is new and
fresh for all that, and so is this Indian QuollnJ and
without the ttitllo. To sec all this there muat be patience and
powerful lamps, or more p;uience in waitinr for the shon
of natural light when level rays of sunlight fall on the
NOTES ON THE 1-1 !STORY AND CHARACTER OF THE PAINTINGS 19
floors 311d are reflected on the walls. Many people go with
a candle aod su o..lmost nothing.
There are three long inscriptions hjant1 cut in rock, one
in Covf X V/, one in X VII, and one in X X VI. Fresh
were taken by the Government Department of
Archa:ology while we were there, and we may get new trans-
lations. That of Cauc X VI is in praise of the kings of the
race. h seem5 to begin with a salutation to Buddha
him who removed the intense fire of misery of the three
worlds ,-and then relates the geneaiOj,>y of the King Vindhya-
tlkti, 'in prowess comparable to Purandara (lndta) and
Upendra (Vishou) , the lion of the V:t.ka!aka race: other
kings follow : but, as the translation stands, it seems as ii the
son of a certain Hasti Bhoja was minister to one of the kings.
and that he was the donor of No. XVI, who,' for the benefit
of father and mother, -:stablished the cave ' (or house). We
must piece together the fragments which tdl of' the arrange-
ment of pleasing pillars-the great plaee of rest-where there
is an opportunity of enjoying extreme happiness . on the
most beautiful mountain ... the mountain resoned to by the
great . .. whose top is occupied by caves of various kinds '.
In two other documents there are corroborn tions of this
inswptton. On a copper plate found ar Seoni, recording
a grant of land to a Brahmin, there is an enumeration of
Kings Pravarasen.l, Rudr.asena, and others of lhis dynasty-
one of them marrying a Cupta princess. which is clearly
recognized as a very grand alliance.
In an article by Dhau Daji,in vol. vii (pp. 53-74) of the Bombay
Asiatic Society's Journal, it is stated dtat the Vishou Purlll)a
makes Vindhp.-(akti chief of the Kailakih Yavanas; and the
Putal)a makes him the father of Pravira (Pravarasena),
performer of various sacrifices also alluded to in the Seoni
copper plate. This Vavana blood is employed by Bhau Daji
to point the theory that the painling is Bamian Greek. As
has been said already, traces of something that may broadly
be called Greek inRuence may be found there ; but the interest
lie! more in the depannres from this type than in the
reminiscence itself.
lt is noticeable that, the Ajantii inscriptions in NDt.
X V I nnd X V 11 ate Buddhistic, praising Munirsj {S3kynmuni
Uuddha) m various terms and insisting on the merit of giving
Vih4nu and Clurt;ar to the monks, the Seoni copper plat e
is concerned with the WO<$hip of Si"a the King
l'ravarasena is the protected of Siva, and his ancestor and
namesake has perfonned nine kinds of Brahmanical sacrifi<H.
NC>rL-A dit ouion ol th< d.a1< ol the a ... by Mr. \'mcent Smith (,..
Nos. an<l 5< i 'Shon Biblquapl>y ') IIIJII"''U I he eonclotlon rea:bcd
by Udy R<rrlngnLD oo I'll u to !he elm o/lhe 6aa>cs.
NOTE ON THE MANNER OF TAKING THE COPIES
Bv MISS DOROTHY M. LARCHER
IT is nearly impossible to get at once an impression of the
whole of the lnrgest compositions without the aid of artificial
light. The acetylene lamps which we used gave a good
genu.tl light over two-thirds of a waU, and this was useful for
completing copies. For tmcing frescoes in dArk parts a strong
motor lamp on a tall thr-legged stand, and so arranged that
the light could be turned on to the top or bottom of a wall,
would have been mO>t satisfactory. Oil bmps are possible.
but they are difficult 10 man.,ge, and the light is not so con-
ttntrau:d.. In some cases, of course, it is light enough to ropy
without lamps.
In 50me of the paintings the colour has become so dArk as
to be searcely distinguishable from the black outline. The
work W:b also very difficult, when the paintings near the
lOll> of the wall.. In thes<: cases we u.ed rough, locally made
step<. which s"ayed considernbly. and had to be held by
coolies. I found that. when the painting was very much
darkened with age, the best way of tracing accurately was to
fa>1en the two top of the tracing paper with adbesi,e
<lips, roll it up quickly from dte bouom with the left hand,
look at the outline. roll the paper back, and trace. In this
way it Is easier to copy the various thicknesses of line; and it
is most necessary to drnw the lines freely on the paper.
The outline everywhere is very sensitive.
When the coloured copies were made. a fairly rough tracing
was Jone first nnd transferred IQ the painting paper on the
frames, nnu the oulline accurately copied from the fresco
but in the case or those intended to remain as
outlines, the c:xnct trncin1: was made on tl1e wall. The
coloured copies were executed on thick cartridge paper,
canvas.bncked, and stretched on wooden frames. For
lrllveUing the paper w:ts taken from the frames, rolled, :md
packed in c:ylinuricnl
That wonderful picture, the Ceylon Battle', has been in-
cluded here: although it was not entirely 10 Lady llerringham's
satisfaction. lt is tl1e largest painting of all ; and, although
the surface is broken In many places (intentionally and other-
wise), the colour still retains a good deal of brilliancy. It
is a noble oomposiuon, and contains separate groups which
in !hemselves are gems-the splendid elephants swaying
through the archway ready for battle, the fighting with spears,
the Dying arrows, the terrible demons, the exquisite group of
dancing-girls and musicians above, and the anointing of the
king-all these are united in one marvellous whole. The line
in this pkture has an assurance and delicacy even surpassing
those of other pictures at Ajantl.
On first entuing the halls of Ajantll it is very difficult to
sec the paintings on the walls clearly. and rhose who have
journeyed Crom far awa) to see these wonderful frescoes will
experiena: a sense of shock at the darkness which 3gf' has
gi'-en them. Dut, if such a one ,.;11 wait a while before
deciding to be disappotnted, gradually the figures of kings
and their gracious queens, of maodcns and courtiers, of
dancing-girls and musicians, hunters and all kinds of animals,
will =erge from the walls, a.s if by magic, and dominate these
ancient temples. I dtiok dtat a l dead of night one could hear
the soft dashing of anklets, and that, in 1l1e silence, gla.na:s
which flash from those long eyes might even break into
whisperin!,'S.
There is a significance in the very remoteness of these
kings and queens who reign for ever in passionate calm.
The faces have nearly always tltat or gracious
aloofness which is charoctcri$lic of nU the best Indian
sculpture and painting. In a few cases a passing emotion has
been allowed to show in the features. In the temple known
as Caw I is an unspeakably wonderful figure of a 13odltisattva,
holding a lotus in his hand. h is impossible to describe the
majesty and gf'ntleness of tltis figure. As in all Indian paint-
in!r-1. there is a deeply sympatheuc treatment of animals, trees
and plants; and it is interesting to remark that all the plants
\lhtch are in the frescoes are to be found growing
in the ravine UH!ay.
THE PLACE OF THE A) ANT A PAINTI NGS I N EASTERN ART
Bv LAOR.ENCE BINYON
T 111 fTeSCOeS of Ajanta have for Asia and the history of
Asian art the same outstanding significance that the frescoes
of Assisi, Siena and Florence have for Europe and the history
of E uropean art. The whole course of art in Eastern Asia is
bound up with the history of Buddhism in its suttessive phases :
and the student of that art finds himself continually referring
back to Ajant:i as the one great surviving monument of the
painting created by Buddhist faith and fervour in the land which
gave birth to that religion. The frescoes discovered during the
last few years in Central Asia, in Khotan, at Turfan, at Tun
huang, and other sites have only enhanced the interest which
the Ajanl!l frescoes inspire. J ust as Mahayt.na Buddhism in its
progress and triumph through those central regions to Otina
and Japan flowed into new forms and absorbed elcm<!nts from
other races and other religions, so Buddhist art in the lands
beyoncl l ndia Oowed into fresh moulds and took on a ctttain
character of its own. The points of resemblance between the
earliest and the latest Buddhist an are obvious enough. In
the modem Buddhist painting of Japan the symbolism, the
types. the imagery are of Indian origin. But on a broad
comparison of the Buddhist painting of China and Jap.'n
with the frescoes of Ajantli differences equally remarkable
emerge. l t is true that the Ajantn series represents no
single effort, but a sequence spread over several centuries and
embodying I styles and tendencies. Yet, in the.Buddhist
painting of the Farther East. as we know it, we cannot
but be struck by the absence or those feat ures and charac-
teristics which are the chief merit and attraction of the art of
Ajantll. The supreme creations of the Buddhist painters in
China and Japan belong to an ut of impassioned contem-
plation. And the objecll! of that contemplation are serene
compassionate figures-the figures above all of Amiubha and
his spiritual son A vnlokitevara-painted, so to speak, on
darkness, and luminous in thdr supernatural grandeur.
Rarely is there any dwelling on the events of Sakyamuni's
earthly life: S:tkyamuni himself indeed occupies a secondary
position. But in the cave-temples of Ajantll we feel ourselves
in the presence of an an of a quite different chamcttl for tlte
most part. The artists of Ajanl!l are far less at home in the
5upematural atmosphere, where celestial beings seem to float
of their own essence. than in the world of men and women,
of animals. of red earth, green plants, the sunshine nnd the
shadows. The most beautiful of their paintings are taken
from the J !ltalm stories, the legends of the earthly life of the
Buddha in various sue<:eSsive existences. Here wu oppor-
tunity for grappling with the rich complexity of life, nnd the
painters availed themsel-es of it to the fnll There is no
reduction to formula. These man p.1inted Indian life as they
saw it , and, though we feel the glow of a reli1,.-ious impulse
behind their creation, we are above nil lmprrssed with their
intuitive discovery of the beauty in natural movement, un-
studied attitude, spontaneous gesture. These are selted
upon with a genius for significant, expressive form. How
ndmirable too Is their sense for the ehnractcr of animals and
birds, the geese, the deer, above all, the elephant!
This fresh vigour, the exuberance of life, which contains
with all its joyousness the capacity for deep melancholy and
compassion, is the dominant i left on me by the
contemplation of Lady Heningham's beautiful copies. Para-
doxical as it may seem, these fresco..-, for all their high
importance in the history of Duddhin painting, appear to me
more, in essence, allied to Western than to Eastern an.
They are, after all, the production of a race originally one
with the races of Europe. And, though the) are so penetrated
with Indian character, with its gent.lene:i$ of movement nnd
suppleness of form, it is from painting like this, show;ng the
same curiosity of interest, the 5ame ardour in grappling with
the visible world, the same underlying fervour of faith, that
the painting of Europe has been developed since the days of
Giotto and the Lorenzetti.
But it is a kind of impertinence in one who has not seen
the original frescoes to write about them ; and I it to
Mr. Rothenstein, who has seen Ajantli with his own eyes, the
eyes of an artist, to recnrd his actual Impressions.
T HE IMPORT OF THE A) Al'\TA PAINTI NGS l N THE HI STORY
OF ART
llv WILLI AM ROTHE NSTEI N
PE.KilAPS the most striking intellectual difference between
the medireval and the modern vorld lies in their respective
attitudes towards art and science.
The mediz\al artist had the high standard of conscience
and the technical probity we now expect from the sdenliJic
milld, whereas the man of science was looked upon as alchemist
and asU"Ologer, and accordingly often used fine gifts ior
doubtful purposes. The media:val mind was little interested
m aD)' contempomneous craftSmanship, while, on the
other hand, it cherished the bel ief that the key to true know
ledge lay in the mysteries of the past.
T<Hiay the man of science has become the precise thinker,
dte engineer the exact and beautiful technician : it is in the
painter's studio that the stuffed alligator and the astrologer's
chart now hang suspended. Neglecting the ricb treasures we
could still obtain from living craftsmen, we have during the
last genention nnsacked the world of the an of
the past. Indifferent to the corruption and destruction we
encourage. so long as we can fill our houses and museums
"ith the loot of ages, we hold all that has not been made by
the hands of our contemporaries as be)ond price. We arc
right in regarding the art of the past with great reverence,
but not so much because it is rare and old as because no
IPJ"Dlent the human spirit has once wom can be without
to us. lllan has ever put into d1e work of his bands
the most balanced expression of his conception of life. In
such works he shows himself to be nware only of the beauty
and nobility of all forms of nr.,, perceiving no meanness and
no discord. As creator he has for his object nothing short
of perfectioiL
It is because he has always had before him this standaal,
impossible of realization, that his effons carry within them the
significance and vitality of life itself To others be leaves
the task of spccnlati\'e inquiry. In the material face of the
" orld he sees the real and the ideal as one. T o him the
lovclio6:5 of the physical fabric of the universe has been the
most utisfactory answer to the riddle of life, belie,oing, as he
does intuitive!), that wh;:au,ver forces underlie appearance are
actually expressed by appearance. I f the visible world be
illuSIOn, it is a noble and significant illusion which interprets
a noble and significant reality.
It is the artist' s unquestioning obedience to the hidden laws
of form which gives to his work a power transcending our
conscious knowledge, and which, in contact wiU1 the mind of
the spectator, awakens a feeling of exaltation and an
sense of the intrinsicvalueof1ife. For this reason the priestly
caste has everywhere been quick to make: use of this power
inherent in works of an:. Hence the temple or church is
everywhere not a mere illustration of the creetl and ritual
practised in each age and each locality, but the powerful
symbol of the realities upon which all crf!eds and all ritual
are based.
The rock escarpment at Ajanta is itself one of those
marvellous architectural feats which Nature herself some-
times performs, as though to point the way to man in his
conception of temple and fortress. Here "'115 already a place
symbolizing the vast forces of nature. Indeed, when in eom
pany with Hertingham and Miss Larcher I \' isited AjanU
four years ago, to leave the magnificent scene outside and
step within the dark and close-smelling Cllaz'lytu and ViluJras
was at first to feel disillusioned But the mind soon attunes
itSelf to these conditions, and slowly there emerge through the
dirt and neglect and decay of ages examples of the painter's
art mc.re complete perhaps than any which remain to us from
andem times.
In spite of the ruinous condition of the "-all-paintings them
selves, we must account it good fortune that the small interest
hitheno felt in Indian line an, as -..ell as the great difficulty
of the undertaking, has happily prevented the attempt to carry
away any of these paintings from the walls. The trouble the
traveller must give himself to see them invests his journey
with something of the character of a pilgrimage: and not
having, as is the case in the museum, a hundred other objects
he may be curious to see, he is able to devote himself entirely
to these paintings and to lend himself to their innuenoe in
much the same way as a pilgrim may have done a thousand
years ago.
Mr. Binyon, the most discerning student of Eastern art we
have among us, is to consider the Ajaot3 paintings
less spiritual than those of the great Chinese painters. But
it must be remembered that the Chinese. like oul"6elves,
borrowed their religion from an alien civllization. The figure
of its founder came to them read) as it were,
and far removed from any actual physical and social reb-
tions. They already possessed a highly developed art of
their own, the character of which bad grown n:lturally out uf
their own social life and mental outlook. When wi th the
new religion they adopted the Indian formulas and symbols,
Lhey kept these separate from the ordinary practice of thcic
an, and so developed a highly specialized quality, the
rarest and most remote perhaps the art of the painter has
ever expressed.
To the Indian mind Buddha and bl.s disciples were more
acturu figures, with positive relations to their own socbl world.
The places where they lived and taught were to them definite
places, to which they themselves could at any moment make
THE IMPORT OF THE AJANTA PAINTINGS IN THE HISTORY OF ART 23
pilgrimages. Although at the time of the Ajanta paintings
they had long formulated their materinlir.ed conception of
contemplation and renunciation, the unique importance of
which has never been adequately they had
not yet crystalli.ted it into the rigid moulds we have now
come to associate, often very falsely, with Indian :ut. Nor
was there that separation between the and religious
traditions which I h3ve to as existing in Chinese art.
lt this broad and comprehensive outlook upon life as
a whole, giving to its spiritual quality a sane and normal
relation to daily existence, which is so important and delight-
ful an element in the Ajant!l paintings. Here we find the
artist unconsciously expressing that wise element in Hindu
religion which insists upon man first living the life of the
householder, providing for his children and performing the
common social obligations, before be can give himself up
completely to his spiritual needs. ln these paintings we get
a reflection of that dualism in man-on the one hand his
passion for activity, his curiosity, bis delight in beauty and
the pleasures of the S<:nses, his daring and adventure; on the
otber his inner reaction against these very things, consequent
on the unforeseen disasters and inevilable injustice and cruelties
which follow on his many restless and experimental activities.
On the hundred walls and pillars of these
trmples a vast dram:a moves before our eyes, a drama played
by princes and sages and heroes, by men and women of e'ery
condition, against a rnnrvellously varied scene:, among forests
and gardens, in courts and cities, on wide plains and in deep
jungles, while above the messe!'gers of heaven move swiftly
across the sky. From all these emanates a great joy in the
radiance of the face of the world, in the physical
nobility of men and women, in the strength and grace of
animals and the loveliness and purity of birds and flowers;
and woven into this fabric of material beauty we see the
ordered pattern of the spiritual realities of the universe.
It is this perfect combination of material and spirimal
eneq,')' which marks the great periods of art. At other times
this balance is lost, and one or the other is insisted upon with
too marked an emphasis. Each succeeding age tries to
readjust the balunce as it may, untll at last that balance is
=tored. and again we get this supreme quality of proportion
and unity.
In the copies here reproduced Lady H erringham and her
able litutenants have been successful, through their perception
of this characteristic of the Ajant!l paintings, in conveying
a great deal of the passion and energy of the original forms.
The} wisely made no attempt to register tJ1e exact conditioo1
in which they found tbe original paintings. But both by
tbcir selection of subjects (no e:asy decision to come to amongst
so wide a choice) and by their appreci:uion of the beauty
and significance of these. they have been able to interpret the
spirit of conception and of execution in a remarkable way.
Their nnsel6sb labours will give a fresh stimulus to tlte
newly awakened interest in T ndian Art. 1f work like this were
also to give people, both in India and at home, a clearer con-
eeption of the qualities they ntay expt to get from c:ontem
porary artisu and craftsmen, it would be helping a greater
thing than $<:holarship. In doe amating energy and resource
of our commercial enterprise, in the passionate attempt to
improve our conditions through science and soc:W reform, in
the marvellous triumphs of our engineering genius lie our con
tributiona to lhe upward struggle of mankind. Shall we ask
no worthy epression of our ideals and achievements from
contemporary craftsmen ? Are we to "'main satisfied ,.-jth the
rnvialitics and which fill our eurrent uhihitions in
London and the great provincial centres ? Where but a
tury ago were a few villages, huge cities now stand.
Should we not expect to 6nd in these man}' records of the
energy and gallantry of commercial enterprie? Yet In one
city alone can we discover a high expression of the significance
of localltistory- 1 refer to the decorations by Ford Madox
Brown at M10nehester.
If such reproductions as are here presented are to serve
a fruitful purpose, it will not be by the discussion u to
whether or no these Ajant:i painters were infl11eru:ed by the
painting of Greek arti3ts, but by showing how enduring is the
life of a noble vision and :1 execution. Thtte is still
enough left in these paintings to inspire a whole generation
of Indian and European artisl.S. and to point the way to
a more intelligent patronage of the arm. The Church has
long forgotten her own great mothering past ; the aristocncy
is cautiously engaged in ruping the harvest sown by those of
thelr whQ had the intelligence and courage to employ
tbeir own contemporaries; while the democracy, oceupied
exdusively with iu own material improvement, has not yet
awakened to the powerful support which the passion and
sincerity of artist and craftsman can lend it.
The most vital of human industries are thus the subjeet of
caprice, and are left on such insight as private
patron may possess. 1t is not through such h:uardous chance
that the work we are here concerned with came into existence.
111e passionate expression of mGterial and spiritual beuuty
which we find throughout Aja.nt5 paintings is not the
result of any accidental inAuencc, Grecll or other. Such
passion comes, like the blows of a woodman's axe, from
a long-trained and consistent will behind it, driving it at the
same breaeh but driving it deeper.
So true is the psychological character of these paintings. so
remarkable the delineation of human and animal forms, so
profound the spiritual portrayal of Indian life, that they may
still to-day, in the absence of contrmpora.neous works
of the kind, tO represent the culmre and eharacter, rapidly
changing though they now be, of the Indian
BUDDHI ST CAVE-TEMPLES AND THEIR PAI NTI NGS
Bv F. W. THOMAS
seem to have been in India the earliest form of
atcltiteeture in stone. They are familiarly menuoned both in
the legend and in the sutviving inscriptions of the great
Buddhist CJnJl<!.fOr A5oka (e. 275- 235 a. c.); and during the
following five or six centuries dtey are constantly mentioned
as an object of pious don3tions. They had not:. howe,er. an
exclusively religious destination: from a number of literary
allusions it is dear that they were u.o;ed also as pleasure resorts
and for theatrical entertainments ; indeed a eave has been dis
covered (in the R$mgarb hills) provided with an auditorium, it
has been-perlmps too hastily-thought. in a style more or less
Greek. But doubtless the religious character prevailed. From
the first the caves will have the double purpose of
residences for monks and temples for worship. The t"o kinds of
excavations, commonly distinguished as Vd1i1ras (monasteries)
and Choit;a hnlls (i.e. halls contaminga Chni/yn,orshrine),have
therefore claims to antiquity. They continued to be made
in close conjunction until the end of the Hindu pmod in r ndia :
and many centuries previously the praet.ice had been carried to
Afghanistan, Central Asia, China, and T ibet, where the eaves
are to be found, in some instances still oc:eupie<L even at the
present day.
The architecture of Ajant3 has been so thoroughly dis-
cussed in standard works, such as those of Fergusson,
Burgess. and Griffiths, and is so well known from illustrations,
that upon this subject hardly anything need be stated h&e.
The caves were usuall) cut into the sides of cliffs. Their
main architectural features are their ornamental portals and
vestibules, and the piUars supporting the roofs. T he uyle in
the earliest examples, aod even in the later ones, bears the
most obvious marks of having been copied from edifices in
wood ; indeed for a long time d11: use of wooden roof-beams
having no structural justification continued to prevail. Later
the roofs also were chiselled in It is well known that
in some cases temples have been ac.rually carved out of the
living rock with internal and external decoration all in one
single piece. Astonishing examples of this are to be o;een tn
the Kail1ja temple of the Brahmanic Saivites at Ellora and the
temples at Mah:a.balipuram.
Such excavated which in their main features were
prac.tically indestructible-only the vestibules and porches
being obnoxious to the ravages of time-are naturally of great
interest ; and they provide incorruptible testimony for the
history of archllecturnl changes In India. Bur they have also
served as a vehicle for the preservation of nearly the sole
examples of pure!) Indian painting which have come down
to us, the exceptions being a few early frescoes preserved at
Sigiriya, and elsewhere, in Ce)IOn, and the miniatures adorning
certain old manuscripts from Nepal, which, if they do not
themselves go back beyond tlte eleventh century A. o ..
a tradition of long standing.
There can be little doubt that the art of painting is older
in India than atcltitecture in stone. lt is mentioned m the
earliest Buddhist scriptures, and also in Brahmanical works
(for example, the AfaltiiiJnarala and Riimilya1Ja) reile<:ting the
same period. These books speak already of prunting on doth,
painting on boards, and painting on walls but the most
references are to pai11ted chambers, i.e. cltambers
haviug their walls decorated with fres<:oes. The latter are in
later works the subject of some striking descriptions, the most
interesting of which are cited in Havell's /ttdiu StN/jJiurc
Dlld Painlin.Jr (pp. I s<H>J). Drawing. especially drawing of
portraib , to have been a normal accomplishment of
educated persons, both men and women ; and sketching with-
out the application of colour must have been quite usual, as
we see in the frvm Tibet Cenml Asia, and in
the cut.s illustrating rn:my TibetM b01>ks.
lt is interesting to read that the adornment of ViltliFas
with pamtings of human forms is sai.J to h:lve been denounced
br Buddha himself; and he also forbade his monks to vi sir
the palaces and painted tu.Jis of kings, and Jlrohibited the
wearing of dress with painted figures. In Jliharns the
utmost that be would allou was the representation of !,. ... rlands,
creepers, conventional ornament, and symbolical figures.
Contrast with this the l.uer, though still en.rly, tradition which
pots into the mouth of Buddha duections such as :
On the outside door (of the l 'iAJn) you must h:lve figured
a Y aksAa holding a dab ln his hand; in the vestibule you must have
represented n grci.t miracle, the five dlvbiollS (of being5) of the circle
of transmfa-ratioo ; In the rourtyord the seriC$ of birth (j4tltia1);
on the door of the Buddha's sp<cial ap&rtnl<llt (l"""uk{f) a l'aks.fa
holdmg a wr<ath In hi< hand , in t.be bou.so ol the att"ftdiUII3 (or, of
honour) DlriJslrus and S1havira.r arranging the d.fnrmn; on the kltthen
must be represented l'nh/111 holding rood in hb hand; on the door
of the &torehouse a .. an lrao hook In his lwul; on the
Wllterbowe N4gtU with "'"""' onwnenltd ""'"" in thdt band., on
tlw wuh-housc foul prit.s or the c:reaturts of tl1c dilf=nt hclls; on
1he mtdiclnehouse the Tntlufcala the alek; on tle privy 111J
that is dreadful io cemetery; on the door o{ the lodginghou.oc
a kdeton, bone$ and a c\cuiL' Griinwtdol, Art '"""'
Inns. Giboon and Bargen, p. <46 and rttT.
A complete scheme of decomtion has also been traced by
Dr. GrUnwedel (to wbon we owe nlso the above citation) in
some of the caves of Chinese Turkestan.
These indications seem to suggest a view of the history
which lies behind the fresco decoration of the Ajant:l caves.
We commence with the palace., or picttlfehalls of kings,
which Dn, no doubt, imitated in the public places of entertain
mem found in every town and vtllagc. From these the use
uf pictori31 decoration passes to the fJleasure caves, brilliantly
lighted for evening entertainments, and to the atone
temples of the Bnhmanic deities. Buddhism, at first puritan
in this respect, ultimately adapts itsel{ to the miluu, until
BUDDHIST CAVETEMPLES AND THEIR PAINTDJGS
2.)
painong, and even a scheme of painting, becomes a normal
feature of temples and monasteries.
The application of painting to rock-cut sanctuaries is In
some respects surprising. since, in spite of the spacious
openings which formed t'le upper part of the porches, the
interior light must have been, even in favourable c:asc:s. a dim
one, and in others exceedingly faint. The anistic: processes
emplo)ed are discussed above. The manner of the exec:urion
constitutes a problem. How were these huge compositions
carried out in their ample nnd crowded designs and their
scrupulous detail and firm lines upon walls and ceilings reftect
ing only a dim religious light? The use of lamp$ may account
in part for the details. But even this partial explanation
leaves an unsatisfied question as to colours, which were bolh
(at times) dogmatically significant and artistically delicate and
harmonious. The only plausible suggestion must be !hat
the frescoes were actually planned and executed in broad
daylight, and subsequently reproduced to seal!! (or stencilled)
in the interiors. Even tl1is explanation would
a remarkable qualil}' of hand and vio.ion.
Excepting the c:a ves of Biigb in which are lhe
subject of a projected publication, those of are alone in
preserving any considerable remains of Indian fresco-painting.
The situation and disposition of theAjanta group are sufficlMtly
described in the statements of Sir W. and L'tdy I lerringb:im,
and in the above-cited works of Fc:rgusson, Burgess, and
Gritlilhs. The dates, which are determined not only by con-
siderations of sty!.,. hut also sporadic:ally by the more precise
evidence of donative inscriptions, range from the first or
second century A. D. to the sixth or even the seventh. Only
in a portion of the caves (NoJ'. I, ll, IX, ;(, X VI, X Vfl,
XIX, XXJJ) are there .1ny considerable rema.lns of fresco
decoration, which in sonte instances (paralleled In existing
Tibetan and Ceylonese temples) must have covered the
gn:ater port of the interior surfaces, including porches and
vestibules, the pillars, the spaces above and between the
entrances to shrines and cells, and finally the reilings.
A complete photographic record of what otill survives is, it
is to know, in contemplation, and even in part
already carried out; for the present we must be thankful for
the indications furnished by the coloured outlines acoom
panying the plans in Mr. Griffiths's work and lhe descriptions
conwned in the N11ln of Dr. Burgess. The time has not
come for the recognition of comprdlensive schemes of colour
and subject, although a c:eruin symmetry and balance may be
t..-accd in the choice of subjectS for tlie decoratiotl of CaoeX Vll.
The reproductions In this volume must accordingly be regarded
frankly as frngments, having a higher value for the purpose of
artistic nppreci:uion than on the side. Of the
subjecu. some are susceptible of immediate recognition. wlule
others be described only in vagoe and genernl terms.
The painting in the c:avcs has an exclusively religious
si1,rnilicanc:e, and in its object it is strictly anlllogous to the
sculpture which adorns the topes of Saiichl and 13h:trhut in
Centrallndia, and the great monument of tloro-Ouuur in Java :
simibr ornament is now 3bundantly illustrated in the ruins of
lhe BudJhist sanctuaries of Chinese Tudcestan. lt is not to
be supposed !hat the entire pictorial decoration of each cave
was planned at the outset; although there are not a few
examples of great compositions and series of consecutive scenes
which must have a single design. Under some
of the figures and sc:enell we find indeed painted inscriptions
which show that they were the fruit of some pious donation.
As in the case of a Christian cathedral, the decoration was
therefore a work of time; and there is evidence in sc:vc:ral of
lhe caves that. it lu.a been replaced, one scene being found
overlying anothu, In to painting, however, we need
not allow tDO long a period for an individual cave. The
monks in charge of the temples and will have
been Industrious 1n completing the Luk, wheth.er with !heir
own hands or by the aid of contributions which !hey collected.
In faet, the writing of the different inscriptions in each cave
is generally of quite the same period.
As regards the subjects, we must begin by distinguishing
decoration, portraiture, and narration. The decora
tion would include, besides patterns and scrolls, also figures of
animals, Rowers, and trees: then again those of fabulous
c:reatures, monsters, and mythological beings. such as x;,,ariU
with a human bun joined to the body of a bird, N4[as, or
snake-powers, generally having the form of a man baloc:d wilh
the hood of asnake,Car.u.WS, the
NllgaY, YahAas, of the !liT, and Apsarasu,
minstrels and nymphs of I ndra's heaven. Coming to what we
mny ca.ll portraits, we should not often find isolated reprc:sema
tions of the Brahmanic divinitie!l, wbo, however, frequently
appear as attendants, or playing a part in the Buddhist scenes.
The detached figures would include the l.MIIPJI.u, or guardi:ln!l
of the world-quarters, who were often depicted at the entrances
in the capacity of Dcllrap.!/41, or guardi:lns of the gates, lhe
various tluddbas and Botlhisattvas, the former distinguished
frou'l mere monks only by their or protuberance on
tl1e top of the he.,d, llr!td, or intercillar spot, and pendulous
c:;u<;, the latter richly jewelled, like earthly kings are
also ponnir group$, of which the important
Tutelary Pair', of p-aacbila., gc:nc:ralissimo of the
gud of riches, seated side by side with his wife H :lritl,
the goddess of children, or again the btter m the 'Madonna'
form, suckling her youngest born Pingnln amid a group of
her other offspring. The .Buddha themselves appear in
various postures, generally seated, following tl1e prescriptions
of the books, which di>tinguish the different significant
rmulras, or ge.tures of the hands. indicating the teaching,
rrotec:ri,e, preaching, or testif);ng purpose. Among the
scenes th=selves we disringui>.h first of all thti
traditional events in the earlhly life or G3ut<uoo Buddha,
the mosl impoltlnt being the binb; lhe abandonment or home,
in which Buddlu. is seen riding bis good horse Kru).tbakn,
while the gods holll up the hoofs to prevent any U"eacberous
wund; the 'Illumination , gc:neralll in the form of the double
attack by the daughu:n. and the army of Mm, god of love
and denth: the preaching to the gods in the heaven of lndra :
and the Parinirvd!'" or death, in which Dudcllia is seen lying
upon a couch. This cloes not, however, loy nny n1eans exhaust
the customary scenes from the life, which include further
the various miracles connected with different famous cities,
such as \" :U$1li, Benan:s. the visits of
kings or rival teacher.., the quelling of \'llrious monstA:rS. An
important place in this group Lelvngs tO v. bat has been
26
BUDDH1ST CAVE-TEMPLES AND THEIR PAINTINGS
termed the: T Scene' in "hieh BucW.ha creates
a double. and other doubles. of hirnsclf, wirh \\horn he hold
converse; a scene special!)' nor.;ble, as accounting for mnny
compositions where groups of Buddhas are to be seen seated
upon loua"""- I 1 i> in these ..cenes from the life of Buddha
that the Brahmanic.\1 gods genemlly :appear, eith<!r :u spec-
tators an thear heavens, or often, in the C:l'ie of lnda-.; and
in attendance upon him on either h:uad. In this
connuion we must not fail tu m;ake mention of the Vu;rafaf!i.
or thunderboltbeucr who ha been \'ariously identified with
Mllrn, with Kuvera. the god of riehes. with the Buddhist
.Dhamut, or religion, rmbolically represented. and "itb the
guardian sparit of Buddha. Tlaere remain the narrati\'C
'llb, relating Morie. of ;li14hts. These celebrated
f;tbles, of which various colfecuon' exast. both in Sanskrit and
in Pali, consist for the most part of popular tales from myth,
ltgend. foll.:lore, anecdote, which have a re!.gious
value the identification of one or other of the
1\ith some preiuu; inc:amation of Buddha. lt is quite need-
less to stnte how 13rg-e a prop(rtion of Buddhist painting aud
scolplllt'e is occupied with such tales. Finally we may make
mention of scene depicting actual or hi=ric:ll
ev<:nts, sueh utbe vi>it uf to the Bodhi-tcee at Bodh
Gaya or the invasion of Ceylon by Vijnya. lt is well
known that at Ajant.'l one large scene an Caue 1 has been
supposed to reprc;rnt the visit of a PersiAn embassy from
Chosr<>c!l> 11 (A.IJ. S<)0-6z8) to the court of an Indian king.
The artistic valuation of the painting contnbuted by
Mr. Rotlaenstcin Binyon. But there are a few points
of a philological character, wluch call for some clucitbtion here.
ln the first place, it is to be remul:ed that in apprizing ll.lrtativc
pictures, or lti..torical and legendary scenes, it is plainl}
impossible to do justice to the painters, with thelt' edifying
purpose, in the absence of a kno.,ledge of their meaning.
Here. unfortunately, we are presented with a number of
fonnidable dit'ftculue... The rcading of pictorial i in
Buddhist liternturc rendered apecio.ll) dJffitult by the not in
frequent C<H:Xistence of widely differing \'tr.ions, so that we
rn""t knOll' the text which the artist has undertaken to illus-
trate. If this applles to Sttnes wher!! the "hole composition
lies before us, how much more is it so io connexion with tb.:
fragmentary remains of Ajillll.\ saved from the desli'Uction
of thcir entire c.onteJ< t ?
But not even in reg:ard to isolated figures can we entirely
dispense with interpretation. Defore we can judge of a par
ticular Buddha or Uodhisanva as a work of art we must. if
we :m: 10 preclude: self-deception, ascertain his name illld
objc:et, how much in btm is typical, conventional, and sym-
bolical, and how much is to 1Je attribmed to the living
imagination of the arti>t. And the same applie.., though in an
inferior degree. to utlaer and even to decorative fonns,
\\ben they b .. ve a symbolical \alue. Fortunatel), after all
these deducMns there is ample material for" strictly aesthetic
appreciation.
We shall be justified in touching upon a few mat1ers
of this illld for convenac:nce we will consider them under
numbered heads.
1. In the first fJIJce, it be asked whether in these
painungs any S) mbolical \..Uue 10 the use of cokur,
a qubtion much more o:asily .l.!lked than answered. We bo.vc
indeed abundant evidence to prove that in miniatures of
Bu<idbist di\'initaes he colour of the fat.'O! and dress, as well
as the remaining adorhment, was minutely prescribed. But,
as rhe colour seems to have varied with the occasion, and also
with the grouping, it does not pos..ible at present to
dc:al with the paintings (roan the point of of such
symbolism.
As authorities on this subject we may cite N05. 9, 15, 16,
29, JO. 39 in the 'Short Bihlicll:nphy' given below.
2. In regard to proportion> and outline:. a not dissimilar
observation must b.: made. From the literar)' sources and
from actual observation of modern prnctice in working it is clear
that many, if not mct, of the ligures are composed not simply
as an imitation of t'C3.1ity, but in vie,. of some ideal scheme
rnther precisely conceived in numerical tenns. Attention
ftaS been ver)' pertinently drown to the conne.<.ion which
in the case o( Indian art existed between design and the
sctence of physiognomy, itself elaborately detailed. The
bodily marks and mQvement:s are carefull) scrutinized in
lnclla, both prnctico.Jly as indications of mind and theoretically
3S ru.,;ng an auspicious or imluspicious char:acter. and also
artistically as excellences or defects. All these points of
vaew would be present to the thought of artist; and the out
come would represent, apart from the skill or
of the indi,idual. not simply an artistic conception. but
a coojoint idal, embodying the appropnate combirouon of
beauty, auspiciousness, and significance. ln the case of the
'Great Being', whether Buddha or some other supernatural
person, there Cltists a fantiliar list of 3: lak.Jitat.tas, or auspicious
marks, together with 84 minor signs, ternted auuvJai<jaiUJS.
The reader who wishes to purue this subjec:t may consult
Nos. 6, 8, 23, 26, 27. H 40, 54,56 in the 'Short Bibliography',
3 As rej,l'3rUs dress and emblems, we may begin by
referring to what has already been st:Ucd in reference to
Buddha. The Buddha Jigure, unlike those of the J ain
nrthankarns, is never unclothed, although the dress Is smne
tames rather faintly indic:a:teU in outline. The ordinary
costum" of a S1anding Buddha, nnd it is the same, though
less obviously, with the sitting ones. is a robe of Greek type,
copied from that of the Latoran Sophoe!es. Bodhi
.attvas arc au.ired as Raj.b, having richly jew.,Ued bead
dresses, necklaces, annbands, and the like, and their low"r
garment secured round the loins by a scarf, which
hangs down in front as far as the feeL Ladies of rank are
distinguished by a faintly indic:>ted jacket reaching to the
waist and from the lov. er robe, whieh is encircled at
the hip:. by elaborate of jC\\oe!s : the transparent
texture of th" garments create:. an illusion uf nudity. Otlter
types, castes, &c., are apparently provided with their char
acteristic attire, concerning Curthernecd
he said. (See \lr. work. vol i, lntrod. pp. 7-22.)
As regards emblems, at will be sufficient to mention those
of the chief Bodhisauvaa, the flask of i\'laitreya, tlte lotll* of
Avalokitdl.-arn, the swonl and book of referring
ror the rest 10 No.. 5 rs. 16, 18, 21, JO, 7 20, 29, ,;o, Ja,
32, JJ, 41, 4J, 44 45, 17 56, 57 in the Short Uibliotll'lll'hY '.
4 The gestures of the hands llllve beela already
significant. A dl!.'liring precise 01nd illustrated
anfonnat>on upon subject may coO-ult 1\o:;. s. 15, 16, 18,
26, 27, 28, ,;o, 31, 56 iu the Short DibliOI,'raphy '.
SHORT BIBLIOGRAPHY
OF WORKS TREATI.NG OF ANCIENT INDIAN PAI NTI NG (SCULPTURE NOT EXPRESSLY
t:NCLUDEO), OR OF BUDDHIST ICONOGRAPHY OR MYTHOLOGY AS REPRESENTED I N ART
I. Binyon, 1..., Pat'lf.tiA; i ,., FA, Eiul .. lllf UtiNilllt"li-Jf 14 tAtt Aislry -1
Jirtqri'lrl lt tlsW Stcond cdit.ioa, Laodon, 191J.
,_ BJoch. T, .4-.""ol R'/HI tM s.,,,_, IIWi., LJuq;w1
Cink,f"' tltt ,.., ri4 Calcuta,
l --Cavt I lunJit.,., R;;"V,.,A. m "'""-''IUI S.""'J' I
IIIJltl, .AifiUtfll Nr}NH'I, I C)OJ---4, pp. U3-J'
(Th<K IWO worloi gi>e an a<:COUnl of We Jltmptb Ca> .... whocb
ue Jtated to IJtttcrr\c trJ.ca of iom.: very .nc:Jcnr frescoes.)
Brt!la1-Str1(1ft/l.r by Professor K ""'" In the f""al ,q tlor
.R;;al Attlir r..- t87o-3), cbapterlvlli (proportoon> o(
J. Burgeu. J, /111111 tlw R*-T-Jin 11,(./jllok, tlorir /'oJlllil..p
-IJttms, oor/ /ill l"iti"81 of tltt Bt/t """" -.knt lhnultJJ..
"'JtJwku, 6-v.; wnh an appendix by I'IAdtt ""
17ot JJ.IWJIM 0<7/MUo fl/ K<ral. (Bomt.y, t879-ArrArtotr
0
1io/
11/ J&,., No. 9)
6. -- lis/ flj Srr.v-s of t4r l'iN<qt t>tjiJ f- 10,
A.ftJI C""" klw 1872 oorl 138], Q/IM G ... ., .,,ISt.A./11/.YI,
.ilolftNJ Edlnbu'llho t 8&). (Copies o( mot.t o( the pbotograpbs
ist In tbo l;bntry of the India Otlire.)
1 -- Tltt Alfffilfl .lfliNJIMOf/sJ Tnt.fi,.J, flltJ St:wiJIIirtJ flj
li/111/mltd "' srni1 -f rtpnJJNdtint.s, o-.-., 6-\. London, 8?1- 191 J.
(Vol. U, tnodt:nal monumenca: AjantJ, plotett oS... to8.)
a. coorna.u...,y, A. .v'"""'"' SiJIMJtu .vi. lllt.oold Campdoft. 1,.,&.
(O...pw 1, dacnpuont of m)-.bolqpailiJwa, &c. : otppmdica to
daptnJ i and ptO!lOtriotu of 6.,......., as Lud clo<tn In --=1
Sinbalno orLt of lndisn origin; cbapca uc, Jl'(ICeCiures on poinlinj;;
pl. VIU., modem )lAlJUod 1Till4ro intc:rior.)
? --.\'IIJ .1,1 on Tlr< Jw,..,/ iilr Arl orl I.N!JUI'}',
ul .vi, pp St-<J8 (pcuticoiAn or oolou.-., .Ire.: pltC1).
to. --.R(yput Pa1'ntilfJ h\ OJitJ.tiali:st:k 2LilsW(ft, vol. ;, PI' 12.5-39-
11 --Am ..J '"''" rl Ct7i<l. t...ulon, 1913 on
pamtoniJ.l
r: J.._ llllltl" t!/ 1-.I#Jzc uJ 111/Tnt 1111
tJrltJ, ll'IIA Mflllolfl J- BM'IfUI /l. PA.Itl Sfi<rt, I vol..,
London, 1910. (\'ut pp. rz;-oll, ca>a o( AjantJ, o\:c.)
o; -:me! J 17ot .-t-kfl" flj /1Wi4. 1.onc1<Jn, t8So. (.\j:uu.l,
PI'
14 F.slivl <1 E)ih ; fJi.n W.rl, Ctlt 1/wJ "' C<Jfoi"SW.
Lomlun, 1911 (Aniclcs on .\]ant! by \linccul A. Smith and
Udy Jtcrnn,hllm,cand on Cent01l Asian pkturet- by Sir M A Stein)
t 5 .\., CtJt.,toswc illj!tiifluw.J lf(palmu1 tllllit'lahtu J,.Ja


o. u. n..t,_. ron. (ln.btut\ 119l
o6. - "" h IJ..J,, I'""' (BillilltAJ'f"'<
hs llol
900
...u ,
905
(l'amo.lots or
tbrtlllll .. and croupo, du:oo, <Oiours, auributn,
17. - L*"" J.Ji/AI<f*' J.ziU flolt J"trfrtl Jn-rr u;y,fl ( .fJIIl/u J
.lfwllil G.,.,, Hmt u fUi1""n "" Rtfw.,.,, >OI . .....,Jop.
18. -- 111< Btt' .. <'/ .!lrl """ "'"" Ji.-J ;. '"'"'4
.4nlkro/'lf:J', J'ario 11nd London, 1915,
19. flllndl:<, A. H., Allglliu <f /..Jr-.,. 7T6tt, vol. t, In """""Jq&ieaJ
<f Jllllio, -""" &nu, vol. O latll&, 191 4-
(Bucldltill r,_tu T1bot.)
zo. G-t,_ll/ tM ..S.tod by Su J. AL Campbdl, ...t. .. L
Bambar. 188o. (J>P. 4119-57<&. AjlnLI Ca-.)
,., A.. n. G<Ws t{ N.,tMnl 8WJ-: tMi; 6-v.,
Oxford, (F''I!"ra o( Bucldltlll tli.,nllla, &."C.)
n. Goblet d'Alvielh, Co<toL C r f flfJt JJ IM Grar. l'arir., t llg7
(J'I' 86"94, painting).
>J. Go<l"i"':\uot<a, H. H, 0 fA. SpUtfi"J.Ji O tllo/"8 t4r Frpm I
Dti'titJ aJttJI utlstr .Drawllfli,CU JnUtilt:JI r$r /..td.:li, 6\-.
UnMi IM Alilfti< SMN'Y I &vat, 86 . pp.
Culoubew, V, MW/A""'" ""' llltin (Acla .Vwslt
ClllOitl, BiMillllltt lk .. (priuM, - .d). Pant. tt
Ajllll&
S Cttllilhl, J, 111< PobttUqJ 1 lltt 8Uill111 11/
K/MIt.i, ftt&, >'<lis. L<W>don, ;896, (T..., acnllunt fulio
volum .. with ltuge p(Jtes)
26. A, ONdliAI.IJisillt A' wJtlt I Jn.lmt (qne oloheHJJIUIIJIIIM, itr
*'"1/ilktt i.V.ut 111 DuliH 1 ftr tc!COtU.l
cdluon. Bert.n, 1900. {Vuy in1portant in rt:ptd to Pcniot.n and
Crk In dum.,.., the IJ pc0, d._ anrobuoes, <lo:<. o( Buddhist .. ;
"""'Y tlh ... ..UO....)
'7 - Th<- t10nol;uod, With adcflt ....... b) j, Butt< and loin. Cl-._
London, '90'
... -- "" B-- ... 'ITI ... ., Lopec.
'9"" (Mnty w..:..s.-s and olluwat10110 of types.)
:9 - HmrAt Ot; o,..Uo/o.{rJIM A.Wit' i ldiftlrldan' lC1t!-
1'urkdtan] J llc<hq '"' lli f" 191J:t-190] Munieh
906
JO. -- JlllbNiiJirlmstlrt KiiiiJidlltlt llf CAllttst'.siA Tlttr.<Jialf. lkrlln.
191l
('l'llae IWb 1.,.., .,.U tuotaln \'Of)' numc:IW& cokJwcd and ath.-r
illumticm. withabunclantparllculutcona:mln&ochctnesand dcwls
o( ,_ and other JlAlnltnp, Dlythuloslcal mt..pn:unoao, ; lhe
>econd io ""7 amply IDd.eud.)
Jt - Qh., .....,.,:.,. !"'-,._,. Allil# /Vt. E. E. Vt"-sl.
(ilifoli#tlttot SL '90S (F'rpra o1
lluddhi>t dtrinitia, &c.)
J' I faelun, ),, L}'DJth;Jt tn-j1'Uirt u Nslt Clll..-1 (.4alu J. ,v.,
Gllillftl, 1.1

tonu:: o.-viU). Pari.s, 908.
(l'atlfculan of Buddhist liaurClO.)
JJ. --(,'A,f tiM.u' < F'N1111t, Gtll<tti .. lit .V f. BdiOcf upnlt Jol lif
c.;..,,_ Paris, '9" (l'atucw.,. of BooddbiJ.t a.- prtft<kd by
a doocwne on Tibeun U1 by M. &cot.)
J< H..ta, .. y, W. S.. S... Hi- 'Sri,.' $/lastras tMir nlllliM 11 S..IA
htJro Sal/thiN 10 OsAJJi<riiKM ZtitsLhift, 01. 111, pp. .S. so.
(1'<0\10tfiotu cl lij;un:o, &c.)
JS lt.Ydl, E. B., /.U.. St-lf<, ul .AItiJv, illliJtmtJ., tyjiMJ-
.. ,,A api#Mitl>it 11/ IM,-""" .,y ilkalr. Loodoo, ,,...
espc:ciaUy pp. sHJ, CI)CIC<tn"'l h re{....,.,.. 1o painma
In S.n>krit lltOTlltutr.)
36. - '1'1t1 ..,.,., d "'"'1im1/ nrrAiitttN 11/ IMi : u tlrnlf f! Joi ..
_.,,,._. mrliuli#11. Looclun, '9'5 (Ajlnll, I'll 4 <>-S$-)
28
SHORT BIBLIOGRAPHY
Jl H!rringlwu, Wy, Tltt Fmtotr I Aj' in !he Rrii"OKI.,, ill"lf"l"',
rtr<> Pp. rJ64(with ..,. tolourplm! roNo. :\XY).
-- lkurr;fiM f/llol A)OUII.t Caors au qf lit# Frts.:S, o.t. m 1il<
1 .. ,..1 qf /NI drl, ol pp. 57-6o. (Reproduced frorn
No. u.)
J?- 1-lntt.::mann. W., ..:.. tn the BINUI" .AnAifl roe
rvr;. pp. IPan.cuWo or colouu, yuboiJ, 11-t, 111 jam
mlniature&.)
-40. l.:turc,, U., INI1itAt11 lrw111l' Ent1t 1/rjt, Multnl J.s
Cilralddi.IIUl tit JiktiuMA T.utjur4rn.Mil'f,p&111 lltl &.Hrs'lr.L
.... "" .. '9'J (An ... ,, San1krit llllliUa.l o( pointing IIUill.tted
from a Tibetan vmion. nrh inrrodaab> eonr.aioing particuln o(
a1m1bt .-orb, &c. : the lClll dtals Pliefty "Ub proponiont. or
Uuddhia iowawcw)
41. J..e C&.h A. vnn. Clit:IMAo, Fsiilt--fViniu61t g,,. WliAfiltrtll fiinuJL
"" mint li!zjdihl>tt -.4 Tllrfil" "' Oil
Todlll (E'J'hrSS< oltr ql /'t"ltiuit
llttlln, '9'l (A plcndid elep!un1 folio wloh reproductions Q(
Central Asian l);lintings. &c.)
Nohl-, M. E. (' SU!ct Ni\'Cdia '), F..tfo/u qf 1-.1.,. llis14ry. London,
9 (pp. 6o-rJ1 Aj.Ult&.)
u Oldtnbur& S. d', lwf'OSI"''' 3"" JJrrAa,.. ,. J/,., Awt
ti"G" AI"") (816/iotllml Dllolltka, v), Sr. Petenburg, 93
(t'Jgur .. ond p;utlculass oJ J<>O Buddhi>t divinlto<s, &c.)
- --0. ,_ """"'"' "'-' J'im41 qf IM 8.aAIJ1
fll.- 41 11"'"*"' A, ... u, &r.-.8-'- (J"""'"' qf tk
At1urinu On(lthtl Sit17, \'Ot niii, pp. t8c-1o1). {ldenuflc:atioru
o( ngures nd teen ... )
"5 Pam:le:r, E., J)ds AtJw11 In TuM11zi.g!a Fl11hiJ1Jt, n Bntntz a.r
r,_.,..;!tM w J.;r_;,.., "'lJtriJo : l't,..fooJ-
aw int fr I'Dii<r!nt,J,, '1'01. i).
Berlm, r8<)o. (Pan1C:ulan &nd nlustmtion ol l)uddbUt dovlnirl ... )
c6. Roo, T A. Gopinarba, EirtUott '!/ Hlt<dJt vol r. Madras,
191._ (Proportions ofst.tuca,ondas....kritl<Xt,
rtl.ltmg to tbe ame.)
41 E., ./Jtl.i.IAis i 7Tkl
p/.tu, L<spaa and L<lndon.
di.;nati ... )
..,itA ., J.tw ""' 1/ -"
rMJ. (F"rgum of Boddbiar
48. Smith, V, A., A Ris/JJI') I/ Fft Art i foil/a""" Ctyllnmr tAl ritrloiJI
ti11ut I /AI jrt.ral tlay. Oxford, '9" ((.111.rrcr on 1nd
od!tr painting :n India, Cv-11(' 'l'abct, !he Ajaml cuca, tbt Indian
tebool of Jl3mllnl. 6<c.)
49 - - 1il< Cttt>es qf I 1/u.Frn ..uiAtrir'n in TAl/.,,_/ o/ lnlinn
Art, vol. xv, pp. 5$ 1 (Rept<>d.aw:od from No. u.)
so. -- nt lla.bta.fa D.rsl) 1/ JJaur /M J'WrlA atul EiftA C<hrin
.l C. in rbt/-1/ IM Rt..rl AlraMS>dJ, 191._ pp. 3'1'"33
5 Stein, M. A., Aluitl A'klalf: ti<tniltl n/<lrl o/ .urMol"ffcal t.rjllmJ
,,..,., '" CmntU 'llirhJiaH,. ala. (one eonsilllng or plaU!s). Oxford,
5, -- RMiJU t/ DtMrl Ct"-r: _.t """"- 11/ uf'-'-s
A11ir o/IIJ W'ultnullfll CAiH, t vols. LondO'flt 19u. (llqaro-
ductlon or rresco and oaher l"'inrings dla<o>ored In Ollncsc
Turktsr>n.)
JJ. -- TiV A..Uv Bo/Jiran Pimlra NI Ellllrwluw tl,-_,.,.il nr
T-lfV in 17ot /""--' 11{ lur"" Arl, 'IlL n, pp. -
(Reproduced !tom No. n.)
5._ $vlraofli, TAt, muulated by Beooy Kua .. ar S.uk&r (1)1, Stun& Jl.,o/11 of
IM HiNiws, vol. Allahot.cl, 9+ (pp. r67-h = t;. rv . ._
r.u - 4ot, pn>partroDO or swncs, &c.)
SS 'l'agore, Ab&nindst.nJ.rh, Sallol!l" ..-tAl 11x liM61 qf J,.,J;,,. ;.ilfh<q in
OstasttrtistM ZtiluNijt, 1914, p. 101.
s6. Waddcll, 1- A., 7lV .811/u_,., of 1Ud. Landon, 895- (Pm< ..... an
'tibtran t>Oinuns. pp. r Buddhiar &gun:o, lfU'bob. &"-,
cbaptcro .,,._,...,)
51 w"'"' D., FliIP? I Nt;.l. Caml.ndge, 877. (VIaeo ol Buddhist
di>irutl<s,
F.W. T
Non.-for lunhcr worka rdating ,_ Ajanllll p. rs, "'P"' and pp. t8o-> of No. 13 in tbiJ
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